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Theatrical: 2007

Studio: Lions Gate

Genre: Action & Adventure

Duration: 122

Summary: Here's hoping James Mangold's big, raucous, and ultrabloody remake of 3:10 to Yuma leads some moviegoers to check out Delmer Daves's beautifully lean, half-century-old original. That classic Western spun a tale of captured outlaw Ben Wade (Glenn Ford)--deadly but disarmingly affable--and the small-time rancher and family man, Dan Evans (Van Heflin), desperate enough to accept the job of helping escort the badman to Yuma prison. Wade, knowing that his gang will be along at any moment to spring him, works at persuading the ultimately lone deputy to accept a bribe, turn his back on "duty," and go home safe and rich to his family. That the outlaw has come to admire his captor intriguingly complicates the suspense. All of the above applies in the new 3:10, but it takes a lot more huffing and puffing to get Wade (Russell Crowe this time) and Evans (Christian Bale) into position for the showdown. Mostly, more is less. To Mangold's credit, his movie doesn't traffic in facile irony or postmodern detachment; it aims to be a straight-up Western and deliver the excitement and charisma the genre's fans are starved for. But recognizing that contemporary viewers might be out of touch with the bedrock simplicity and strength of the genre--not to mention its code of honor--Mangold has supplied both Evans and Wade with a plethora of backstory and "motivations." At the overblown action climax, the crossfire of personal agendas is almost as frenetic as the copious gunplay. (By that point the movie has killed more people than the Lincoln County War.) Best thing about the remake is Russell Crowe's Ben Wade, a Scripture-quoting career villain with an artist's eye and a curiously principled sense of whom and when to murder. As his second-in-command, Ben Foster fairly pirouettes at every opportunity to commit mayhem, and Peter Fonda contributes a fierce portrait of an old Wade adversary turned bounty hunter for the Pinkerton detective agency. --Richard T. Jameson

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Theatrical: 1962

Studio: Fox/MGM

Genre: Action & Adventure

Duration: 110

Summary: Released in 1962, this first James Bond movie remains one of the best, and serves as an entertaining reminder that the Bond series began (in keeping with Ian Fleming's novels) with a surprising lack of gadgetry and big-budget fireworks. Sean Connery was just 32 years old when he won the role of Agent 007. In his first adventure James Bond is called to Jamaica where a colleague and secretary have been mysteriously killed. With an American CIA agent (Jack Lord, pre-"Hawaii Five-O"), they discover that the nefarious Dr. No (Joseph Wiseman) is scheming to blackmail the U.S. government with a device capable of deflecting and destroying U.S. rockets launched from Cape Canaveral. Of course, Bond takes time off from his exploits to enjoy the company of a few gorgeous women, including the bikini-clad Ursula Andress. She gloriously kicks off the long-standing tradition of Bond women who know how to please their favorite secret agent. A sexist anachronism? Maybe, but this is Bond at his purest, kicking off a series of movies that shows no sign of slowing down. "--Jeff Shannon"

Theatrical: 1963

Studio: Fox/MGM

Genre: Action & Adventure

Duration: 111

Summary: Directed with consummate skill by Terence Young, the second James Bond spy thriller is considered by many fans to be the best of them all. Certainly Sean Connery was never better as the dashing Agent 007, whose latest mission takes him to Istanbul to retrieve a top-secret Russian decoding machine. His efforts are thwarted when he gets romantically distracted by a sexy Russian double agent (Daniela Bianchi), and is tracked by a lovely assassin (Lotte Lenya) with switchblade shoes, and by a crazed killer (Robert Shaw), who clashes with Bond during the film's dazzling climax aboard the Orient Express. "From Russia with Love" is classic James Bond, before the gadgets, pyrotechnics, and Roger Moore steered the movies away from the more realistic tone of the books by Ian Fleming. "--Jeff Shannon"

Theatrical: 1964

Studio: MGM (Video & DVD)

Genre: Action & Adventure

Duration: 110

Summary: Studio: Tcfhe/mgm Release Date: 03/24/2009 Rating: Pg

Theatrical: 1965

Studio: Fox/MGM

Genre: Action & Adventure

Duration: 130

Summary: James Bond's fourth adventure takes him to the Bahamas, where a NATO warplane with a nuclear payload has disappeared into the sea. Bond (Sean Connery) travels from a tony health spa (where he tangles with a mechanized masseuse run amuck) to the casinos of Nassau and soon picks up the trail of SPECTRE's number-two man, Emilio Largo (Adolfo Celi), and his beautiful mistress, Domino (Claudine Auger), whom Bond soon seduces to his side. Equipped with more gadgets than ever, courtesy of the resourceful "Q" (Desmond Llewelyn), agent 007 escapes an ambush with a personal-size jet pack and takes to the water as he searches for the undersea plane, battles Largo's pet sharks, and finally leads the battle against Largo's scuba-equipped henchmen in a spectacular underwater climax. This thrilling Bond entry became Connery's most successful outing in the series and was remade in 1983 as "Never Say Never Again", with Connery returning to the role after a 12-year hiatus. Tom Jones belts out the bold theme song to another classic Maurice Binder title sequence. "--Sean Axmaker"

Theatrical: 1973

Studio: Fox/MGM

Genre: Action & Adventure

Duration: 121

Summary: Roger Moore was introduced as James Bond in this 1973 action movie featuring secret agent 007. More self-consciously suave and formal than predecessor Sean Connery, he immediately reestablished Bond as an uncomplicated and wooden fellow for the feel-good '70s. This film also marks a deviation from the more character-driven stories of the Connery years, a deliberate shift to plastic action (multiple chases, bravura stunts) that made the franchise more of a comic book or machine. If that's not depressing enough, there's even a good British director on board, Guy Hamilton ("Force 10 from Navarone"). The story finds Bond taking on an international drug dealer (Yaphet Kotto), and while that may be superficially relevant, it isn't exactly the same as fighting supervillains on the order of "Goldfinger". "--Tom Keogh"

Theatrical: 1974

Studio: MGM (Video & DVD)

Genre: Action & Adventure

Duration: 125

Summary: Studio: Tcfhe/mgm Release Date: 05/12/2009 Run time: 125 minutes Rating: Pg

Theatrical: 1981

Studio: Fox/MGM

Genre: Action & Adventure

Duration: 128

Summary: After a ship sunk off the coast of Albania, the world's superpowers begin a feverish search for its valuable lost cargo: the powerful ATAC system, which will give its bearer unlimited control over Polaris nuclear submarines. As Bond joins the search, he suspects the suave Kristatos (Julian Glover) of seizing the device. The competition between nations grows more deadly by the moment, but Bond finds an ally in the beautiful Melina Havelock (Caroline Bouquet), who blames Kristatos for the death of her parents. The non-stop action includes automobile chases, thrilling underwater battles, and even a breathtaking tour over razor-sharp coral reefs. But all of this is merely a prelude to 007's cliffhanging assault of a magnificent mountaintop fortress. "-- Robert Lynch"

Theatrical: 1983

Studio: MGM

Genre: Action & Adventure

Duration: 134

Summary: In this remake and updated version of the 1965 THUNDERBALL, James Bond, who has been primarily teaching for the last few years, is quite happily yanked out of semiretirement to deal with the deadly SPECTRE organization's newest plan for the destruction of the planet. (The Bond story line mimics Sean Connery's semiretirement from the role, which he had last played in 1971's DIAMONDS ARE FOREVER.) Agent Number 2, also known as Maximilian Largo (Klaus Maria Brandauer), has managed to steal two cruise missiles armed with nuclear warheads, and Agent Number 1, Blofeld (Max von Sydow), has threatened to explode them in areas with large populations if a huge, and almost impossible, ransom demand from the NATO countries is not met. The film features an excellent gaming battle between Largo and Bond, as well as stunning turns by Barbara Carrera and Kim Basinger.

Theatrical: 2006

Studio: Sony Pictures Home Entertainment

Genre: Action & Adventure: Contemporary

Duration: 144

Summary: The most successful invigoration of a cinematic franchise since "Batman Begins", "Casino Royale" offers a new Bond identity. Based on the Ian Fleming novel that introduced Agent 007 into a Cold War world, "Casino Royale" is the most brutal and viscerally exciting James Bond film since Sean Connery left Her Majesty's Secret Service. Meet the new Bond; not the same as the old Bond. Daniel Craig gives a galvanising performance as the freshly minted double-0 agent. Suave, yes, but also a "blunt instrument," reckless and possessed with an ego that compromises his judgment during his first mission to root out the mastermind behind an operation that funds international terrorists. In classic Bond film tradition, his global itinerary takes him to far-flung locales, including Uganda, Madagascar, the Bahamas (that's more like it) and Montenegro, where he is pitted against his nemesis in a poker game, with hundreds of millions in the pot. The stakes get even higher when Bond lets down his armour by falling in love with Vesper (Eva Green), the ravishing banker's representative fronting him the money.
For longtime fans of the franchise, "Casino Royale" offers some retro kicks. Bond wins his iconic Aston Martin at the gaming table, and when a bartender asks if he wants his martini "shaken or stirred," he disdainfully replies, "Do I look like I give a damn?". There's no Moneypenny or "Q," but Dame Judi Dench is back as the exasperated M who, one senses, admires Bond's "bloody cheek." A Bond film is only as good as its villain, and Mads Mikkelsen as Le Chiffre, who weeps blood, is a sinister dandy. From its punishing violence and virtuoso action sequences to its romance, "Casino Royale" is a Bond film that, in the words of one character, 'makes you feel it', particularly during an excruciating torture sequence. Double-0s, Bond observes early on, "have a short life expectancy". But with Craig, there is new life in the old franchise yet, as well as genuine anticipation for the next one when, at last, the signature James Bond theme kicks in following the best last line ever in any Bond film. To quote Goldie Hawn in "Private Benjamin", "now I know what I've been faking all these years". "--Donald Liebenson"

Theatrical: 2008

Studio: MGM (Video & DVD)

Genre: Action & Adventure

Duration: 106

Summary: Daniel Craig hasn't lost a step since "Casino Royale"--this James Bond remains dangerous, a man who could earn that license to kill in brutal hand-to-hand combat… but still look sharp in a tailored suit. And "Quantum of Solance" itself carries on from the previous film like no other 007 movie, with Bond nursing his anger from the "Casino Royale" storyline and vowing blood revenge on those responsible. For the new plot, we have villain Mathieu Amalric ("The Diving Bell and the Butterfly"), intent on controlling the water rights in impoverished Third World nations and happy to overthrow a dictator or two to get his way. Olga Kurylenko is very much in the "Bond girl" tradition, but in the Ursula Andress way, not the Denise Richards way. And Judi Dench, Jeffrey Wright, and Giancarlo Giannini are welcome holdovers. If director Marc Forster and the longtime Bond production team seem a little too eager to embrace the continuity-shredding style of the "Bourne" pictures (especially in a nearly incomprehensible opening car chase), they nevertheless quiet down and get into a dark, concentrated groove soon enough. And the theme song, "Another Way to Die," penned by Jack White and performed by him and Alicia Keys, is actually good (at times Keys seems to be channeling Shirley Bassey--nice). Of course it all comes down to Craig. And he kills. "--Robert Horton"

Theatrical: 2009

Studio: Universal Studios

Genre: Action & Adventure

Duration: 80

Summary: Nine small rag dolls, stitched together from burlap and clock workings and lenses, are all that stands in the way of the world being overtaken by the Machines. Actually, as "9" begins, it looks like the Machines have already had their way with Earth: this is one of those post-apocalyptic landscapes without life, hope, or sunlight. Clearly "9" director Shane Acker is willing to make an animated film that doesn't soar with Disney colors or Pixar cheer--in fact, main characters are killed off before the movie's halfway through. Our hero is 9 (voiced by Elijah Wood), so dubbed for the number on his back; after awakening to very confused consciousness, he bumps into other puppet survivors, such as the imperious 1 (Christopher Plummer), the warrior-like 7 (Jennifer Connelly), and the one-eyed comic sidekick 5 (John C. Reilly). They do battle with the Machines in a relentless (and eventually monotonous) series of battles, and the exploding hardware and endless warfare has a tendency to crowd out whatever character development might have been set up in the opening minutes. No question the movie's design is impressive, and the characters have a wonderfully expressive quality at first. But at some point it seems the Machines have taken over the moviemaking here, with tedious results. "--Robert Horton"

Theatrical:

Studio: Echo Bridge Home Entertainment

Genre: Action & Adventure

Duration: 338

Summary: Blu-Ray Double Feature with Category 7: The End of the World and 10.5 Apocalypse.

10.5 Apocalypse: A massive 10.5 quake tears apart the West Coast, triggering an unrelenting series of natural disasters that threaten to turn the American landscape into a hellish wasteland. Seismologist Samantha Hill sees an even greater threat: an ever-widening fault line that's heading for the country's two largest nuclear reactors. As the rumbling fault line continues to grow, Samantha races to find the one scientist who predicted this would happen years ago--and who can save millions from the ultimate nuclear apocalypse.

Category 7: The End of the World: Tornadoes, hurricanes, and electrical storms - the effects of global warming - are brewing into a destructive superstorm that threatens to rend the earth with unprecedented power. Beautiful scientist Faith Clavell, storm chaser Tommy Tornado, and Judith Carr, the head of FEMA, can stop the inevitable from happening -- if they have the courage to venture into the rolling blackness of the storm itself.

Theatrical: 2008

Studio: The Asylum

Genre: Mystery & Suspense

Duration: 101

Summary:

Theatrical: 2007

Studio: Warner Home Video

Genre: Action & Adventure

Duration: 117

Summary: Like "Sin City" before it, "300" brings Frank Miller and Lynn Varley's graphic novel vividly to life. Gerard Butler ("Beowulf and Grendel", "The Phantom of the Opera") radiates pure power and charisma as Leonidas, the Grecian king who leads 300 of his fellow Spartans (including David Wenham of "The Lord of the Rings", Michael Fassbender, and Andrew Pleavin) into a battle against the overwhelming force of Persian invaders. Their only hope is to neutralize the numerical advantage by confronting the Persians, led by King Xerxes (Rodrigo Santoro), at the narrow strait of Thermopylae.
More engaging than "Troy", the tepid and somewhat similar epic of ancient Greece, "300" is also comparable to "Sin City" in that the actors were shot on green screen, then added to digitally created backgrounds. The effort pays off in a strikingly stylized look and huge, sweeping battle scenes. However, it's not as to-the-letter faithful to Miller's source material as "Sin City" was. The plot is the same, and many of the book's images are represented just about perfectly. But some extra material has been added, including new villains (who would be considered "bosses" if this were a video game, and it often feels like one) and a political subplot involving new characters and a significantly expanded role for the Queen of Sparta (Lena Headey). While this subplot by director Zack Snyder ("Dawn of the Dead") and his fellow co-writers does break up the violence, most fans would probably dismiss it as filler if it didn't involve the sexy Headey. Other viewers, of course, will be turned off by the waves of spurting blood, flying body parts, and surging testosterone. (The six-pack abs are also relentless, and the movie has more and less nudity--more female, less male--than the graphic novel.) Still, as a representation of Miller's work and as an ancient-themed action flick with a modern edge, "300" delivers. "--David Horiuchi"

Theatrical: 1968

Studio: Warner Home Video

Genre:

Duration: 141

Summary: When Stanley Kubrick recruited Arthur C. Clarke to collaborate on "the proverbial intelligent science fiction film," it's a safe bet neither the maverick auteur nor the great science fiction writer knew they would virtually redefine the parameters of the cinema experience. A daring experiment in unconventional narrative inspired by Clarke's short story "The Sentinel," "2001" is a visual tone poem (barely 40 minutes of dialogue in a 139-minute film) that charts a phenomenal history of human evolution. From the dawn-of-man discovery of crude but deadly tools in the film's opening sequence to the journey of the spaceship "Discovery" and metaphysical birth of the "star child" at film's end, Kubrick's vision is meticulous and precise. In keeping with the director's underlying theme of dehumanization by technology, the notorious, seemingly omniscient computer HAL 9000 has more warmth and personality than the human astronauts it supposedly is serving. (The director also leaves the meaning of the black, rectangular alien monoliths open for discussion.) This theme, in part, is what makes "2001" a film like no other, though dated now that its postmillennial space exploration has proven optimistic compared to reality. Still, the film is timelessly provocative in its pioneering exploration of inner- and outer-space consciousness. With spectacular, painstakingly authentic special effects that have stood the test of time, Kubrick's film is nothing less than a cinematic milestone--puzzling, provocative, and perfect. "--Jeff Shannon"

Theatrical: 2009

Studio: Sony Pictures

Genre: Action & Adventure

Duration: 158

Summary: Now this is how you destroy the world. Roland Emmerich's 2012 pounces on a Nostradamus-style loophole in the Mayan calendar and rams the apocalypse through it, gleefully conjuring up an enormous amount of Saturday-matinee fun in the process. A scientist (Chiwetel Ejiofor) detects shifting continental plates and sun flares and realizes that this foretells the imminent destruction of the planet. Just as the molten lava is about to hit the fan, a novelist (John Cusack) takes his kids on a trip to Yellowstone; later he'll hook up with his ex (Amanda Peet) and her new boyfriend (Tom McCarthy) in a global journey toward safety. If there is any safety. The suitably hair-raising plot lines are punctuated--frequently, people, frequently--by visions of mayhem around the globe: the Vatican falls over, the White House is clobbered (Emmerich's Independence Day was not enough on that score), and the California coastline dives into the Pacific Ocean. Unlike other action directors we could name, Emmerich actually understands how to let you see and drink in these vast special-effects vistas--and they are incredible. He also honors the old Irwin Allen disaster-movie tradition by actually shelling out for good actors. Cusack and Ejiofor are convincing even in the cheesiest material; toss in Danny Glover (the U.S. president), Woody Harrelson (a nut-bar conspiracy-theorizing radio host), Thandie Newton, and Oliver Platt, and you've got a very watchable batch of people. Emmerich hasn't developed an ear for dialogue, even at this stage in his career, and the final act goes on a bit too long. This is a very silly movie, but if you've got a weakness for B-movie energy and hairbreadth escapes, 2012 delivers quite a bit of both. --Robert Horton



Stills from 2012 (Click for larger image)

Theatrical:

Studio: Echo Bridge Home Entertainment

Genre: Action & Adventure

Duration: 175

Summary:

Theatrical: 2010

Studio: 20th Century Fox

Genre: Thrillers

Duration: 118

Summary: Give it up to the A-Team: they've always been good at demolishing things in big, big ways. Freed from the confines of the 1980s TV series, the 2010 blockbuster movie version allows the four members of the paramilitary squad to really amp up the mayhem to newly crazed heights. Liam Neeson plays team leader Hannibal Smith (inheriting the cigar-chomping from the show's George Peppard), and pro wrestler Quinton "Rampage" Jackson is "B.A." Baracus, the TV show's most iconic character (insert Mr. T "I pity the fool" joke here). As the vain Face, Bradley Cooper preens in convincing fashion, and "District 9" out-of-nowhere star Sharlto Copley plays the unhinged pilot "Howlin' Mad" Murdock. These boys are on the trail of some money-counterfeiting plates, from Bagdad to Germany to places in between. It would be understating it to say that the plot is not of primary importance, although Patrick Wilson has some fun as a CIA official and Jessica Biel occasionally strikes poses as Face's ex-flame, now a military officer displeased with the A-Team's extra-legal shenanigans. The storytelling is insipid and half-hearted--but when it comes to snarky dialogue and two-fisted action scenes, director Joe Carnahan is in his comfort zone. It's reasonably fun watching the working-out of such logistical puzzles as dropping a tank (with crew inside) from a plane, or scattering the main characters on a dockside as cargo containers rain down from a ship looming above them. Good times, although is it asking too much for certain basic laws of physics (if you drop a human body ten stories, for instance, it might actually sustain injuries) to be used as a guideline? But worrying about such matters isn't in the spirit of "The A-Team", which cheerfully ignores the petty concerns of credibility and logic. "--Robert Horton"

Theatrical: 2007

Studio: Sony Pictures Home Entertainment

Genre: Period

Duration: 129

Summary: Set in America during the Vietnam War, "Across the Universe" is a powerful love story set against a backdrop of political and social unrest. It's a story of soul-searching, self-doubt, and individual powerlessness cleverly conveyed through a multitude of Beatles songs. Like young adults all across America during the 1960's, Jude (Jim Sturgess), Lucy (Evan Rachel Wood), Max (Joe Anderson), Sadie (Dana Fuchs), Prudence (T.V. Carpio), and JoJo (Martin Luther) are in turmoil over the war; questioning their individual roles in the war effort and struggling to find a way to hold true to their beliefs while making a difference in the world. While love proves a powerful uniting force, its limitations become clear as relationships are strained and broken over individual perceptions of responsibility to cause and country. A fairly bizarre juxtaposition of extremely stylized, almost hallucinogenic scenes of swirling colours and reflections, highly choreographed dance segments, seemingly commonplace character interaction, and emotionally packed close-up footage of characters lost in contemplative song, this film imparts a good sense of the confusion and passion of the time and is at once powerful, invigorating, and disturbing. The film runs a bit long at 2 hours 11 minutes and several segments drag noticeably, thanks to some incredibly slow song tempos. Warning: this production may change how you think about a favourite Beatles song forever. "--Tami Horiuchi"

Theatrical: 2008

Studio: Sony Pictures

Genre: Art House & International

Duration: 100

Summary: "Adoration" is welcome addition to Canada-based Atom Egoyan’s ("The Sweet Hereafter") oeuvre that slows down and examines our fast-paced, technology-laden information age. Egoyan’s new film, like his politically charged "Ararat", thematically tackles the fears and suspicions surrounding international travel, and attempts to expose what those fears are rooted in. "Adoration" riffs off of an actual failed terrorist attempt in 1986, for which a Jordanian man tried to pack explosives in his wife’s bag before boarding an airplane. In this film, brooding teen, Simon (Kevin Bostick), is implored by his French teacher, Sabine (Arsinée Khanjian), to tell his peers that his father was a terrorist under the same rubric, as a drama exercise. Simon, whose parents died in a car accident, is living with his Uncle Tom (Scott Speedman), and is also close to best friend Hannah (Katie Boland), though neither confidant learns of Simon and Sabine’s fiction until the escapade has spiraled out of control via internet video chat rooms. The film has a characteristically Egoyanian contemplative stillness throughout, and the mood remains heavy. Scenes of familial interaction, alternating between flashback and invented memory, weave a tale in which Simon’s fantastic plot is as palpable as the real one. Often, narrative is relayed through internet conversation, as Simon sits in his dark room debating ethical concerns amongst, at first, his friends, then teachers, then Jewish populations who take offense at the cultural insults Simon implies. While the film conveys how quickly information is disseminated in today’s media, it more seeks to address and question the validity and quality of our news, and our eagerness to judge what we know little about. --"Trinie Dalton"

Theatrical: 2009

Studio: Miramax

Genre: Comedy

Duration: 107

Summary: A sweet and slap-happy mix of indie coming-of-age drama and Judd Apatow’s scatological but heartfelt manchild comedies, Greg Mottola’s Adventureland is a winning look at the pleasures and frustrations of dead-end jobs and teenage kicks as viewed through a filter of mid-‘80s pop culture. The underutilized and always watchable Jesse Eisenberg (The Squid and the Whale) is a sheltered, introspective New York college grad who discovers that his parents’ financial woes will not only quash his dream of a summer in Europe (to enjoy its more “sexually permissive” nations) but require a move to Pittsburgh, where he lands a job at a dilapidated amusement park. There, he’s thrown in with a motley crew of eccentrics, small-town types and a few genuine free spirits, most notably co-worker Em (Kristen Stewart), whose complicated past proves irresistible to his repressed psyche. Mottola, who directed Superbad and episodes of the well-loved Freaks and Geeks, and who once worked in a similar park as a teen, doesn’t shy from the crude laughs that make Apatow’s features so popular, but he tempers it with a wistful tone and layered characters that hew closer to his earliest work, The Daytrippers. Though ill-matched at first, Eisenberg and Stewart make a likable on-screen couple, and they’re well-supported by a terrific cast that includes such die-hard scene-stealers as Bill Hader and Kristen Wiig as the park’s offbeat owners, Martin Starr as a Russian lit aficionado, and Ryan Reynolds as a former town tamer, now reduced to working as the park’s handyman. A soundtrack performed by underground faves Yo La Tengo and filled with a smart mix of hip cuts (Hüsker Dü, the New York Dolls, the Replacements) and period faves (Falco’s “Rock Me Amadeus”) underscores the film’s blend of tentative emotions and broad laughs. -- Paul Gaita



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Theatrical: 1938

Studio: Warner Home Video

Genre: Action & Adventure

Duration: 102

Summary: Dashing Errol Flynn is the definitive Robin Hood in the most gloriously swashbuckling version of the legendary story. Warner Brothers reunited Michael Curtiz, their top-action director, with the winning team of Flynn and Olivia de Havilland (Maid Marian) and perennial villain Basil Rathbone as the aristocratic Sir Guy of Gisbourne, and pulled out all stops for the production. It became their costliest film to date, a grandly handsome, glowing Technicolor adventure set to a stirring, Oscar-winning score by Erich Wolfgang Korngold. The decadent Prince John (a smoothly conniving Claude Rains) takes advantage of King Richard's absence to tax the country into poverty but meets his match in the medieval guerrilla rebel Robin Hood and his Merry Men of Sherwood Forest, who rise up and, to quote a cliché coined by the film, "steal from the rich and give to the poor." Stocky Alan Hale Sr. plays Robin's loyal friend Little John (a part he played in Douglas Fairbanks's silent version), Eugene Palette the portly Friar Tuck, and Melville Cooper the bumbling Sheriff of Nottingham. Flynn's confidence and cocky charm makes for a perfect Robin Hood, and his easygoing manner is a marvelous counterpoint to Rathbone's regal bearing and courtly diction. The film climaxes in their rousing battle-to-the-finish sword fight, a magnificently choreographed scene highlighted by Curtiz's inventive use of shadows cast upon the castle walls. "--Sean Axmaker"

Theatrical: 2005

Studio: Paramount

Genre: Action & Adventure

Duration: 93

Summary: Like the animated series it's based on, "Aeon Flux" is the kind of sci-fi that's best appreciated by the MTV generation. It's a serious attempt at stylized, futuristic action/adventure (the title character, played by Charlize Theron, is essentially a female James Bond for the cyberpunk era) and taken for what it is, it's not all that bad. The action takes place in the year 2415, four centuries after a virus nearly decimated the human race, leaving only five million survivors in a utopian city called Bregna. Aeon belongs to the Monicans, a secret rebel resistance force that is struggling to destroy the Goodchild regime led by its namesake, Trevor Goodchild (Martin Csokas), the ruler of Bregna and a descendant of the man who found a cure for the deadly virus. As instructed by the Handler (Frances McDormand, gamely playing along in ridiculous sci-fi regalia), Aeon is assigned to assassinate Goodchild, but there are deeper secrets to be discovered, and conspiracies to be foiled. This leads director Karyn Kusama (who fared much better with her debut feature "Girlfight") to indulge in all sorts of routine action and fast-paced gunplay, but the elusive pleasures of "Aeon Flux" are mostly found in the sleek athleticism of Theron and costar Sophie Okonedo (as a fellow Monican), who commit themselves 100% to roles that are dramatically flat yet physically dynamic. Other highlights include Aeon's high-tech gadgetry (including an eyeball that doubles as a microsocope) and the amusing sight of Pete Postlethwaite in a costume resembling a construction-site disposal tube, but Flux fans may wonder what happened to the surreal, chromium sheen future that gave the MTV series its visionary appeal. As a live-action feature, "Aeon Flux" is a miscalculated exercise in cheesy style and dour tone, but it's entertaining enough to earn a small cadre of admirers. "--Jeff Shannon"

Theatrical: 1951

Studio: Paramount

Genre: Action & Adventure

Duration: 105

Summary: John Huston made better, more powerful films than "The African Queen", but none so universally beloved, on first appearance and over the decades since. In this adaptation of the C.S. Forester novel, Humphrey Bogart (who would win the best-actor Oscar®) and Katharine Hepburn costar as an unlikely pair thrown together in German East Africa during the First World War. He's the gin-soaked skipper of what we might call the title character, a none-too-reliable steam launch chugging along the backwaters of the "Dark Continent." Hepburn's a straitlaced Methodist missionary who, following the demise of her bachelor brother (Robert Morley) and the burning of their village by Kaiser Wilhelm's troops, determines that the Queen should be used to attack the Königin Luise, a large German gunboat patrolling a lake downriver. It's an absurd proposition. Then again, John Huston and the absurd were always on familiar terms.
It wasn't until he got to the Congo that the director realized what a funny picture "The African Queen" was going to be, thanks to the odd coupling of Bogie and Kate: "One brought out a vein of humor in the other, and this comic sense, which had been missing from the book and screenplay, grew out of our day-to-day shooting." Within the gunwales of a not-very-large boat, Huston managed to devise myriad ways to keep his two leading characters on separate visual planes even as circumstance and tender emotional urgency conspired to push them together. This was Huston's first feature film in Technicolor, and the peerless Jack Cardiff ("The Red Shoes") was there to shoot it. Unfortunately, neither of them could do anything about the process-screen technology needed for, and glaringly inadequate to, the sequence of Bogart and Hepburn shooting the rapids--just about the only lapse in an enchanting fairy tale for adults. The script is credited to Huston and James Agee; the uncredited Peter Viertel, summoned to the African locations to write some additional material, would later fictionalize the experience as "White Hunter, Black Heart", a savage "roman à clef". "--Richard T. Jameson"

Theatrical: 2009

Studio: Starz / Anchor Bay

Genre:

Duration: 104

Summary: Quite a few folks in the movies have seen dead people, especially since "The Sixth Sense", but "After.Life" gives this by-now-familiar conceit an intriguing spin. As director-cowriter Agnieszka Wojtowicz-Vosloo's 2009 film would have it, the deceased aren't exactly dead. At least not yet; in the days between whatever killed them and the moment they're put in a box and lowered six feet under, they're caught in some kind of purgatory, no longer alive but still able to move and communicate. Not to everyone, of course; only Eliot Deacon (Liam Neeson) has the ability, be it a gift or a curse, to converse with these infernal travelers as he readies them for their final rest in the basement of his funeral home. That's where he meets Anna Taylor (Christina Ricci), who died in a car crash following a nasty argument with her boyfriend, Paul (Justin Long). Anna, not surprisingly, is in denial. How can she be dead, when she can still walk, talk, and experience emotions? Well, it's complicated, but Eliot's there to help her sort it all out--that is, unless he's up to something considerably more sinister, a question that remains in doubt even at the very end. "After.Life" has a cool concept, a good look, an ominous vibe (driven by former Tangerine Dream member Paul Haslinger's relentlessly spacy, downbeat musical score), and some fine performances. But movies like this depend on the rules and boundaries the filmmakers establish. In "The Sixth Sense", those rules ("dead people don't know they're dead," etc.) are simple and consistent. Here they're a bit more confusing. How can the deceased wield a knife, open a locked door, or even make a phone call? If Anna is dead, why can she still see her breath on a windowpane? The willingness to accept such things may well affect one's appreciation of this very absorbing film. "--Sam Graham"

Theatrical: 1951

Studio: Walt Disney Studios Home Entertainment

Genre: Thrillers

Duration: 75

Summary: Walt Disney seems to have had a special affection for Lewis Carroll's "Alice" stories. "Alice's Wonderland" (1923), a short about a live-action little girl in a cartoon world, led to his first successful series, the "Alice" comedies (collected on "Walt Disney Treasures: Disney Rarities--Celebrated Shorts, 1920s -1960s"). During the early '30s, he talked about making an animation/live-action feature of "Alice in Wonderland" with Mary Pickford in the title role. But almost two decades would elapse before Disney released his "Alice". It's the most uneven of the classic Disney features, juxtaposing brilliant and dull sequences. The Mad Tea Party, the Queen of Hearts' Croquet Game, and Alice's encounters with the Caterpillar and Cheshire Cat fuse the spirit of Carroll's words, the vitality of the polished animation, and the stylized look and brilliant palette of designer Mary Blair. But the song "I Give Myself Very Good Advice" and the unsatisfying adaptation of "The Walrus and Carpenter" bring the story to a halt. Disney's "Alice in Wonderland" remains a beloved film, and its better moments are truly magical. (Rated G: cartoon violence, some scary moments, tobacco use) "--Charles Solomon"

Theatrical:

Studio: 20th Century Fox

Genre: Action & Adventure

Summary:

Theatrical:

Studio: Optimum Home Entertainment

Genre: Foreign Horror Films

Duration: 90

Summary: `All the Boys Love Mandy Lane' is a teen slasher film in the style of Texas Chainsaw Massacre, Friday the 13th and Scream and is about a girl named Mandy Lane (Amber Heard) who becomes something of a hottie over the summer break. All the guys want to be with her and all the girls want to be her. Then one weekend a group of horny teens head to one of their parents' ranch and are then picked off one by one by someone in the darkness.



I watched this film with low expectations as a majority of these types of films tend to be rubbish, but I was pleasantly surprised that this was actually quite different. The basic formula is the same as other slashers where scantily clad teens run about and getting killed off in various brutal ways by an unknown killer, but the thing that stood out in this movie was the ending which really was an excellent twist and quite a shock. The killings aren't all that original and there aren't that many of them either. In fact, the first person doesn't actually get killed until over 30 minutes into the film, which I felt built up the tension and the story a lot rather than just jumping straight into the murders. The killer is really obvious and if you don't get it within the first few scenes, you must really not be paying attention. It's not that important though as the suspense and surprises more than make up for that.



One thing I strongly advise though is NOT to buy this on Blu Ray as the picture quality is absolutely terrible - at times even worse than some bad quality standard DVDs.



Overall this is a watchable, enjoyable and typical teen slasher flick that is one of the better ones that have been released over the past few years and has some believable performances from the cast (after watching the interview with Heard, she must be a good actor as she seems quite intelligent in the film!) and a good story that is very easy to get into. Probably worth a rent rather than a buy as it isn't one I'd watch again, at least for a long while. This definitely has the potential to be a cult hit, I just hope that they don't follow this on with numerous unnecessary sequels.

Theatrical: 2000

Studio: Sony Pictures Home Entertainment

Genre: Period

Duration: 162

Summary: "Almost Famous" is the movie Cameron Crowe has been waiting a lifetime to tell. The fictionalisation of Crowe's days as a teenage reporter for Creem and Rolling Stone has all the well-written characters and wonderful "movie moments" that we expect from Crowe ("Jerry Maguire"), but the film has an intangible something extra--an insider's touch that will turn the film into the ode to '70s Rock & Roll for years to come. We are introduced to Crowe's alter ego, William Miller (Patrick Fugit), at home, where his progressive mom (a superb Frances McDormand) has outlawed rock music and sister Anita (Zooey Deschanel) has slipped him LPs that will "set his mind free." Following the wisdom of Creem's disheveled editor, Lester Bangs (Philip Seymour Hoffman in an instant-classic performance), Miller gets on the inside with the up-and-coming band Stillwater (a fictionalised mixture of the Allman Brothers, Led Zeppelin, and others). A simple visit with the band turns into a three-week, life-altering odyssey into the heyday of American rock. Of the characters he meets on the road, the two most important are groupie extraordinaire Penny Lane (Kate Hudson in a star-making performance) and Stillwater's enigmatic lead guitarist (Billy Crudup), who keeps stringing Miller along for an interview. From the handwritten credits (done by Crowe) to the bittersweet finale, Crowe's comedic valentine is an indelible, heartbreaking romance of music, women, and the privilege of youth. "--Doug Thomas"

Theatrical: 2007

Studio: Starz / Anchor Bay

Genre:

Duration: 98

Summary: In the spirit of suspense films and television shows that focus on the sleuth’s attempt to make something out of senseless violence, Alphabet Killer is less about the murders it details than about the detective, Megan Paige (Eliza Dushku of Buffy the Vampire Slayer), who suffers mentally for studying brutality. Though opening scenes show young girls slayed at various wooded Rochester, New York crime scenes, the film quickly digresses into Megan’s stressed relationship with her co-detective lover, Kenneth Shine (Cary Elwes), who watches her obsession with the case spiral out of control. As murders continue, Megan gets psychic leads and is haunted by the ghosts of the wrongly deceased, but cannot solve the case. Megan’s diagnosis as a schizophrenic complicates matters greatly, and elevates the film into deeper story, especially when one senses, through subtle filmic clues, the creepiness of Megan’s therapist, Richard Ledge (Timothy Hutton). Some silly, dramatized enactments of mental illness on Dushku’s part do not help convince the viewer through fine acting, though one may be willing to look past this in hopes for pending potential spookiness. And the conundrum posed by Megan in her therapy group is engaging: manic people do often excel due to intuition, yet it is their ability to experience the world differently that gets them into trouble. Although the ghosts hallucinations are unconvincing, and Dushku probably could have used more research before she took the role, Alphabet Killer captivates because it shows how convoluted layers of reality can confuse even the sharpest detective. The disturbing thing about Alphabet Killer is not the film itself but the idea behind it: that the majority of what we know and trust is illusory, and that truth is discovered best through madness. --Trinie Dalton

Stills from The Alphabet Killer (Click for larger image)

Theatrical: 2010

Studio: Starz / Anchor Bay

Genre: Action & Adventure

Duration: 91

Summary:

Theatrical: 1984

Studio: Warner Home Video

Genre: Period

Duration: 173

Summary: This film is definitely one of my favourites films. The fact it won 8 oscars underlines just how amazing the film is - the story,the acting, the editing and the music are extraordinary.



However I gave this 3 stars (and not 6!) simply because the video quality struck me as very lucklustre very quickly. I currently own the directors's cut DVD and to me the difference in quality throughout the film was only marginal. The majority of the transfer definitely showed a deeper range of colour and less signs of video compression. However it just isn't enough to warrant a release on blu ray. Indeed some scenes looked pretty much the same as my DVD, particularly the opening scene. And I'm in the group of people trying to persuade others how good blu ray is.



I mean if you look at how they have restored the Bond films from the 60s, this "upgrade" might well be seen as a rip off. I remember some of the scenes in Dr. No looked spectacular - as if they had been filmed yesterday with bitrates often above 30Mbps in visually rich scenes. Amadeus is certainly not short of visually rich scenes with all the costumes, palaces, salons and stages but nothing was made of it. The VC-1 transfer seemed to hover at around 15Mbps for the majority of the film sometimes climbing to the twenties (and rarely to 30) and sometimes dropping to 6Mbps.



So... if you own the film already on DVD, make sure you really love this film enough to buy it on blu ray. It is better quality - but with the smallest justifiable margin.



If you have not seen the film, buy it already - this film IS brilliant and this is still the best quailty in which you can view it.



(If anyone else agrees about the picture quality - post a review as well)

Theatrical:

Studio: Anchor Bay Entertainment

Genre: Foreign Horror Films

Summary:

Theatrical: 1972

Studio: Criterion Collection

Genre: Art House & International

Duration: 691

Summary: Head (1968)
While the Beatles delighted fans with A Hard Day's Night, the Monkees confounded theirs with Head. Bob Rafelson, who cocreated the prefab four's hit television series, penned this psychedelic showbiz satire with Jack Nicholson, star of the director's acclaimed follow-up Five Easy Pieces. In an accompanying interview, Rafelson acknowledges, "Quite frankly, there was a bit of acid involved." That's clear from the start as drummer Micky Dolenz jumps from the Golden Gate Bridge to the lilting, lysergic strains of Carole King and Gerry Goffin's "The Porpoise Song." Unharmed, Dolenz, Davy Jones, Michael Nesmith, and Peter Tork proceed to play pop stars, soldiers, and cowboys at war with the public, actor Victor Mature ("The Big Victor"), and the star-making machinery (Rafelson and Nicholson break the fourth wall with their brief cameos). Jones also boxes Sonny Liston, woos Annette Funicello, chats with Frank Zappa ("The Critic"), and dances with choreographer-turned-singer Toni Basil of "Hey Mickey" fame. It's rambling and discursive, but the musical sequences, which anticipate the video era to come, are great. This Criterion edition comes with a swell selection of extras, including commentary from the band, trailers and promo spots, a snazzy slide show, an awkward TV interview, screen tests in which the quartet's innate charm shines through, and an informative documentary about BBS (the production company of Rafelson, Bert Schneider, and Steve Blauner) with historian Douglas Brinkley and critic David Thomson, who describes Rafelson and associates as "hippies, dopers, party animals to the max." --Kathleen C. Fennessy

Easy Rider (1969)
This box-office hit from 1969 is an important pioneer of the American independent cinema movement, and a generational touchstone to boot. Peter Fonda and Dennis Hopper play hippie motorcyclists crossing the Southwest and encountering a crazy quilt of good and bad people. Jack Nicholson turns up in a significant role as an attorney who joins their quest for awhile and articulates society's problem with freedom as Fonda's and Hopper's characters embody it. Hopper directed, essentially bringing the no-frills filmmaking methods of legendary, drive-in movie producer Roger Corman (The Little Shop of Horrors) to a serious feature for the mainstream. The film can't help but look a bit dated now (a psychedelic sequence toward the end particularly doesn't hold up well), but it retains its original power, sense of daring, and epochal impact. --Tom Keogh

Five Easy Pieces (1970)
This subtle, existential character study of an emotionally distant outcast (Nicholson) forced to confront his past failures remains an intimate cornerstone of American '70s cinema. Written and directed with remarkable restraint by Bob Rafelson, the film is the result of a short-lived partnership between the filmmaker and Nicholson--the first was the zany formalist exercise, Head, while the equally impressive King of Marvin Gardens followed Five Easy Pieces. Quiet and full of long, controlled takes, this film draws its strength from the acutely detailed, nonjudgmental observations of its complex protagonist, Robert Dupea--an extremely crass and frustrated oil worker, and failed child pianist hiding from his past in Texas. Dupea spends his life drinking beer and sleeping with (and cheating on) his annoying but adoring Tammy Wynette-wannabe girlfriend, but when he learns that his father is dying in Washington State, he leaves. After the film transforms into a spirited road movie, and arrives at the eccentric upper-class Dupea family mansion, it becomes apparent that leaving is what Dupea does best--from his problems, fears, and those who love him. Nicholson gives a difficult yet masterful performance in an unlikable role, one that's full of ambiguity and requires violent shifts in acting style. Several sequences--such as his stopping traffic to play piano, or his famous verbal duels with a cranky waitress over a chicken-salad sandwich--are Nicholson landmarks. Yet, it's the quieter moments, when Dupea tries miserably to communicate and reconcile with his dying father, where the actor shows his real talent--and by extension, shows us the wounded little boy that lurks in the shell of the man Dupea has become. --Dave McCoy

Drive, He Said (1971)
Jack Nicholson's first directing effort is a sports movie as it might have been conceived by Jean-Luc Godard, rife with kinetic editing and easy eroticism (as well as the casual sexism of the time). Hector (William Tepper, who later played Tom Hanks's father in Bachelor Party) is a rising college basketball star in a troubled relationship with dance student Olive (Karen Black, Five Easy Pieces), while his roommate, guerrilla theater student/political activist Gabriel (Michael Margotta, Can She Bake a Cherry Pie?), keeps himself awake so long to avoid the draft that he slips into madness. There is no plot per se, though the ebb and flow of Hector's relationship with his bullying coach (Bruce Dern, Silent Running) runs throughout the movie. Drive, He Said is mostly a state-of-consciousness film, striving to capture the mood of student unrest of the late 1960s/early '70s, a mix of manic frustration and existential dislocation (some scenes were shot during an actual student riot). The opening sequence, in which the guerrilla theater troupe disrupts a basketball game, is stunning, and the raw immediacy of how Nicholson, a notorious basketball fan, shot the playing was hugely influential. Contemporary audiences may grow impatient with the loose narrative, but visually intriguing moments and empathetic turns of character abound--if you surrender to the movie's idiosyncratic flow, Drive, He Said is a rewarding experience. --Bret Fetzer

A Safe Place (1971)
A Safe Place, Henry Jaglom's first feature film, succeeds on so many levels it is difficult to name a mere few. In attitude, one could call it kin to Easy Rider, the film Jaglom assistant edited with Dennis Hopper, and which led to Jaglom's affiliation with Jack Nicholson, who plays Mitch, Susan's unscrupulous ex-boyfriend in A Safe Place. While the film technically tells the story of Susan, a.k.a. Noah (Tuesday Weld), and her tenuous relationship with the more conservative Fred (Phil Proctor), A Safe Place operates more like a poetic, colorful dip into the consciousness of the characters who star in the film. Editing goes chronologically awry, flashing back and forth, repeating and skipping scenes; settings and conversations tie loosely together according to Susan's skewed logic; and a few key plot digressions create a melancholy, psychedelic mood more than they fortify Susan's tale in any straightforward way. These traits make the film. While time slips away under the spells of a homemade Ouija board that Susan and her friends play with, and is marked by her preoccupations with a mysterious Magician (Orson Welles) pulling rainbows out of boxes and trying to make zoo animals disappear, A Safe Place evokes the mystical, idealistic climate of the 1960s. In its intimate portrayal of Susan/Noah, constantly staring into the camera and revealing her thoughts through breathy dialogue, the film also lays the groundwork for Jaglom's desire to make women's films, as he did with Eating: A Very Serious Comedy About Women and Food and Babyfever. Somehow, through Jaglom's abstract, theatrical storytelling method, which is further explained in some informative director interviews in the extras, themes reveal themselves elegantly. On one level a simple love story, A Safe Place invites viewers to dig deeply into the universal fears inherent to most relationships: fears of repeating the same mistakes, fears of inability to love, fears of the future, fears of becoming too attached. All these fears, collaged into a patchwork of scenic moments and clips, miraculously express levels of human awareness that far exceed those in the average romantic comedy. --Trinie Dalton


The Last Picture Show (1971)
Like Easy Rider, Bonnie and Clyde, The Wild Bunch, and The Graduate, The Last Picture Show is one of the signature films of the "New Hollywood" that emerged in the late 1960s and early '70s. Based on the novel by Larry McMurtry and lovingly directed by Peter Bogdanovich (who cowrote the script with McMurtry), this 1971 drama has been interpreted as an affectionate tribute to classic Hollywood filmmaking and the great directors (such as John Ford) that Bogdanovich so deeply admired. It's also a eulogy for lost innocence and small-town life, so accurately rendered that critic Roger Ebert called it "the best film of 1951," referring to the movie's one-year time frame, its black-and-white cinematography (by Robert Surtees), and its sparse but evocative visual style. The story is set in the tiny, dying town of Anarene, Texas, where the main-street movie house is about to close for good, and where a pair of high-school football players are coming of age and struggling to define their uncertain futures. There's little to do in Anarene, and while Sonny (Timothy Bottoms) engages in a passionless fling with his football coach's wife (Cloris Leachman), his best friend Duane (Jeff Bridges) enlists for service in the Korean War. Both boys fall for a manipulative high-school beauty (Cybill Shepherd) who's well aware of her sexual allure. But it's not so much what happens in The Last Picture show as how it happens--and how Bogdanovich and his excellent cast so effectively capture the melancholy mood of a ghost town in the making. As Hank Williams sings on the film's evocative soundtrack, The Last Picture Show looks, feels, and sounds like a sad but unforgettably precious moment out of time. --Jeff Shannon

The King of Marvin Gardens (1972)
In The King of Marvin Gardens, Jack Nicholson plays against type; he's a depressive, introspective radio host, while Bruce Dern costars as his wild, dreamy brother always at work on his next scheme. When Dern invites Nicholson to get involved in a plot to buy a tropical island with someone else's money, Nicholson goes along for the ride. Everything about the film is surreal, from Ellen Burstyn as Dern's girlfriend, who begins to realize she's aging out of the games Dern plays, to the way the film is shot, with conversations on horseback and a private reenactment of the Miss America pageant with Nicholson in the Bert Parks role, singing "Here she comes, Miss America…." While the movie is not satisfying on every level, what director Bob Rafelson does best is to keep the audience off kilter, wondering who, if anyone, is the sane one. Extras include interviews with Burstyn, Dern, and Rafelson in which Rafelson admits Nicholson's opening monologue comes from a college essay that got him kicked out of class. --Paige Newman

Theatrical: 2007

Studio: Alive - Vertrieb und Marketing/DVD

Genre: Action & Thriller

Duration: 98

Summary: Gesehen habe ich den Film erstmals auf dem Fantasie Film Fest 2007 in Frankfurt. Der Film ist hart, brutal und zerstört jegliches Vorstellung an das Gute im Menschen. Blut fließt hier so gut wie gar nicht (jeder Tatort ist blutiger!), auch gibt es keine explizite Gewaltdarstellungen (was die Freigabe ab 16 rechtfertigt!)und doch trifft einen dieser Film härter jeder Splatterfilm.

Ich will hier weder Werbung für den Film machen, noch mit erhobenen Zeigefinger vor ihm warnen. Ich möchte einfach nur den ein oder anderen unbedachten Schnäppchenkäufer darauf hinweisen, worauf er sich hier einlässt. Der Film berührt nachhaltig und trifft ungewollt den Nerv aktueller Themen. Wer nicht wirklich weiss, was man sich unter einem Martyrium vorzustellen hat, er wird es nach diesem Film wissen. Er ist definitv kein Film für einen gemütlichen Video-Abend zu Zweit, dafür ist er einfach zu unbequem. Jetzt aber genug der Worte und viel "Spaß". Ich bin gespannt wie der Film von anderen hier empfunden wird und bin auf deren Rezessionen gespannt.

Theatrical: 1998

Studio: New Line Home Video

Genre: Drama

Duration: 119

Summary: Perhaps the highest compliment you can pay to Edward Norton is that his Oscar-nominated performance in "American History X" nearly convinces you that there is a shred of logic in the tenets of white supremacy. If that statement doesn't horrify you, it should; Norton is so fully immersed in his role as a neo-Nazi skinhead that his character's eloquent defense of racism is disturbingly persuasive--at least on the surface. Looking lean and mean with a swastika tattoo and a mind full of hate, Derek Vinyard (Norton) has inherited racism from his father, and that learning has been intensified through his service to Cameron (Stacy Keach), a grown-up thug playing tyrant and teacher to a growing band of disenfranchised teens from Venice Beach, California, all hungry for an ideology that fuels their brooding alienation.
The film's basic message--that hate is learned and can be unlearned--is expressed through Derek's kid brother, Danny (Edward Furlong), whose sibling hero-worship increases after Derek is imprisoned (or, in Danny's mind, martyred) for the killing of two black men. Lacking Derek's gift of rebel rhetoric, Danny is easily swayed into the violent, hateful lifestyle that Derek disowns during his thoughtful time in prison. Once released, Derek struggles to save his brother from a violent fate, and "American History X" partially suffers from a mix of intense emotions, awkward sentiment, and predictably inevitable plotting. And yet British director Tony Kaye (who would later protest against Norton's creative intervention during post-production) manages to juggle these qualities--and a compelling clash of visual styles--to considerable effect. No matter how strained their collaboration may have been, both Kaye and Norton can be proud to have created a film that addresses the issue of racism with dramatically forceful impact. "--Jeff Shannon"

Theatrical: 1951

Studio: Warner Home Video

Genre: Musicals & Performing Arts

Duration: 113

Summary: A GI (Gene Kelly) stays in Paris after the war to become an artist, and has to choose between the patronage of a rich American woman (Nina Foch) and a French gamine (Leslie Caron) engaged to an older man. The plot is mostly an excuse for director Vincente Minnelli to pool his own extraordinary talent with those of choreographer-dancer-actor Kelly and the artists behind the screenplay, art direction, cinematography, and score, creating a rapturous musical not quite like anything else in cinema. The final section of the film comprises a 17-minute dance sequence that took a month to film and is breathtaking. Songs include "'S Wonderful," "I Got Rhythm," and "Love Is Here to Stay." "--Tom Keogh"

Theatrical: 2000

Studio: Lions Gate

Genre: Comedy

Duration: 101

Summary: The Bret Easton Ellis novel "American Psycho", a dark, violent satire of the "me" culture of Ronald Reagan's 1980s, is certainly one of the most controversial books of the '90s, and that notoriety fueled its bestseller status. This smart, savvy adaptation by Mary Harron ("I Shot Andy Warhol") may be able to ride the crest of the notoriety; prior to the film's release, Harron fought a ratings battle (ironically, for depictions of sex rather than violence), but at the time the director stated, "We're rescuing [the book] from its own bad reputation." Harron and co-screenwriter Guinevere Turner ("Go Fish") overcome many of the objections of Ellis's novel by keeping the most extreme violence offscreen (sometimes just barely), suggesting the reign of terror of yuppie killer Patrick Bateman (Christian Bale) with splashes of blood and personal souvenirs. Bale is razor sharp as the blank corporate drone, a preening tiger in designer suits whose speaking voice is part salesman, part self-help guru, and completely artificial. Carrying himself with the poised confidence of a male model, he spends his days in a numbing world of status-symbol one-upmanship and soul-sapping small talk, but breaks out at night with smirking explosions of homicide, accomplished with the fastidious care of a hopeless obsessive. The film's approach to this mayhem is simultaneously shocking and discreet; even Bateman's outrageous naked charge with a chainsaw is most notable for the impossibly polished and gleaming instrument of death. Harron's film is a hilarious, cheerfully insidious hall of mirrors all pointed inward, slowly cracking as the portrait becomes increasingly grotesque and insane. "--Sean Axmaker"

Theatrical: 1981

Studio: Universal Studios

Genre: Comedy

Duration: 98

Summary:

Theatrical: 2007

Studio: Koch Media GmbH - DVD

Genre: Action & Thriller

Duration: 103

Summary: Koch Media Anamorph - Die Kunst zu töten, USK/FSK: 16+ VÃ--Datum: 11.07.08

Theatrical: 1987

Studio: Lions Gate

Genre: Drama

Duration: 112

Summary: Oscar® nominee Mickey Rourke (THE WRESTLER) is Harry Angel, a down-and-out Brooklyn detective who is hired by the mysterious Louis Cyphre (Oscar® winner Robert De Niro, RAGING BULL, THE GODFATHER: PART II) to track down a singer named Johnny Favorite on an odyssey that will take Angel through the desperate streets of Harlem, the smoke-filled jazz clubs of New Orleans, and ultimately to the swamps of Louisiana and its seedy underworld of voodoo in this cult thriller that is at once eerily thrilling, darkly sensual and completely unforgettable.

Theatrical:

Studio: Artificial Eye

Genre: Period

Duration: 104

Summary: Willem Dafoe, Charlotte GainsbourgDirector: Lars Von Trier

Theatrical: 2008

Studio: Universal Pictures UK

Genre: Comedy

Duration: 80

Summary: Nearly three decades on, is "Anvil! The Story Of Anvil" finally the film that finally gives "This Is Spinal Tap" a run for its money? Quite possibly so. The recipient of far-reaching acclaim, and with a real run for being named film of the year, this is a superb documentary, that is all the more staggering for being true.
"Anvil! The Story Of Anvil" follows the band of its title, a heavy metal group who enjoyed moderate success in the late 70s and early 80s, but kept going even when the light of fame and success shone elsewhere. Thus, we meet the band’s members--Steve ‘Lips’ Kudlow and Robb Reiner--as they hold down day jobs, record an album and head off on a European tour that could have been taken straight out of the "Spinal Tap" playbook.
As "Anvil! The Story Of Anvil" develops, though, there’s a drama at the heart of it that mixes in with the many frequent laughs. And, as it turns out, it’s a film that out of nowhere manages to move you, pretty much the last thing you expect of it.
This is, and there’s no two ways about it, a quite brilliant film, and one of the very best documentaries in some time. It’s outrageously entertaining, very funny and yet human to the core. "Anvil! The Story Of Anvil" is going to take some beating, and don’t be surprised if it’s another three decades before anything else comes close to it and "This Is Spinal Tap"… --"Jon Foster"

Theatrical: 2009

Studio: Warner

Genre: African American Cinema

Duration: 150

Summary: "Any Given Sunday", Oliver Stone's salute-cum-exposé of pro football, belabors some pretty obvious points for nigh onto three hours; but between the frenetic editing, the pounding rap-music beats, and several flashy performances, it's certainly never dull. Al Pacino, coach of the fictional Miami Sharks (the NFL declined involvement in this production), struggles with the most time-honored of sports movie dilemmas: what to do with the old friend who's past his prime and the young hotshot who could save the franchise but first has to learn what being a team player is all about. Comedian Jamie Foxx does a marvelous dramatic turn as the rookie quarterback whose ego and talent are equally impressive, while Pacino seems more at ease in Oliver Stone Land than any actor since regular James Woods (on hand as well as a sleazy team doctor). Prowling the sidelines, shouting spittle-flecked orders, seizing up in almost physical pain when a play goes the wrong way, Pacino is as unashamedly--and entertainingly--hyperbolic as Stone's whirling montages of boiling storm clouds, bloodthirsty fans, and players smashed into the mud. (Once again football, perhaps the most sophisticated of team sports, is viewed cinematically as a bunch of guys hitting each other in slow motion.) Unfortunately, all the self-conscious mythologizing and pumped-up macho posturing that Stone can muster doesn't conceal a clichéd, slapped-together script, whose few good ideas (mostly about race in America) jostle about with several hoary, terrible ones--including a too-literal analogy of football players as modern gladiators. (To drive the point home, Stone includes Charlton Heston--the aging "Ben-Hur"--in one of many star-powered cameos.) All in all, "Any Given Sunday" is never dull, but never very enjoyable, either. "--Bruce Reid"

Theatrical: 1979

Studio: Lionsgate

Genre: Action & Adventure

Summary: In the tradition of such obsessively driven directors as Erich von Stroheim and Werner Herzog, Francis Ford Coppola approached the production of "Apocalypse Now" as if it were his own epic mission into the heart of darkness. On location in the storm-ravaged Philippines, he quite literally went mad as the project threatened to devour him in a vortex of creative despair, but from this insanity came one of the greatest films ever made. It began as a John Milius screenplay, transposing Joseph Conrad's classic story "Heart of Darkness" into the horrors of the Vietnam War, following a battle-weary Captain Willard (Martin Sheen) on a secret upriver mission to find and execute the renegade Colonel Kurtz (Marlon Brando), who has reverted to a state of murderous and mystical insanity. The journey is fraught with danger involving wartime action on epic and intimate scales. One measure of the film's awesome visceral impact is the number of sequences, images, and lines of dialogue that have literally burned themselves into our cinematic consciousness, from the Wagnerian strike of helicopter gunships on a Vietnamese village to the brutal murder of stowaways on a peasant sampan and the unflinching fearlessness of the surfing warrior Lieutenant Colonel Kilgore (Robert Duvall), who speaks lovingly of "the smell of napalm in the morning." Like Herzog's "Aguirre: The Wrath of God", this film is the product of genius cast into a pit of hell and emerging, phoenix-like, in triumph. Coppola's obsession (effectively detailed in the riveting documentary "Hearts of Darkness", directed by Coppola's wife, Eleanor) informs every scene and every frame, and the result is a film for the ages. "--Jeff Shannon"

Theatrical: 2008

Studio: New Line Home Video

Genre: Action & Adventure

Duration: 115

Summary: The Western has been an endangered species, on and off, for something like 40 years now. Welcome to Appaloosa, Ed Harris's film of the Robert B. Parker novel--first because it exists at all, but even more because Harris as star, director, and co-screenwriter (with Robert Knott) has managed to bring it to the screen with no hint of fuss or strain, as if the making of no-nonsense, copiously pleasurable Westerns were still something Hollywood did with regularity. Harris plays Virgil Cole, one of those ace gunfighter-lawmen whose name need only be mentioned to make a saloon go still. Cole and his shotgun-toting partner Everett Hitch (Viggo Mortensen) accept a commission to enforce law and order in the New Mexico town of Appaloosa. That basically means protect it from rapacious rancher Randall Bragg (Jeremy Irons, looking right at home on the range), who murdered the previous town marshal like swatting a fly. Life becomes complicated when, about the time Bragg has been jailed to await trial, a fancy-dressing piano player calling herself Mrs. French (Renée Zellweger) steps down off the train. Cole commences to have feelings, and as he ruefully reminds Hitch, "Feelin's can get ya killed."
In his second directorial effort (following the 2000 biopic Pollock), Harris takes his cue from novelist Parker's often deadpan-comic touch, allowing action and character to accumulate in accordance with an overall eccentric rhythm. (The film's main disappointment is that it would benefit from more running time to allow things to stew a bit longer, especially in the second half.) The character work is choice, from the moment Tom Bower, James Gammon, and Timothy Spall step into view as Appaloosa's civic leaders; the director's father Bob Harris contributes a cameo as a mellifluous-tongued circuit judge, and an age-thickened Lance Henriksen turns up midfilm as gunman Ring Shelton, trailing affability and menace. In collaboration with Dances With Wolves cameraman Dean Semler, Harris sets up shots and scenes in such a way that we often see into and out of Appaloosa's various buildings simultaneously, to excellent dramatic and atmospheric effect, and there's a thrillingly vertical dynamics to a scene involving a train at an isolated water stop. The action is lethal when it needs to be, but never dwelt upon. "That was over quick," Hitch observes after one gun battle. Cole's response says it all: "Everybody could shoot." --Richard T. Jameson

Theatrical:

Studio: Bfi Video

Genre: Period

Duration: 125

Summary:

Theatrical: 1998

Studio: Touchstone Home Entertainment

Genre: Action & Adventure

Duration: 150

Summary: The latest testosterone-saturated blow-'em-up from producer Jerry Bruckheimer and director Michael Bay ("The Rock", "Bad Boys") continues Hollywood's millennium-fueled fascination with the destruction of our planet. There's no arguing that the successful duo understands what mainstream American audiences want in their blockbuster movies--loads of loud, eye-popping special effects, rapid- fire pacing, and patriotic flag waving. Bay's protagonists--the eight crude, lewd, oversexed (but lovable, of course) oil drillers summoned to save the world from a Texas-sized meteor hurling toward the earth--are not flawless heroes, but common men with whom all can relate. In this huge Western-in-space soap opera, they're American cowboys turned astronauts. Sci-fi buffs will appreciate Bay's fetishizing of technology, even though it's apparent he doesn't understand it as anything more than flashing lights and shiny gadgets. Smartly, the duo also tries to lure the art-house crowd, raiding the local indie acting stable and populating the film with guys like Steve Buscemi, Billy Bob Thornton, Owen Wilson, and Michael Duncan, all adding needed touches of humor and charisma. When Bay applies his sledgehammer aesthetics to the action portions of the film, it's mindless fun; it's only when "Armageddon" tackles humanity that it becomes truly offensive. Not since "Mississippi Burning" have racial and cultural stereotypes been substituted for characters so blatantly--African Americans, Japanese, Chinese, Scottish, Samoans, Muslims, French ... if it's not white and American, Bay simplifies it. Or, make that white "male" America; the film features only three notable females--four if you count the meteor, who's constantly referred to as a "bitch that needs drillin'," but she's a hell of a lot more developed and unpredictable than the other women characters combined. Sure, Bay's film creates some tension and contains some visceral moments, but if he can't create any redeemable characters outside of those in space, what's the point of saving the planet? "--Dave McCoy"

Theatrical: 1992

Studio: Universal Studios

Genre: Action & Adventure

Duration: 81

Summary: A movie that only true horror buffs could love, "Army of Darkness" is officially part 3 in the wild and wacky "Evil Dead" trilogy masterminded by the perversely inventive director Sam Raimi, who would later serve as executive producer of the popular syndicated TV series "Hercules: The Legendary Journeys". Raimi's favorite actor, Bruce Campbell, returns as Ash (hero of the first two "Evil Dead" flicks), a hardware-store clerk who is magically transported--along with his beat-up Oldsmobile and a chainsaw attachment for his severed left forearm--to the brutal battlefields of the 14th century. He quickly assumes power (who else in the Middle Ages packs a shotgun and a chainsaw?), and unites his band of medieval knights against the dreaded Army of the Dead. Raimi gleefully subverts almost every horror-movie cliché as he serves up a nonstop parade of blood, gore, and vicious sword-bearing skeletons--an affectionate homage to animator Ray Harryhausen's classic "Jason and the Argonauts". The frantic action is fun while it lasts, but even at 80 minutes "Army of Darkness" nearly wears out its welcome. You know that Raimi can maintain the mayhem for only so long before it grows tiresome, and fortunately this madcap movie quits while it's ahead. "--Jeff Shannon"

Theatrical: 2007

Studio: Warner Home Video

Genre: Action & Adventure

Duration: 160

Summary: Of all the movies made about or glancingly involving the 19th-century outlaw Jesse Woodson James, "The Assassination of Jesse James by the Coward Robert Ford" is the most reflective, most ambitious, most intricately fascinating, and indisputably most beautiful. Based on the novel of the same name by Ron Hansen, it picks up James late in his career, a few hours before his final train robbery, then covers the slow catastrophe of the gang's breakup over the next seven months even as the boss himself settles into an approximation of genteel retirement. But in another sense all of the movie is later than that. The very title assumes the audience's familiarity with James as a figure out of history and legend, and our awareness that he was--will be--murdered in his parlor one quiet afternoon by a backshooting crony.
The film--only the second to be made by New Zealand–born writer-director Andrew Dominik--reminds us that Dominik's debut film, "Chopper" (2000), was the cunningly off-kilter portrait of another real-life criminal psychopath who became a kind of rock star to his society. The Jesse James of this telling is no Robin Hood robbing the rich to give to the poor, and that train robbery we witness is punctuated by acts of gratuitous brutality, not gallantry. Nineteen-year-old Bob Ford (Casey Affleck) seeks to join the James gang out of hero worship stoked by the dime novels he secretes under his bed, but his glam hero (Brad Pitt) is a monster who takes private glee in infecting his accomplices with his own paranoia, then murdering them for it. In the careful orchestration of James's final moments, there's even a hint that he takes satisfaction in his own demise.
Affleck and Pitt (who co-produced with Ridley Scott, among others) are mesmerizing in the title roles, but the movie is enriched by an exceptional supporting cast: Sam Shepard as Jesse's older, more stable brother Frank; Sam Rockwell as Bob Ford's own brother Charlie, whose post-assassination descent into madness is astonishing to behold; Paul Schneider, Garret Dillahunt, and Jeremy Renner as three variously doomed gang members; and Mary-Louise Parker, who as Jesse's wife Zee has few lines yet manages with looks and body language to invoke a wellnigh-novelistic backstory for herself. There are also electrifying cameos by James Carville, doing solid actorly work as the governor of Missouri; Ted Levine, as a lawman of antic spirit; and Nick Cave, composer of the film's score (with Warren Ellis) and screenwriter of the Aussie "Western" "The Proposition", suddenly towering over a late scene to perform the folk song that set the terms for the book and movie's title.
Still, the real costar is Roger Deakins, probably the finest cinematographer at work today. The landscapes of the movie (mostly in Alberta and Manitoba) will linger in the memory as long as the distinctive faces, and we seem to feel the sting of its snows on our cheeks. Interior scenes are equally persuasive. Few Westerns have conveyed so tangibly the bleakness and austerity of the spaces people of the frontier called home, and sought in vain to warm with human spirit. "--Richard T. Jameson"

Theatrical: 2008

Studio: 20th Century Fox

Genre: Action & Adventure

Duration: 165

Summary: Watching the early reels of Australia, there's certainly no doubt who's in charge: this could only be a film by Baz Luhrmann, that wacky purveyor of all things over-the-top. In this old-fashioned, 165-minute hymn to his native continent, Luhrmann travels back to the late 1930s/early '40s, for a scenario that would not have been out of place at MGM in that era. Straightlaced Lady Sarah Ashley (Nicole Kidman) journeys Down Under and is put under the protection of--crikey--a rugged cattle driver known only as the Drover (Hugh Jackman). When the two are forced to team up (along with a motley crew of misfits) to take a herd of cattle through the hostile landscape, their way is challenged by the dastardly plans of the local beef baron (Bryan Brown) and his elaborately evil lieutenant (David Wenham). At some point you realize that this film's main commodity is not cattle, but corn: Luhrmann piles on the melodrama and the old-school climaxes with his usual frantic glee. Employing "When You Wish Upon a Star" and the Japanese air force to make his case is not beyond Luhrmann, and he reaches big here. Those with a taste for un-ironic silliness might just go for this stuff, but even fans of the Baz will have their patience tested by the broad comedy and the absence of discernable chemistry between Kidman and Jackman. Australia does manage to skewer the culture's prejudices against the Aboriginal people, but in this context such a victory comes across as rather tinny. --Robert Horton





Stills from Australia (Click for larger image)

 
   

Theatrical: 2009

Studio: 20th Century Fox

Genre: Action & Adventure

Duration: 162

Summary: Experience the spectacular world of James Cameron's "Avatar" as never before with this all-new three-disc extended collector’s edition. The journey begins with three movie versions: the original theatrical release, the special edition re-release, and the exclusive extended cut not shown in theaters. And that's just what's on the first Blu-ray disc. The set's bonus feature run more than eight hours and include over 45 minutes of deleted scenes; actor's screen tests; on-location footage; feature-length documentaries on the film's groundbreaking production; an interactive scene-deconstruction feature that lets you explore different levels of production for 17 scenes; a comprehensive guide to the world of Pandora; and more. The greatest adventure of all time just got bigger and better.

Versions of "Avatar" on Blu-ray, DVD, and Video On Demand
Edition Format Release Date Special Features "Avatar" (Extended Collector's Edition) Three Blu-ray Discs Nov. 16, 2010 Three versions of the movie including the previously unreleased extended cut, plus more than eight hours of bonus features including over 45 minutes of deleted scenes, interactive scene deconstruction, "Pandorapedia", documentaries and featurettes, and BD-LIVE content (requires compatible player and Internet connection) "Avatar" (Extended Collector's Edition) Three DVDs Nov. 16, 2010 Three versions of the movie including the previously unreleased extended cut, plus more than three hours of bonus features including documentaries and over 45 minutes of deleted scenes "Avatar" (Original Theatrical Edition) Digital Purchase Apr. 22, 2010 None "Avatar" (Original Theatrical Edition) Digital Rental May 9, 2010 None "Avatar" (Original Theatrical Edition) Two-disc Blu-ray/
DVD combo Apr. 22, 2010 None "Avatar" (Original Theatrical Edition) DVD Apr. 22, 2010 None

There is not a 3D edition of "Avatar" on any of these formats at this time.

Contents of the Blu-ray Extended Collector's Edition
What follows is the back-of-the box summary of the Blu-ray set's contents and then a complete listing of everything that's included.



Disc 1: Three Movie Versions Original Theatrical Edition (includes family audio track with objectionable language removed) Special Edition Re-Release (includes family audio track with objectionable language removed) Collector’s Extended Cut with 16 additional minutes, including alternate opening on earth
Disc 2: Filmmaker's Journey Over 45 minutes of never-before-seen deleted scenes "Capturing Avatar": Feature-length documentary covering the 16-year filmmakers’ journey, including interviews with James Cameron, Jon Landau, cast and crew "A Message from Pandora": James Cameron’s visit to the Amazon rainforest The 2006 art reel: Original pitch of the "Avatar vision" Brother termite test: Original motion capture test The ILM prototype: Visual effects reel Screen tests: Sam Worthington, Zoë Saldana Zoë’s life cast: Makeup session footage On-set footage as live-action filming begins VFX progressions Crew film: "The Volume"
Disc 3: Pandora's Box Interactive scene deconstruction: Explore the stages of production of 17 different scenes through three viewing modes: capture level, template level, and final level with picture-in-picture reference Production featurettes: "Sculpting Avatar", "Creating the Banshee", "Creating the Thanator", "The AMP Suit", "Flying Vehicles", "Na’vi Costumes", "Speaking Na’vi", "Pandora Flora", "Stunts", "Performance Capture", "Virtual Camera", "The 3D Fusion Camera", "The Simul-Cam", "Editing Avatar", "Scoring Avatar", "Sound Design", "The Haka: The Spirit of New Zealand" "Avatar" original script "Avatar" screenplay by James Cameron "Pandorapedia:" Comprehensive guide to Pandora" Lyrics from five songs by James Cameron The art of "Avatar": Over 1,850 images in 16 themed galleries ("The World of Pandora", "The Creatures", "Pandora Flora", "Pandora Bioluminescence", "The Na’vi", "The Avatars", "Maquettes", "Na’vi Weapons", "Na’vi Props", "Na’vi Musical Instruments", "RDA Designs", "Flying Vehicles", "AMP Suit", "Human Weapons", "Land Vehicles", "One-Sheet Concepts")
BD-Live Extras BD-Live extras require a BD-Live-enabled player and an Internet connection. The following extras may be available a limited-time only and are subject to change over time: Crew Short: "The Night Before Avatar"; additional screen tests, including Stephen Lang, Giovanni Ribisi, Joel David Moore, CCH Pounder, and Laz Alonso; speaking Na’vi rehearsal footage; Weta Workshop: walk-and-talk presentation

Review of the Original Theatrical Edition
Here's what we had to say about the original theatrical edition of "Avatar" after seeing it on the big screen:

After 12 years of thinking about it (and waiting for movie technology to catch up with his visions), James Cameron followed up his unsinkable Titanic with Avatar, a sci-fi epic meant to trump all previous sci-fi epics. Set in the future on a distant planet, Avatar spins a simple little parable about greedy colonizers (that would be mankind) messing up the lush tribal world of Pandora. A paraplegic Marine named Jake (Sam Worthington) acts through a 9-foot-tall avatar that allows him to roam the planet and pass as one of the Na'vi, the blue-skinned, large-eyed native people who would very much like to live their peaceful lives without the interference of the visitors. Although he's supposed to be gathering intel for the badass general (Stephen Lang) who'd like to lay waste to the planet and its inhabitants, Jake naturally begins to take a liking to the Na'vi, especially the feisty Neytiri (Zoë Saldana, whose entire performance, recorded by Cameron's complicated motion-capture system, exists as a digitally rendered Na'vi). The movie uses state-of-the-art 3D technology to plunge the viewer deep into Cameron's crazy toy box of planetary ecosystems and high-tech machinery. Maybe it's the fact that Cameron seems torn between his two loves--awesome destructive gizmos and flower-power message mongering--that makes Avatar's pursuit of its point ultimately uncertain. That, and the fact that Cameron's dialogue continues to clunk badly. If you're won over by the movie's trippy new world, the characters will be forgivable as broad, useful archetypes rather than standard-issue stereotypes, and you might be able to overlook the unsurprising central plot. (The overextended "take that, Michael Bay" final battle sequences could tax even Cameron enthusiasts, however.) It doesn't measure up to the hype (what could?) yet Avatar frequently hits a giddy delirium all its own. The film itself is our Pandora, a sensation-saturated universe only the movies could create. --Robert Horton

Theatrical: 2004

Studio: Warner Home Video

Genre: Drama

Duration: 170

Summary: From Hollywood's legendary Cocoanut Grove to the pioneering conquest of the wild blue yonder, Martin Scorsese's "The Aviator" celebrates old-school filmmaking at its finest. We say "old school" only because Scorsese's love of golden-age Hollywood is evident in his approach to his subject--Howard Hughes in his prime (played by Leonardo DiCaprio in his)--and especially in his technical mastery of the medium reflecting his love for classical filmmaking of the studio era. Even when he's using state-of-the-art digital trickery for the film's exciting flight scenes (including one of the most spectacular crashes ever filmed), Scorsese's meticulous attention to art direction and costume design suggests an impassioned pursuit of craftsmanship from a bygone era; every frame seems to glow with gilded detail. And while DiCaprio bears little physical resemblance to Hughes during the film's 20-year span (late 1920s to late '40s), he efficiently captures the eccentric millionaire's golden-boy essence, and his tragic descent into obsessive-compulsive seclusion. Bolstered by Cate Blanchett's uncannily accurate portrayal of Katharine Hepburn as Hughes' most beloved lover, "The Aviator" is easily Scorsese's most accessible film, inviting mainstream popularity without compromising Scorsese's artistic reputation. As compelling crowd-pleasers go, it's a class act from start to finish. "--Jeff Shannon"

Theatrical:

Studio: 20th Century Fox

Genre: Science Fiction & Fantasy

Duration: 209

Summary: Disc 1: AVP 1 BLU RAY Disc 2: AVP 2 BLU RAY

Theatrical:

Studio: 20th Century Fox

Genre:

Duration: 100

Summary: In delivering PG-13-rated excitement, "Alien vs. Predator" is an acceptably average science-fiction action thriller with some noteworthy highlights, even if it squanders its opportunity to intelligently combine two popular and R-rated franchises. Rabid fans can justifiably ask "Is that all there is?" after a decade of development hell and eager anticipation, but we're compensated by reasonably logical connections to the "Alien" legacy and the still-kicking "Predator" franchise (which hinted at "AVP" rivalry at the end of "Predator 2"); some cleverly claustrophobic sets, tense atmosphere and impressive digital effects; and a climactic "AVP" smackdown that's not half bad. This disposable junk should've been better, but nobody who's seen "Mortal Kombat" or "Resident Evil" should be surprised by writer-director Paul W.S. Anderson's lack of imagination. As a brisk, 90-minute exercise in generic thrills, however, Anderson's work is occasionally impressive... right up to his shameless opening for yet another sequel. "--Jeff Shannon"

Theatrical: 2007

Studio: 20th Century Fox

Genre: Science Fiction & Fantasy

Duration: 94

Summary: For those who found 2004's "Aliens vs. Predator" too lightweight in the gore-and-guns department, "Aliens vs. Predator: Requiem" offers a marked improvement in both categories, as well as a respectable amount of rumbles between the title extraterrestrials. Set in the 21st century (which predates the story to all of the "Alien" features), "Requiem" sends a crippled Predator ship crashing to Earth in a small Colorado town; unbeknownst to the locals, the craft is loaded with H.R. Giger's insectoid monsters, which make quick work of most of the population. As the human cast is slowly whittled to a few hardy (if unmemorable) souls, a Predator warrior also arrives to complicate matters and do battle with the Aliens, as well as a ferocious alien-Predator hybrid (dubbed a Predalien by the sci-fi and horror press). Visual-effects designers and music-video helmers The Strause Brothers (who make their feature directorial debut here) keep the action on frantic throughout, which is wise, since the dialogue and characters are threadbare at best; that should matter little to teenage male viewers, who are inarguably the film's key audience. Fans of the "Alien" franchise, however, may find the offhanded nod to the series' mythology given during the finale its sole saving grace. --"Paul Gaita"


Beyond "Alien vs. Predator: Requiem"
More from the "Alien" Series
"AVP" Customer Community
More blu-ray sci-fi from Fox

Stills from "Alien vs. Predator: Requiem"

Theatrical:

Studio: Optimum Home Releasing

Genre: Period

Summary:

Theatrical: 2008

Studio: MPI HOME VIDEO

Genre: Action & Adventure

Duration: 144

Summary: Germany in the 1970s: Murderous bomb attacks, the threat of terrorism and the fear of the enemy inside are rocking the very foundations of the still fragile German democracy. The radicalised children of the Nazi generation led by Andreas Baader (Moritz Bleibtreu), Ulrike Meinhof (Martina Gedeck) and Gudrun Ensslin (Johanna Wokalek) are fighting a violent war against what they perceive as the new face of fascism: American imperialism supported by the German establishment, many of whom have a Nazi past. Their aim is to create a more human society but by employing inhuman means they not only spread terror and bloodshed, they also lose their own humanity. The man who understands them is also their hunter: the head of the German police force Horst Herold (Bruno Ganz). And while he succeeds in his relentless pursuit of the young terrorists, he knows he s only dealing with the tip of the iceberg.

Theatrical: 2007

Studio: KSM GmbH

Genre: Action & Thriller

Duration: 86

Summary: Wie schwierig es ist, einen guten Babysitter für seine Kinder zu finden, davon können einige Eltern ganze Arien singen. Doch manchmal ist es auch genau andersherum. Da wird das nette Aufpassen auf die Kinder anderer Leute zum echten Albtraum. Wie in Babysitter Wanted, der mit seiner unvorhersehbaren Story das Horrorgenre völlig auf den Kopf stellt. Die arme Angie muss hier wirklich durch die Hölle gehen. Unheimlich, blutig und spannend...alles was das Herz eines echten Horror-Fans begehrt.
Der 2008 unter der gemeinsamen Regie von Jonas Barnes und Michael Manasseri gedrehte US-Streifen besticht in der Tat durch seine erstklassige Handlung. Völlig zurecht gewann Babysitter Wanted auf dem internationalen Nürnberger Filmfestival Weekend of Fear den Preis für den besten Film. Und hier wird das Kleinstadt-Collegegirl Angie (Sarah Thompson; Der Eissturm, Eiskalte Engel 2) von Jim Stanton (Bruce Thomas) und seiner Frau Violet (Kirsten Dalton) als Babysitterin für deren Sohn Sam engagiert. Schon auf dem Weg zur abgelegenen Farm der Stantons geht ihr Auto kaputt. Zum Glück trifft sie in der Einöde auf den Mechaniker Rick (Matt Dallas), der sie mitnimmt und verspricht ihr Auto zu reparieren. Denn diese Gegend ist nicht ganz ungefährlich, in letzter Zeit sollen hier einige Menschen verschwunden sein. Endlich angekommen auf der Farm, erhält Angie von den Eltern ihre Instruktionen für die Nacht. Der kleine Sam ist schon im Bett. Soweit, so gut. Doch in der Nacht hört Angie merkwürdige Geräusche draußen vor dem Haus und sie bekommt merkwürdige Anrufe. Voller Schrecken ruft sie die Polizei und Rick an. Die Polizei verspricht ihr, später in der Nacht noch einmal vorbei zu schauen. Doch die anonymen Anrufe sind erst der Anfang, denn bald steht ein unheimlicher Mann vor ihr, der sie angreift. Sie kann gerade noch so entkommen, doch leider hat sie die Schlüssel für den Jeep im Haus liegen gelassen. Und obendrein schläft im Haus auch noch der kleine, unschuldige Junge, auf den sie aufpassen sollte. Also geht sie zurück, holt den Jungen und die Schlüssel. Gerade als sie das Haus verlassen wollen, greift der furchtbare Mann wieder an. Mit letzter Kraft gelingt es Angie, den Angreifer mit einem Golfschläger niederzuschlagen. In all dem Durcheinander hat jedoch Sam seinen Cowboyhut verloren, den er bis dahin noch nicht einmal abgesetzt hatte. Und erst jetzt wird sichtbar, dass Sam Hörner hat, er ist niemand Geringeres als der Sohn des Teufels. Was nun passiert, entzieht sich jeglicher Vorstellungskraft. Kann die arme Angie diesem Horror entkommen?
Babysitter Wanted aus dem Hause NewKSM bietet definitiv perfektes Horror-Entertainment. Was in diesen schrecklichen Minuten geschieht, ist wirklich der Hammer. Mehr Grusel kann man nicht erwarten und wählen Sie ihren nächsten Job bloß mit größter Vorsicht aus. Sonst blüht ihnen womöglich ähnliches und das will wirklich keiner.

Theatrical: 2009

Studio: FIRST LOOK PICTURES

Genre: Action & Adventure

Duration: 121

Summary: Director Werner Herzog's career is a catalog of extremes, and "Bad Lieutenant: Port of Call New Orleans" fits in nicely. Shot in post-Katrina New Orleans (presumably so that Herzog could take advantage of an atmosphere of decay and wreckage that no production design could match), "Bad Lieutenant" stars Nicolas Cage as Terence McDonagh, a cop who injures his back and becomes addicted to drugs. But even before he became addicted he wasn't a nice guy, and afterward he's still capable of being honorable... or at least a smart cop. As his drug use and gambling spiral out of control, he doggedly pursues a drug dealer suspected of murdering a family. Anyone looking for a conventional thriller or police procedural will be baffled by Herzog's unpredictable direction--the camera will suddenly linger on an alligator by the side of the road, for example--as well as Cage's weird yet compelling performance, reminiscent of some of his early, off-putting acting in movies like "Peggy Sue Got Married" and "Vampire's Kiss". He seems disconnected from the rest of the movie (arguably like his drug-ridden character is disconnected from reality), yet perfectly in sync with Herzog's off-kilter visions of iguanas and break-dancing souls. The tension that results between the realistic setting and Cage's meta-performance will make some viewers recoil, but others will have a unique and possibly wrenching experience. Featuring an astonishing supporting cast, including Val Kilmer, Eva Mendes, Brad Dourif, Fairuza Balk, Jennifer Coolidge, and a wealth of other recognizable faces. "--Bret Fetzer"

Theatrical:

Studio: Walt Disney Studios Home Entertainment

Genre: Kids & Family

Duration: 70

Summary: It always comes up when people are comparing their most traumatic movie experiences: "the death of Bambi's mother," a recollection that can bring a shudder to even the most jaded filmgoer. That primal separation (which is no less stunning for happening off-screen) is the centerpiece of "Bambi", Walt Disney's 1942 animated classic, but it is by no means the only bold stroke in the film. In its swift but somehow leisurely 69 minutes, "Bambi" covers a year in the life of a young deer. But in a bigger way, it measures the life cycle itself, from birth to adulthood, from childhood's freedom to grown-up responsibility. All of this is rendered in cheeky, fleet-footed style--the movie doesn't lecture, or make you feel you're being fed something that's good for you. The animation is miraculous, a lush forest in which nature is a constantly unfolding miracle (even in a spectacular fire, or those dark moments when "man was in the forest"). There are probably easier animals to draw than a young deer, and the Disney animators set themselves a challenge with Bambi's wobbly glide across an ice-covered lake, his spindly legs akimbo; but the sequence is effortless and charming. If Bambi himself is just a bit dull--such is the fate of an Everydeer--his rabbit sidekick Thumper and a skunk named Flower more than make up for it. Many of the early Disney features have their share of lyrical moments and universal truths, but "Bambi" is so simple, so pure, it's almost transparent. You might borrow a phrase from Thumper and say it's downright twitterpated. "--Robert Horton"

Theatrical: 2001

Studio: Warner Home Video

Genre: Television

Duration: 598

Summary: A richly-acclaimed World War II drama, and one that deserved the many plaudits it garnered, "Band Of Brothers" remains as compelling, gripping and moving as it was when it first appeared over half a decade ago. And now it makes a very welcome debut in high definition.
Across ten haunting episodes, "Band Of Brothers" follows the real-life story of the American army?s Easy Company, an elite paratrooper regiment, from their initial training through to the very end of the war. Along the way, not only do Easy Company take part in some of the most infamous battles and events of the War, but they also suffer many, often brutal losses. And "Band Of Brothers" pulls no punches in putting those moments across on screen.
But that?s not, ultimately, what "Band Of Brothers" is about. At it's heart, this is the tale of a group of men relying on one another to get them through unthinkable situations. And this camaraderie is brilliantly put across by the generally unknown cast of actors, many of whom turn in outstanding performances here.
The quality production values are sustained behind the camera, as "Band Of Brothers"? episodes are directed by the likes of Tom Hanks, Phil Alden Robinson ("Field of Dreams") and David Leland ("The Devil Wears Prada"). The show gives all the impression that little expense was spared in depicting the right visual look, and the results are on screen to be admired.
In short, "Band of Brothers" remains a vital, brilliant piece of television drama, and one that will stick in your mind long after the credits have rolled on the final episode. --"Jon Foster"

Theatrical: 2008

Studio: Lionsgate

Genre: Action & Adventure

Duration: 111

Summary: A cheerful, energetic, and completely entertaining movie, "The Bank Job" follows some small-time hoods who think they've lucked into a big-time opportunity when they learn a bank's security system will be temporarily suspended--little suspecting that they're being manipulated by government agents for their own ends. The result is that the movie doubles its pleasures: While the robbery itself has the usual suspense of a heist film, when the robbery is over the hoods find themselves being hunted by the police, the government, and brutal criminal kingpins who were storing dangerous information in a safety deposit box. "The Bank Job" won't win any awards, but it's enormously fun. Director Roger Donaldson ("No Way Out, Species") propels the action along with vigor, editing zippily with perfect clarity among multiple storylines and various colorful characters. Jason Statham ("Snatch, The Transporter"), as the leader of the bank robbers, successfully steps away from his usual bone-crunching roles to a more human presence. The rest of the cast--including Saffron Burrows ("Deep Blue Sea"), Keeley Hawes ("Tipping the Velvet"), David Suchet ("Poirot"), and many faces familiar from British film and television--give their characters the right degree of personality and flavor without getting fussy or detracting from the headlong rush of the story. A little sex, a lot of action, a sly sense of humor, and a twisty plot; if more movies had these basic pleasures, the world would be a happier place. --"Bret Fetzer"

Stills from "Bank Job" (click for larger image)

Theatrical: 1993

Studio: MPI Home Video

Genre: Documentary

Duration: 97

Summary: The word "Baraka" means "blessing" in several languages; watching this film, the viewer is blessed with a dazzling barrage of images that transcend language. Filmed in 24 countries and set to an ever-changing global soundtrack, the movie draws some surprising connections between various peoples and the spaces they inhabit, whether that space is a lonely mountaintop or a crowded cigarette factory. Some of these attempts at connection are more successful than others: for instance, an early sequence segues between the daily devotions of Tibetan monks, Orthodox Jews, and whirling dervishes, finding more similarity among these rituals than one might expect. And there are other amazing moments, as when sped-up footage of a busy Hong Kong intersection reveals a beautiful symmetry to urban life that could only be appreciated from the perspective of film. The lack of context is occasionally frustrating--not knowing where a section was filmed, or the meaning of the ritual taking place--and some of the transitions are puzzling. However, the DVD includes a short behind-the-scenes featurette in which cinematographer Ron Fricke ("Koyaanisqatsi") explains that the effect was intentional: "It's not where you are that's important, it's what's there." And what's here, in "Baraka", is a whole world summed up in 104 minutes. "--Larisa Lomacky Moore"

Theatrical:

Studio: Warner Home Video

Genre: Action & Adventure

Summary: In 1975 the world was at Stanley Kubrick's feet. His films "Dr. Strangelove", "2001: A Space Odyssey", and "A Clockwork Orange", released in the previous dozen years, had provoked rapture and consternation--not merely in the film community, but in the culture at large. On the basis of that smashing hat trick, Kubrick was almost certainly the most famous film director of his generation, and absolutely the one most likely to rewire the collective mind of the movie audience. And what did this radical, at-least-20-years-ahead-of-his-time filmmaker give the world in 1975? A stately, three-hour costume drama based on an obscure Thackeray novel from 1844. A picaresque story about an Irish lad (Ryan O'Neal, then a major star) who climbs his way into high society, "Barry Lyndon" bewildered some critics (Pauline Kael called it "an ice-pack of a movie") and did only middling business with patient audiences. The film was clearly a technical advance, with its unique camerawork (incorporating the use of prototype Zeiss lenses capable of filming by actual candlelight) and sumptuous production design. But its hero is a distinctly underwhelming, even unsympathetic fellow, and Kubrick does not try to engage the audience's emotions in anything like the usual way.
Why, then, is "Barry Lyndon" a masterpiece? Because it uncannily captures the shape and rhythm of a human life in a way few other films have; because Kubrick's command of design and landscape is never decorative but always apiece with his hero's journey; and because every last detail counts. Even the film's chilly style is thawed by the warm narration of the great English actor Michael Hordern and the Irish songs of the Chieftains. Poor Barry's life doesn't matter much in the end, yet the care Kubrick brings to the telling of it is perhaps the director's most compassionate gesture toward that most peculiar species of animal called man. And the final, wry title card provides the perfect Kubrickian sendoff--a sentiment that is even more poignant since Kubrick's premature death. "--Robert Horton"

Theatrical: 1992

Studio: Lions Gate

Genre: Horror

Duration: 128

Summary: The take-no-prisoners sex thriller from 1992 now stands as a milestone in the career of screenwriter Joe Eszterhas, but in the hands of director Paul Verhoeven "Basic Instinct" is an undeniably stylish and provocative study of obsession. In the role that made her a star (and showed the audience a little more skin than she intended), Sharon Stone plays the cleverly manipulative novelist Catherine Tramell who snares San Francisco detective Nick Curran (Michael Douglas) with her insatiable sexual appetite during the investigation of her boyfriend's murder. Tramell is the prime suspect, but the plot twists and turns until Curran is trapped in a dangerous cycle of dead ends and unsolved murders, never sure if Tramell is committing the crimes or if it is some other, unknown suspect. With a plot that keeps viewers guessing, "Basic Instinct" is the work of a director who is clearly in his element. "--Jeff Shannon"

Theatrical: 2005

Studio: Warner Home Video

Genre: Action & Adventure

Duration: 140

Summary: In retrospect, "Batman Begins" is perhaps even more of a towering achievement than we first realised. Arriving eight years after the franchise-killing "Batman & Robin", it managed to not only shine fresh light on the "Batman" franchise, but also emerge as a template for what a top notch comic book movie should be.
Much of the credit, of course, should go to the pairing of Christian Bale and director Christopher Nolan. Bale steps where the likes of Michael Keaton, Adam West and George Clooney have stepped before, and yet his Batman is darker and more complex than any of them.
Behind the camera is perhaps "Batman Begins"’ secret weapon, as Nolan--previously responsible for "Memento" among others--rewards the gamble to give him the job in the first place. His film is packed full of memorable characters, and he draws together a staggering cast, yet none of them are shortchanged. From Rutger Hauer’s brief cameo as head of Wayne Enterprises through to Morgan Freeman, Gary Oldman, Cillian Murphy, Tom Wilkinson and Liam Neeson, it’s the finest cast in a film of this ilk since the first "Superman".
The film’s belated Blu-ray debut has, fortunately, been worth the wait, with the reference-quality 1080p image simply sparkling on any screen that can handle the resolution. Backed up with a thumping surround sound mix, this is superb work, and it’s fitting that it should be used on a film of this quality. Now? We just need "The Dark Knight" to join it in high definition. "That’s" what you’d call a double bill...-"Jon Foster"

Theatrical: 2008

Studio: Warner Home Video

Genre: Action & Adventure

Duration: 152

Summary: "The Dark Knight" arrives with tremendous hype (best superhero movie ever? posthumous Oscar for Heath Ledger?), and incredibly, it lives up to all of it. But calling it the best superhero movie ever seems like faint praise, since part of what makes the movie great--in addition to pitch-perfect casting, outstanding writing, and a compelling vision--is that it bypasses the normal fantasy element of the superhero genre and makes it all terrifyingly real. Harvey Dent (Aaron Eckhart) is Gotham City's new district attorney, charged with cleaning up the crime rings that have paralyzed the city. He enters an uneasy alliance with the young police lieutenant, Jim Gordon (Gary Oldman), and Batman (Christian Bale), the caped vigilante who seems to trust only Gordon--and whom only Gordon seems to trust. They make progress until a psychotic and deadly new player enters the game: the Joker (Heath Ledger), who offers the crime bosses a solution--kill the Batman. Further complicating matters is that Dent is now dating Rachel Dawes (Maggie Gyllenhaal, after Katie Holmes turned down the chance to reprise her role), the longtime love of Batman's alter ego, Bruce Wayne.
In his last completed role before his tragic death, Ledger is fantastic as the Joker, a volcanic, truly frightening force of evil. And he sets the tone of the movie: the world is a dark, dangerous place where there are no easy choices. Eckhart and Oldman also shine, but as good as Bale is, his character turns out rather bland in comparison (not uncommon for heroes facing more colorful villains). Director-cowriter Christopher Nolan ("Memento") follows his critically acclaimed "Batman Begins" with an even better sequel that sets itself apart from notable superhero movies like "Spider-Man 2" and "Iron Man" because of its sheer emotional impact and striking sense of realism--there are no suspension-of-disbelief superpowers here. At 152 minutes, it's a shade too long, and it's much too intense for kids. But for most movie fans--and not just superhero fans--"The Dark Knight" is a film for the ages. "--David Horiuchi"
On the Blu-ray disc
"The Dark Knight" on Blu-ray is a great home-theater showoff disc. The detail and colors are tremendous in both dark and bright scenes (the Gotham General scene is a great example of the latter), and the punishing Dolby TrueHD soundtrack makes the house rattle. (After giving us only Dolby 5.1 in a number of big Blu-ray releases this fall, Warner came through with Dolby TrueHD on this one.) One of the most interesting elements of "The Dark Knight" was how certain scenes were shot in IMAX, and if you saw the movie in an IMAX theater the film's aspect ratio would suddenly change from standard 2.40:1 to a thrilling 1.43:1 that filled the screen six stories high. For the Blu-ray disc, director Christopher Nolan has somewhat re-created this experience by shifting his film from 2.40:1 aspect ratio (through most of the film) to 1.78:1 in the IMAX scenes. While the effect isn't as dramatic as it was in theaters, it's still an eye-catching experience to be watching the film on a widescreen TV with black bars at the top and bottom, then seeing the 1.78:1 scenes completely fill the screen. The main bonus feature on disc 1 is "Gotham Uncovered: The Creation of a Scene," which is 81 minutes of behind-the-scenes footage about the IMAX scenes, the Bat suit, Gotham Central, and others. You can watch the film and access these featurettes when the icon pops up, or you can simply watch them from the main menu. A welcome and unusual feature is that in addition to English, French, and Spanish audio and subtitles, there's an audio-described option that allows the sight-impaired to experience the film as well.
Disc 2 has two 45-minute documentaries on Bat-gadgets and on the psychology of Batman, both in high definition. They combine movie clips, talking heads, and comic-book panels, but aren't the kind of thing one needs to watch twice. More engaging are six eight-minute segments of Gotham Central, a faux-news program that gives some background to events in the movie, plus a variety of trailers, poster art, and more. The BD-Live component on disc 1 is more interesting than on some earlier Blu-ray discs, which could be simply a matter of the content starting to catch up with the technology. There are three new picture-in-picture commentaries, by Jerry Robinson (creator of the Joker), DC Comics president Paul Levitz, and Senator Patrick Leahy (D-Vt.--he's a Batman fan who's made some movie and TV cameos), plus you can record your own commentary and upload it for others to watch. There are also three new featurettes ("Sound of the Batpod," "Harvey Dent's Theme," and "Hans Zimmer and James Newton Howard") and two motion comics ("Mad Love," featuring Harley Quinn, and "The Shadow of Ra's Al Ghul"). Last, there's a digital copy of the film compatible with iTunes and Windows Media (standard definition, expires 12/9/09). "--David Horiuchi"
Product descriptionThe follow-up to "Batman Begins", "The Dark Knight" reunites director Christopher Nolan and star Christian Bale, who reprises the role of Batman/Bruce Wayne in his continuing war on crime. With the help of Lt. Jim Gordon and District Attorney Harvey Dent, Batman sets out to destroy organized crime in Gotham for good. The triumvirate proves effective, but soon find themselves prey to a rising criminal mastermind known as The Joker, who thrusts Gotham into anarchy and forces Batman closer to crossing the fine line between hero and vigilante. Heath Ledger stars as archvillain The Joker, and Aaron Eckhart plays Dent. Maggie Gyllenhaal joins the cast as Rachel Dawes. Returning from "Batman Begins" are Gary Oldman as Gordon, Michael Caine as Alfred and Morgan Freeman as Lucius Fox.
Blu-ray features: Movie with Focus Points (picture in picture) Explore your favorite movies through BD-Live™, an interactive gateway to exclusive content 2.40:1 aspect ratio, with IMAX sequences in 1.78:1Gotham Uncovered: Creation of a Scene: Director Christopher Nolan and creative collaborators unmask the incredible detail and planning behind the film, including stunt staging, filming in IMAX®, and the new Bat-suit and Bat-pod. Batman Tech: The incredible gadgets and tools (in HD) Batman Unmasked: The Psychology of The Dark Knight: Delve into the psyche of Bruce Wayne and the world of Batman through real-world psychotherapy (in HD)    Gotham Tonight: 6 episodes of Gotham Cable's premier news program  The Galleries: The Joker cards, concept art, poster art, production stills, trailers and TV spots Digital Copy of the feature film Stills from " The Dark Knight " (click for larger image)

Theatrical: 1989

Studio: Warner Home Video

Genre: Action & Adventure

Duration: 479

Summary: Michael Keaton, Danny DeVito, Michelle Pfeiffer, Arnold Schwarzenegger, George ClooneyDirectors: Joel Schumacher & Tim Burton

Theatrical: 1989

Studio: Warner Home Video

Genre: Action & Adventure

Duration: 121

Summary: Michael Keaton, Tracey Walter, Jack Nicholson, Kim Basinger, Jack PalanceDirector: Tim Burton

Theatrical: 1992

Studio: Warner Home Video

Genre: Action & Adventure

Duration: 121

Summary: Michael Keaton, Pee-Wee Herman, Christopher Walken, Cristi Conaway, Danny De VitoDirector: Tim Burton

Theatrical: 1995

Studio: Warner Home Video

Genre: Action & Adventure

Duration: 115

Summary: Val Kilmer, Tommy Lee Jones, Jim Carrey, Nicole Kidman, Chris O'DonnellDirector: Joel Schumacher

Theatrical: 1997

Studio: Warner Home Video

Genre: Action & Adventure

Duration: 120

Summary: George Clooney, Kimberly Scott, Nicky Katt, Michael Bernardo, Dean CochranDirector: Joel Schumacher

Theatrical:

Studio: Warner Home Video

Genre: Action & Adventure

Duration: 75

Summary: This special edition boxed set includes an exclusive Red Hood figure (approx. 3" tall) on pack!

Batman faces his ultimate challenge as the mysterious Red Hood takes Gotham City by firestorm. One part vigilante, one part criminal kingpin, Red Hood begins cleaning Gotham City with the efficiency of Batman, but without following the same ethical code. Killing "is" an option. And when The Joker falls in the balance between the two, hard truths emerge and old wounds reopen. With a fantastic voice cast headed by Bruce Greenwood, Jensen Ackles and Neil Patrick Harris, this dazzling DC Universe Original Animated Movie twists and turns through action-packed battles and exciting surprises for a thrill ride you can't miss!

Blu-ray also includes Digital Copy and over 3 hours of exciting extras: "Robin: The Story of Dick Grayson;" "First Look: Superman/Batman Apocalypse;" "Bruce Timm Presents 4 Batman Animated Series Episodes;" "DC Showcase Presents Jonah Hex."

Theatrical: 1965

Studio: Warner Home Video

Genre: Thrillers

Duration: 169

Summary: The German offensive in December 1944 became the basis for this all-star Hollywood take on the Battle of the Bulge. Henry Fonda is an officer who predicts the assault, Robert Ryan and Dana Andrews are Army brass skeptical of his intuitions, and Robert Shaw (his hair dyed yellow and his eyes glinting with malice) is a German officer leading the tank attack. Shaw is certainly the most compelling thing about the film, especially in his philosophical debates with ambivalent underling Hans Christian Blech. Elsewhere, the movie jumps around to sidebar stories (cowardly James MacArthur becomes a leader, wheeler-dealer Telly Savalas falls in love) while messing around with the historical facts of the battle. There are interesting episodes, such as the Malmedy massacre of American POWs and the Germans' use of English-speaking spies, but overall Battle of the Bulge has the feeling of having been patched together from different scripts. On the physical level the movie comes up short, with the Spanish locations rarely suggesting the wintry misery of the battle, and the use of models and studio sets highly inadequate. A number of war films from this era are compelling on their own terms, but in the wake of "Saving Private Ryan" and "Band of Brothers", this one looks antique. "--Robert Horton"

Theatrical: 1925

Studio: Kino Video

Genre: Art House & International

Duration: 75

Summary: Sergei Eisenstein's revolutionary sophomore feature has so long stood as a textbook example of montage editing that many have forgotten what an invigoratingly cinematic experience he created. A 20th-anniversary tribute to the 1905 revolution, Eisenstein portrays the revolt in microcosm with a dramatization of the real-life mutiny aboard the battleship "Potemkin". The story tells a familiar party-line message of the oppressed working class (in this case the enlisted sailors) banding together to overthrow their oppressors (the ship's officers), led by proto-revolutionary Vakulinchuk. When he dies in the shipboard struggle the crew lays his body to rest on the pier, a moody, moving scene where the citizens of Odessa slowly emerge from the fog to pay their respects. As the crowd grows Eisenstein turns the tenor from mourning a fallen comrade to celebrating the collective achievement. The government responds by sending soldiers and ships to deal with the mutinous crew and the supportive townspeople, which climaxes in the justly famous (and often imitated and parodied) Odessa Steps massacre. Eisenstein edits carefully orchestrated motions within the frame to create broad swaths of movement, shots of varying length to build the rhythm, close-ups for perspective and shock effect, and symbolic imagery for commentary, all to create one of the most cinematically exciting sequences in film history. Eisenstein's film is Marxist propaganda to be sure, but the power of this masterpiece lies not in its preaching but its poetry. "--Sean Axmaker"

Theatrical:

Studio: Universal Studios

Genre: Science Fiction & Fantasy

Summary: Studio: Uni Dist Corp. (mca) Release Date: 04/06/2010

Theatrical: 2004

Studio: Universal Studios

Genre: Television

Duration: 755

Summary: One of the best shows on television looks better than ever as Battlestar Galactica: Season One arrives on Blu-ray™ Hi-Def. Relive all 13 thrilling episodes plus the four-hour miniseries that started it all in this four-disc set. When a surprise Cylon attack scatters the remnants of humanity throughout the galaxy, it’s up to steely President Laura Roslin (Mary McDonnell) and battle-hardened Commander William Adama (Edward James Olmos) to unite the desperate survivors and seek mankind’s only chance for a future, a mythical planet called Earth. Presented in 1080p with Dolby DTS-HD Master Audio 5.1 and showcasing U-Control™ features that allow you to go deeper into the BSG universe, Battlestar Galactica: Season One on Blu-ray™ Hi-Def is gripping drama that explores the human condition at its worst…and its best.

Theatrical: 2004

Studio: Universal Studios

Genre: Television

Duration: 963

Summary: As the epic second season begins, the fight to save humanity rages on. Relive all the intensity and excitement aboard the Galactica as the ongoing battle of President Laura Roslin (Mary McDonnell) and Commander William Adama (Edward James Olmos) continues in their heart-pounding crusade to save humanity from the deadly robot Cylons – even as civil war looms within the fleet between their followers. Featuring an extended version of the cliffhanger episode “Pegasus,” and packed with special features, including deleted scenes, podcasts and Producer David Eick’s video blog. It’s an explosive thrill-ride you can’t afford to miss!

Theatrical:

Studio: Universal Studios

Genre: Television

Summary: The adventure of one of television’s finest dramas continues on Blu-ray Hi-Def with the complete third season of the Peabody Award-winning Battlestar Galactica. The Colonies’ survivors have found their hopes of eluding their Cylon pursuers dashed by an invasion and occupation of their new home. As the fate of all human life hangs in the balance, friends become enemies, enemies become unexpected allies, and decisions are made that will haunt some people for the rest of their lives. Relive all 20 episodes of the season that challenges everything you thought you knew about the Battlestar Galactica universe. This 5-disc set features hours of extensive special features, including the extended version of the episode “Unfinished Business” containing 25 minutes of additional footage never aired on TV. You won’t want to miss a minute of the series considered “one of the best dramas on TV” (Time Magazine).

Theatrical:

Studio: Universal Studios

Genre: Science Fiction & Fantasy

Summary: All will be revealed as the thrilling final season of Battlestar Galactica lands on Blu-ray Hi-Def. From their initial action-packed battles against the Cylons to their desperate attempts to find the fabled 13th colony, Earth, a determined band of human survivors has captivated audiences everywhere with their desperate quest to find a new home for their dwindling numbers. Join them now as the fleet journeys into the farthest reaches of unexplored space and faces a crucial decision that will change all of their lives irrevocably. Containing all 20 Season Four episodes, this epic 6-disc set is loaded with hours of riveting bonus features and includes the unrated, extended version of Battlestar Galactica: Razor that never aired on television. Relive the anticipation, the action and the excitement of this groundbreaking series that is destined to live on as “one of the best dramas on TV.” (Time Magazine)

Theatrical:

Studio: Universal Studios

Genre: Television

Duration: 112

Summary: Debuting in late 2009 after the TV series ended, "Battlestar Galactica: The Plan" is a two-hour movie that at first glance appears to be a prequel but actually runs concurrently to the series. It takes its title from the famous opening credits (which end with "There are many copies. And they have a plan."), the plan being the Cylons' extermination of the human race in the bombing of Caprica and other cities in the original miniseries. However, the survival of a hardy band of humans means the Cylons need to finish the job in a much more intimate fashion, and no. 1 (Brother Cavil, played by Dean Stockwell) gathers a meeting of "skin jobs" (not including those who hadn't at that time learned their real identities) to figure out how to accomplish it. "Let's get this genocide started," he tells them, and the plan begins.
While much of the action is revisited from key moments (and reused footage) from the series, such as number 8's (Grace Park) attempted assassination on Adama (Edward James Olmos, who also directed), and no. 1's coordinating and reacting to those events, there are some new angles. Anders (Michael Trucco) escapes the initial nuclear attack and participates in a resistance movement against the Cylons, and no. 4, Simon (Rick Worthy), is conflicted by his mission because he's married to a human (Lymari Nadal, Olmos' wife). It's interesting to see events from a different point of view and to get some more depth of thought on them, but overall it's a bit of a disappointment for those expecting a completely new, stand-alone story along the lines of "Razor". Note that the movie has spoilers for those who haven't watched the TV series to its end, and it would probably be rated R for female and male nudity that, while not jarring in the context of "Galactica"'s mature tone and themes, seems gratuitous. The DVD includes 14 minutes of deleted scenes, including a longer conversation between Ellen Tigh and Cavil, four featurettes, and a commentary track by Olmos and executive producer-writer Jane Espenson. "--David Horiuchi"

Theatrical: 1969

Studio: Bfi Video

Genre: Classics

Duration: 93

Summary: There are a few movies out there which can be considered "lost" classics, movies unavailable in any format for years and worthy of great praise at the same time (hence, you couldn't call something like a Frank Stallone film a "Lost" classic, obviously). Ken Russell's "The Devils" is one, and Richard Lester's "The Bed-Sitting Room" is another. But the wait is over, as that indispensible institution the BFI are preparing to release this seminal film as part of their new "Flipside" range of little-known classics.



The film is an Absurdist classic of gargantuan proportions, almost as if Salvador Dali and Philip K. Dick cooked the whole thing up whilst drinking tea in Kings Cross one day. In cinematic history only the works of Luis Bunuel really come close, and Hell, he wasn't funny really, was he? In a post-nuclear British landscape dominated by broken crockery and other bric-a-brac, we soon learn that apparently only 20 people survived the apocalypse, and hence, the next in line to the throne is Mrs Ethel Schroake of 393a High Street, Leytonstone. Otherwise other odd characters such as Lord Fortnum of Alamein (Ralph Richardson) who is metamorphosising into a Bed-Sitting Room, and a mad Postman (Spike Milligan) who spouts mad non-sequiturs at random people populate the lanscape. I could go on forever about the characters and their quirks (amd transformations), but that would spoil the film somewhat. Let's just say that you'll be suprised how far a film script can go in terms of insanity.



As per usual, the BFI doesn't skimp on the Extra Features where available, and you can expect a lavish illustrated booklet with an essay on the film by journalist Michael Brooke; and archival interviews with Lester, Milligan and Peter Cook. God bless the BFI - And with releases of other lost classics planned in the near-future, they deserve our respect. Buy and watch in awe!

Theatrical: 2006

Studio: Warner Home Video

Genre: Television

Duration: 110

Summary: While it didn't quite spark a trend in chug-a-lug brew comedies, "Beerfest" is the kind of zany time-killer that's a lot funnier if you're within reach of a six-pack and Doritos. In other words, this is yet another low-brow laff-a-thon from the Broken Lizard gang ("Super Troopers") that's likely to draw a bigger audience on DVD than it did in theaters, especially since there's a lot of duds (and flat suds) to sit through while waiting for the next big beer-belly-laugh. It's the kind of movie that thinks masturbating frogs are funny (OK, you decide), while serving up a gang of guzzling Americans (the aforementioned Broken Lizard troupe, who also write this stuff with director Jay Chandrasekhar) who compete in an epic beer-drinking contest against the nefarious German challenger Baron Wolfgang Von Wolfhausen (played by German actor Jurgen Prochnow, whose starring role in Das Boot inspires one of this movie's better jokes). When it's not trying to top itself in terms of sheer stupidity and juvenile humor, "Beerfest" satisfies its target audience (basically, frat-rats and party animals) with some gratuitously bare-breasted babes, rampant consumption of alcohol, and the welcomed appearance of Cloris Leachman, who sort-of reprises her "Frau Blucher" persona from "Young Frankenstein". So basically what you've got here is a dim-witted but energetic comedy called "Beerfest" that delivers exactly what you'd expect from a movie with that title. Who says truth in advertising is dead? "--Jeff Shannon"

Theatrical: 1988

Studio: Warner Home Video

Genre: Kids & Family

Duration: 92

Summary: Before making "Batman", director Tim Burton and star Michael Keaton teamed up for this popular black comedy about a young couple (Geena Davis and Alec Baldwin) whose premature death leads them to a series of wildly bizarre afterlife exploits. As ghosts in their own New England home, they're faced with the challenge of scaring off the pretentious new owners (Catherine O'Hara and Jeffrey Jones), whose daughter (Winona Ryder) has an affinity for all things morbid. Keaton plays the mischievous Beetlejuice, a freelance "bio-exorcist" who's got an evil agenda behind his plot to help the young undead newlyweds. The film is a perfect vehicle for Burton's visual style and twisted imagination, with clever ideas and gags packed into every scene. "Beetlejuice" is also a showcase for Keaton, who tackles his title role with maniacal relish and a dark edge of menace. "--Jeff Shannon"

Theatrical: 2007

Studio: Image Entertainment

Genre: Mystery & Suspense

Duration: 117

Summary: Sidney Lumet’s "Before the Devil Knows You’re Dead" is an exceptionally dark story about a crime gone wrong and the complicated reasons behind it. Philip Seymour Hoffman and Ethan Hawke are outstanding as brothers whose mutual love-hate relationship subtly colors their agreement to rob their own parents’ jewelry store, and more explicitly affects the anxious aftermath of their villainy when their mother (Rosemary Harris) ends up shot. Hoffman’s steely, emotionally locked-up Andy, despite pulling down six figures as a corporate executive, is supporting an expensive drug habit while trying to leave the country with his depressed wife, Gina (Marisa Tomei). Hank (Hawke), a whipped dog of low intelligence, owes back alimony and child support to his ex-spouse. Both men need money and agree to rip off their parents' business, a decision that goes awry and puts both men in various kinds of jeopardy while their mother remains comatose and their father (Albert Finney) lurches along trying to make sense of anything. Writer Kelly Masterson's screenplay employs a perhaps now-overly-familiar time-shifting tactic, jumping around the chronology of the story's events and replaying scenes from different vantage points. The effect is a little tedious but successfully deconstructs the film's drama in a way that shows how such terrible events are directly linked to family dysfunction, old wounds between parent and child, between siblings, that fester into full-blown tragedy. Eighty-three-year-old director Lumet ("Serpico") employs bleached colors and scenes of blunt sexuality and violence, adding to the moral rudderlessness and banality of this airless world. If "Devil" feels a little reductive and insistently grim, it is also a generally persuasive work by an old master. "--Tom Keogh"

Theatrical: 1979

Studio: Warner Home Video

Genre: Comedy

Duration: 124

Summary:

Theatrical:

Studio: Optimum Home Entertainment

Genre: Period

Duration: 100

Summary: This is released in Australia already, same packaging. and the quality is wonderful.

Very sharp and beautiful colour.

also English dubbed as well as the original French tracks in 5.1

Highly Recommended

all REGIONS.

Theatrical:

Studio: Arrow Video

Genre: Foreign Horror Films

Summary:

Theatrical: 2003

Studio: Sony Pictures Home Entertainment

Genre: Comedy

Duration: 120

Summary: After a string of mediocre movies, director Tim Burton ("Corpse Bride", "Edward Scissorhands") regains his footing as he shifts from macabre fairy tales to Southern tall tales. "Big Fish" twines in and out of the oversized stories of Edward Bloom, played as a young man by Ewan McGregor ("Moulin Rouge") and as a dying father by Albert Finney (Tom Jones). Edward's son Will (Billy Crudup, "Almost Famous") sits by his father's bedside but has little patience with the old man's fables, because he feels these stories have kept him from knowing who his father really is. Burton dives into Bloom's imagination with zest, sending the determined young man into haunted woods, an idealised Southern town, a travelling circus, and much more. The result is sweet but--thanks to the director's dark and clever sensibility--never saccharine. Also featuring Jessica Lange, Alison Lohman, Helena Bonham Carter, Danny DeVito, and Steve Buscemi. "--Bret Fetzer"

Theatrical: 1986

Studio: 20th Century Fox

Genre: Action & Adventure

Duration: 99

Summary:

Theatrical: 1956

Studio: Criterion

Genre: Drama

Duration: 95

Summary: Talk about a film ahead of its time, Nicholas Ray's 1956 drama Bigger than Life tanked upon release in the US most likely because of its dark, brooding and unflinching observations on suburban life (the film is partially based on Ray's own childhood, if I'm recalling correctly.); people back then didn't want to be told about the monster next door, and to a lesser extent people today still don't want this, but Ray's film is so perfect in every respect that one can't look away from the screen for a moment.



Ray, like Fuller, unfortunately was, more or less, wholly ignored in the US during his life but was immensely popular with the Cahiers kids and I'm glad to see that in the past decade or so his films, besides the popular Rebel Without a Cause, are getting some serious reevaluations.

-----

Here's the details, for those interested, in regards to the Criterion release:



* New, restored high-definition digital transfer, with uncompressed monaural soundtrack on the Blu-ray edition

* Audio commentary featuring critic Geoff Andrew (The Films of Nicholas Ray)

* Profile of Nicholas Ray (1977), a half-hour television interview with the director

* New video appreciation of Bigger Than Life with author Jonathan Lethem (Chronic City)

* New video interview with Susan Ray, widow of the director and editor of I Was Interrupted: Nicholas Ray on Making Movies

* Theatrical trailer

* PLUS: A booklet featuring an essay by critic and video maker B. Kite

-----

Here is to hoping that they get their hands on Johnny Guitar.

Theatrical: 1972

Studio: Bfi Video

Genre: Period

Duration: 175

Summary:

Theatrical: 1969

Studio: Blue Underground

Genre: Horror

Duration: 96

Summary: Dario Argento takes sole writing credit for his directorial debut but "The Bird with the Crystal Plumage" is actually an unofficial adaptation of Fredric Brown's novel "The Screaming Mimi". Sam Dalmas (Tony Musante), an American novelist in Italy, is a helpless spectator to a vicious attack in an art gallery. Initially a suspect, Sam becomes the key witness to the attempted murder, the fourth in a month but the first survived by the victim. Something about the attack haunts him and so he launches his own investigation as the murders continue, the killer finally turning on Sam. Argento exhibits a sure hand in his first film, creating an easy to follow thriller spiced with tightly choreographed murder scenes and leavened with character humor (his colorful cast includes a genial stuttering pimp and an eccentric artist who lives in a house with no doors). But it's his gift for arresting images and cinematic inventiveness that gives this thriller its edge, from the opening murder where Sam impotently watches the bleeding victim while trapped in a veritable glass cage to the killer's naked eye peering through a peephole at Sam's girlfriend (Suzy Kendall) as she hysterically searches for an escape from the killer's pounding attempts to break into her apartment. Future Oscar winner Vittorio Storaro shot the film and Ennio Morricone provides an unusual, often eerie score arranged for human voices. While less baroque than Argento's later work, it's a fine first film and a standout in the "giallo" genre. "--Sean Axmaker"

Theatrical: 2008

Studio: Severin Films

Genre: Science Fiction

Duration: 90

Summary: There's very little to say about "Birdemic: Shock and Terror", unless you're in a room with at least 20 of your most ebullient, intoxicated friends who can yell at the screen, laugh at the primitive craftsmanship, howl at the ludicrous plot and dialogue, and generally have a good time at the expense of a movie that must know it's an awful affair designed to please for just those reasons. Filmmaker James Nguyen was probably a little surprised by the attention this shot-on-video labor sparked when it found a cult audience in a number of cities in the United States (and even abroad). It's certainly a surprise that the DVD is sparking another round of interest when the film itself is so dreadful. It's hard to make the argument that that's the point when the word "amateurish" doesn't even come close to describing the technical construction and acting, let alone the bizarre story of birds that fly amok and kill people with talons, with vomit, or by spontaneously exploding. The "special effects" consist of the most rudimentary home computer graphics, and the production values include just about everything they tell you not to do on your first day at film school. The film's 90 minutes would be cut at least by half without the abundant footage devoted to people walking, people driving, people standing and sitting, and people going in and out of doors. But on to the story, which starts with a romance, then moves to some bizarre tribute to Hitchcock's "The Birds" as the stupidly animated creatures begin attacking, then ends as a polemic about how global warming is turning the world upside down (beginning with the creation of killer birds). To be fair, this could fit into the so-bad-it-could-be-good category for a large number of people who applaud effort and appreciate lameness as high irony. But in order to walk away with that opinion, it might be best to save "Birdemic" for a movie-night party with a room or theater full of fuzzy-headed comrades who can take the head-shaking shenanigans with several canisters full of salt. "--Ted Fry"

Theatrical: 2009

Studio: Sony Pictures

Genre: Action & Adventure

Duration: 90

Summary: When drug dealers take out his kid brother, ex-CIA agent Black Dynamite ("Spawn"'s Michael Jai White) makes like a karate-chopping dynamo to track them down. Armed with a .44 Magnum, a set of nunchucks, and a sexy 'stache, Big D starts out in the City of Angels, where his buddies Cream Corn ("In Living Color"'s Tommy Davidson), a hustler, and Bullhorn (co-writer Byron Minns), a club owner, offer to lend a hand. The deeper Dynamite digs, the more endangered his life becomes as he uncovers a conspiracy to keep the black man down by flooding the streets with malt liquor and filling the country's orphanages with smack. Since the smooth operator has a way with the ladies, he also enlists Gloria ("I Am Legend"'s Salli Richardson-Whitfield), a socially-conscious soul sister, to aid in his clean-up campaign. Director Scott Sanders and White, who co-wrote the script, collaborated on 1998's "Thick as Thieves", and their chemistry shines through. If the supporting cast can be a little wooden, White gives "Shaft"'s Richard Roundtree a run for the money with his cool-cat charisma. Set in 1972, "Black Dynamite" doesn't just act like a movie from the "Superfly" era, it looks and sounds like one, too, courtesy Adrian Younge's old-school funk score, Shawn Maurer's 16mm cinematography, a cartoon credit sequence, and some carefully choreographed boom mic appearances. And dig those crazy cameos: Arsenio Hall as Tasty Freeze, Brian McKnight as Sweet Meat, and NBA veteran John Salley as Kotex. "--Kathleen C. Fennessy"



Stills from "Black Dynamite" (Click for larger image)

Theatrical: 2001

Studio: Columbia Pictures

Genre: Action & Adventure

Duration: 144

Summary: Ridley Scott's "Black Hawk Down" conveys the raw, chaotic urgency of ground-force battle in a worst-case scenario. With exacting detail, the film re-creates the American siege of the Somalian city of Mogadishu in October 1993, when a 45-minute mission turned into a 16-hour ordeal of bloody urban warfare. Helicopter-borne U.S. Rangers were assigned to capture key lieutenants of Somali warlord Muhammad Farrah Aidid, but when two Black Hawk choppers were felled by rocket-propelled grenades, the U.S. soldiers were forced to fend for themselves in the battle-torn streets of Mogadishu, attacked from all sides by armed Aidid supporters. Based on author Mark Bowden's bestselling account of the battle, Scott's riveting, action-packed film follows a sharp ensemble cast in some of the most authentic battle sequences ever filmed. The loss of 18 soldiers turned American opinion against further involvement in Somalia, but "Black Hawk Down" makes it clear that the men involved were undeniably heroic. "--Jeff Shannon"

Theatrical: 1947

Studio: Criterion Collection

Genre: Drama

Duration: 154

Summary: Appropriately enough for a picture named for a flower, "Black Narcissus" exists in a color-drenched, hothouse atmosphere. The setting is a nunnery in the Himalayas, where sister Deborah Kerr has her hands full with an envious nun (the remarkable Kathleen Byron) and a sardonic Englishman (David Farrar). Director Michael Powell and screenwriter Emeric Pressburger, the team responsible for the mid-forties masterpieces "A Stairway to Heaven" and "The Red Shoes", decided to shoot "Black Narcissus" entirely in the studio, so they could create their own controlled, slightly unreal world. The choice paid off, as both art director Alfred Junge and cinematographer Jack Cardiff won Oscars for their blazing Technicolor work. The climactic sequence--a murder attempt on the cliffs of the cloister--bears special attention, as Powell "set" the sequence to a preexisting musical track, staging it as though it were a piece of visual choreography. Adding a bit of behind-the-scenes tension to the production was the fact that Kerr was the director's ex-mistress, and Byron his current one. "It was a situation not uncommon in show business, I was told," he later wrote, "but it was new to me." "--Robert Horton"

Theatrical: 2007

Studio: Paramount

Genre: Drama

Duration: 115

Summary: The lurid scenario--a nymphomaniacal white trash nymphet (Christina Ricci) is held prisoner by a bitter bluesman (Samuel L. Jackson)--gives way to an affecting tale of redemption in "Black Snake Moan", writer/director Craig Brewer's follow-up to the acclaimed "Hustle & Flow". Lazarus (Jackson, "Jungle Fever", "Pulp Fiction") finds Rae (Ricci, "Monster", "The Ice Storm") beaten unconscious on the road in front of his backwoods house. After bringing her inside, he learns of her wanton ways and decides to exorcise his own demons by curing Rae of her sexual compulsion. "Black Snake Moan" could have been terrible, but Brewer takes his story seriously enough to dig into the genuine emotions of such a situation (though along the way he certainly flirts with sexploitation overtones--several scenes look like they were plucked straight out of a hitherto unknown 1970s trash classic). Ricci, Jackson, and the supporting cast (including pop star Justin Timberlake, giving a surprisingly good performance as Rae's boyfriend) treat the characters with respect, honesty, and humor. The result is off-kilter and maybe a little too fond of its sleazy cinematic forbears to truly hit the emotional notes it's after, but "Black Snake Moan" has considerably more substance than its marketing would suggest. "--Bret Fetzer"

Beyond "Black Snake Moan"
The Soundtrack
More Music Stars on DVD
More DVDs with Samuel L. Jackson Stills from "Black Snake Moan" (click for larger image)

Theatrical: 2007

Studio: Warner Home Video

Genre: Action & Adventure

Duration: 578

Summary: Visually spectacular, intensely action-packed and powerfully prophetic since its debut, Blade Runner returns in Ridley Scott's definitive Final Cut, including extended scenes and never-before-seen special effects, now seen in sepcatacular hi-definition! In a signature role as 21st- century detective Rick Deckard, Harrison Ford brings his masculine-yet- vulnerable presence to this stylish noir thriller. In a future of high- tech possibility soured by urban and social decay, Deckard hunts for fugitive, muderous replicants - and is drawn to a mystery woman whose secrets may undermine his soul. This spectacular 5-Disc Set features all of the content of the standard definition Ultimate Collector's Edition. All five version of the legendary Sci-Fi film from Director Ridley Scott with all new 5.1 audio - the definitive Final Cut, three additional versions of the film, and the rare Work Print version - in addition to the in-depth feature length documentary "Dangerous Days", and one complete disc of bonus content including over 80-minutes of never- before-seen deleted scenes.

Theatrical: 1974

Studio: Warner Home Video

Genre: Comedy

Duration: 93

Summary: Mel Brooks scored his first commercial hit with this raucous Western spoof starring the late Cleavon Little as the newly hired (and conspicuously black) sheriff of Rock Ridge. Sheriff Bart teams up with deputy Jim (Gene Wilder) to foil the railroad-building scheme of the nefarious Hedley Lamarr (Harvey Korman). The simple plot is just an excuse for a steady stream of gags, many of them unabashedly tasteless, that Brooks and his wacky cast pull off with side-splitting success. The humor is so juvenile and crude that you just have to surrender to it; highlights abound, from the lunkheaded Alex Karras as the ox-riding Mongo to Madeline Kahn's uproarious send-up of Marlene Dietrich as saloon songstress Lili Von Shtupp. Adding to the comedic excess is the infamous campfire scene involving a bunch of hungry cowboys, heaping servings of baked beans and, well, you get the idea. "--Jeff Shannon"

Theatrical: 2006

Studio: Warner Home Video

Genre: Action & Adventure

Duration: 143

Summary: Leonardo DiCaprio puts a handsome face on an ugly industry: In parts of Africa, diamond mining fuels civil warfare, killing thousands of innocents and drafting preteen children as vicious soldiers. DiCaprio ("The Departed") plays Danny Archer, a white African soldier-turned-diamond-smuggler who gets wind of a large raw jewel found by Solomon Vandy, a native fisherman (Djimon Hounsou, "In America") recently escaped from enslavement by a brutal rebel leader. Archer offers a deal: He'll help Vandy find his war-scattered family if Vandy will share the diamond with him. Drawn into this web of exploitation is journalist Maddy Bowen (Jennifer Connelly, "Little Children"), who agrees to help if Archer will tell her the details of how conflict diamonds make their way into the hands of the corporations who sell them to the Western world. DiCaprio is compelling because he never flinches from Archer's utter ruthlessness; Archer ends up doing the morally justifiable thing, but only because his desperate greed has led him to it. Hounsou and Connelly, though saddled with all the moral and political speeches, rise above the cant and keep the movie's treacherously formulaic plot rooted in human characters. But in the end, the story won't stick with you as much as the dead stillness in the child soldiers' eyes; the horror of African civil strife refuses to be contained by "Blood Diamond"'s uplifting message--and the movie is all the more potent as a result. "--Bret Fetzer"

Theatrical: 2009

Studio: Sony Pictures

Genre: Action & Adventure

Duration: 91

Summary: The deadliest assassin to stand the test of time. From a Producer of "Hero" and "Crouching Tiger, Hidden Dragon" comes "Blood: The Last Vampire", based on the cult hit anime series. Demons have infested Earth. And only one warrior stands between the dark and the light: Saya, a half-human, half-vampire samurai who preys on those who feast on human blood. Joining forces with the shadowy society known as the Council, Saya is dispatched to an American military base, where an intense series of swordfights leads her to the deadliest vampire of all. And now after 400 years, Saya's greatest hunt is about to begin.

Theatrical: 2001

Studio: New Line Home Video

Genre: Drama

Duration: 124

Summary: A briskly paced hybrid of "Boogie Nights" and "Goodfellas", "Blow" chronicles the three-decade rise and fall of George Jung (Johnny Depp), a normal American kid who makes a personal vow against poverty, builds a marijuana empire in the '60s, multiplies his fortune with the Colombian Medellín cocaine cartel, and blows it all with a series of police busts culminating in one final, long-term jail sentence. "Your dad's a loser," says this absentee father to his estranged but beloved daughter, and he's right: "Blow" is the story of a nice guy who made wrong choices all his life, almost single-handedly created the American cocaine trade, and got exactly what he deserved. As directed by Ted Demme, the film is vibrantly entertaining, painstakingly authentic... and utterly aimless in terms of overall purpose.
We can't sympathize with Jung's meteoric rise to wealth and the wild life, and Demme isn't suggesting that we should idolize a drug dealer. So what, exactly, is the point of "Blow"? Simply, it seems, to present Jung's story as the epitome of the coke-driven glory days, and to suggest, ever so subtly, that Jung isn't such a bad guy, after all. Anyone curious about his lifestyle will find this film amazing, and there's plenty of humor mixed with the constant threat of violence and paranoid anxiety. Demme has also populated the film with a fantastic supporting cast (although Penélope Cruz grows tiresome as Jung's hedonistic wife), and this is certainly a compelling look at the other side of "Traffic". Still, one wishes that "Blow" had a more viable reason for being; like a wild party, it leaves you with a hangover and a vague feeling of regret. "--Jeff Shannon"

Theatrical: 1981

Studio: Criterion Collection

Genre: Art House & International

Duration: 108

Summary: Brian De Palma's 1981 thriller is something of a homage to Michelangelo Antonioni's masterful "Blowup", though there are hints of Francis Ford Coppola's paranoia-inducing "Conversation" sprinkled throughout. John Travolta plays a sound-effects man who witnesses what appears to be a tragic car accident killing a presidential candidate. The audio tape he happened to be recording at that moment (adding to his collection of natural sounds), however, suggests but doesn't prove that a murderous conspiracy is afoot. Trying to tease a shred of evidence from murky doubt, Travolta's character turns to a hooker (Nancy Allen) for help and stumbles into a web of evil spun by a right-wing kook (John Lithgow). De Palma's fetishistic fascination with obscured truth in a universe ruled by chance makes "Blow Out" one of his most operatic films. It's also perhaps one of his most revealing about the inherent decadence of creating verisimilitude for art. Sometimes knocked for its outrageous camera technique, "Blow Out" contains several exciting sequences that underscore De Palma's amped-up admiration for many of Hitchcock's best moves. "--Tom Keogh"

Theatrical:

Studio: Alliance Films

Genre:

Summary:

Theatrical:

Studio: Alliance (Universal)

Genre: DVD

Summary: Even if the notorious 1970s porn-filmmaking milieu doesn't exactly turn you on, don't let it turn you off to this movie's extraordinary virtues, either. "Boogie Nights" is one of the key movies of the 1990s and among the most ambitious and exuberantly alive American movies in years. It's also the breakthrough for an amazing new director, whose dazzling kaleidoscopic style here recalls the Robert Altman of "Nashville" and the Martin Scorsese of "Good Fellas". Although loosely based on the sleazy life and times of real-life porn legend John Holmes, at heart it's a classic Hollywood rise-and-fall fable: a naive, good-looking young busboy is discovered in a San Fernando Valley disco by a famous motion picture producer, becomes a hotshot movie star, lives the high life and then loses everything when he gets too big for his britches, succumbs to insobriety and is left behind by new times and new technology. Of course, it isn't exactly "A Star Is Born" or "Singin' in the Rain". Writer-director Paul Thomas Anderson (in only his second feature!) puts his own affectionately sardonic twist on the old showbiz biopic formula: the ambitious upstart changes his name and achieves stardom in porno films as "Dirk Diggler." Instead of drinking to excess, he snorts cocaine (the classic drug of 70s hedonism); and it's the coming of home video (rather than talkies) that helps to dash his big-screen dreams. As for the britches ... well, the controversial "money shot" explains everything. And the cast is one of the great ensembles of the 90s, including Oscar nominees Burt Reynolds and Julianne Moore, Mark Wahlberg (who really can act--from the waist up, too!), Heather Graham (as Rollergirl), William H. Macy, John C. Reilly and Ricky Jay. "--Jim Emerson"

Theatrical:

Studio: Alliance (Universal)

Genre: Comedy

Summary: Screenwriters rarely develop a distinctive voice that can be recognized from movie to movie, but the ornate imagination of Charlie Kaufman ("Being John Malkovich", "Adaptation") has made him a unique and much-needed cinematic presence. In "Eternal Sunshine of the Spotless Mind", a guy decides to have the memories of his ex-girlfriend erased after she's had him erased from her own memory--but midway through the procedure, he changes his mind and struggles to hang on to their experiences together. In other hands, the premise of memory-erasing would become a trashy science-fiction thriller; Kaufman, along with director Michel Gondry, spins this idea into a funny, sad, structurally complex, and simply enthralling love story that juggles morality, identity, and heartbreak with confident skill. The entire cast--Jim Carrey, Kate Winslet, Kirsten Dunst, Elijah Wood, Mark Ruffalo, Tom Wilkinson, and more--give superb performances, carefully pitched so that cleverness never trumps feeling. A great movie. "--Bret Fetzer"

Theatrical:

Studio: Alliance (Universal)

Genre: DVD

Summary:

Theatrical: 1981

Studio: Warner Home Video

Genre: Mystery & Suspense

Duration: 113

Summary: While scoring high-profile credits as a screenwriter (including "The Empire Strikes Back", "Return of the Jedi", and "Raiders of the Lost Ark"), Lawrence Kasdan made his directorial debut with this steamy, contemporary film noir in the tradition of "Double Indemnity" and other classics from the 1940s. In one of his most memorable roles, William Hurt plays a Florida lawyer unwittingly drawn into a web of deceit spun by Kathleen Turner (in her screen debut) as a married socialite who plots to kill off her husband with Hurt's assistance. Kasdan's dialogue is a hoot (sometimes it borders on satire), and the sultry atmosphere is a perfect complement to the perspiration-soaked chemistry between Hurt and Turner, whose love scenes caused quite a stir when the film was released in 1981. John Barry's score sets the provocative mood, and both Ted Danson and Mickey Rourke are splendid in memorable supporting roles. "--Jeff Shannon"

Theatrical: 2008

Studio: Warner Home Video

Genre: Action & Adventure

Duration: 128

Summary: Set it next to the similar Middle-East intrigue of "Syriana", and "Body of Lies" is easy to follow--in fact, this movie's plot is amazingly straightforward for an espionage picture. Leonardo DiCaprio is the CIA agent on the ground, an Arabic-speaking chameleon who believes in forging personal relationships based on trust and professionalism. Russell Crowe is his supervisor, a meddler who makes up the rules as he goes along and is more than willing to trade long-term benefits for a short-term "win." (One of these characters is surely intended to represent the foreign policy style of the Bush administration in the first decade of the 21st century; take a guess which one.) While working on a case in Jordan, DiCaprio gets a modest flirtation going with a nurse (Golshifteh Farahani), although his most intense relationship is with a Jordanian intelligence chief (great role for Mark Strong) who takes a wary view of the CIA's activities. Ridley Scott directs as though weary of all the fuss, and his merriment in Crowe's breezy sociopath gives the movie a rather strange aftertaste. It gets the job done, although after it's over you might find yourself craving the head-scratching complications of "Syriana". "--Robert Horton"

Theatrical: 2008

Studio: WALT DISNEY VIDEO

Genre: Animation

Duration: 97

Summary: Bolt is a funny animated film about a dog who thinks he has superpowers. It is also a movie about friendship, perseverance, and the power of believing in oneself. Everyone knows that superheroes on television are not real, but super-dog Bolt (John Travolta) is a canine star who has been carefully raised to believe that he really possesses superpowers. Bolt is completely devoted to his human co-star Penny (Miley Cyrus), so when Penny is captured by the evil Dr. Calico (Malcolm McDowell) in their latest television episode and then Bolt accidentally gets loose in the real world, Bolt sets off on a journey to save her. Bolt is confounded when his super powers are suddenly ineffective, but inspiration strikes and Bolt quickly discovers the mysterious, power-stealing effects of Styrofoam packing peanuts. An encounter with alley cat Mittens (Susie Essman) gives Bolt some eye-opening lessons about being a real dog in the real world, while star-struck, ball-enclosed hamster Rhino (Mark Walton) revels in the opportunity to serve as Bolt's sidekick in the quest to rescue Penny. The trio traverses the United States from waffle house to waffle house on a hysterical quest to find Penny and prove that the relationship between Penny and Bolt is real. In the end, Bolt, Mittens, and Rhino learn that everyone is special in their own way and they discover the true power of believing in oneself and one's friends. Select theaters showed Bolt in Real-D 3-D which features some nice effects, but the film is probably equally enjoyable in the traditional format. A fun film with a nice message and a huge dose of cute, Bolt is good entertainment for the entire family. --Tami Horiuchi

Stills from Bolt (Click for larger image)

Theatrical: 1967

Studio: WARNER HOME VIDEO

Genre: Drama

Duration: 111

Summary: One of the landmark films of the 1960s, "Bonnie and Clyde" changed the course of American cinema. Setting a milestone for screen violence that paved the way for Sam Peckinpah's "The Wild Bunch", this exercise in mythologized biography should not be labeled as a bloodbath; as critic Pauline Kael wrote in her rave review, "it's the absence of sadism that throws the audience off balance." The film is more of a poetic ode to the Great Depression, starring the dream team of Warren Beatty and Faye Dunaway as the titular antiheroes, who barrel across the South and Midwest robbing banks with Clyde's brother Buck (Gene Hackman), Buck's frantic wife Blanche (Estelle Parsons), and their faithful accomplice C.W. Moss (the inimitable Michael J. Pollard). "Bonnie and Clyde" is an unforgettable classic that has lost none of its power since the 1967 release. "--Jeff Shannon"

Theatrical: 2008

Studio: SUNFILM Entertainment

Genre: Action & Thriller

Duration: 100

Summary: BOOK OF BLOOD

Theatrical: 2000

Studio: 20th Century Fox Home Entertainment

Genre: Action & Adventure

Duration: 110

Summary: Charismatic young stars Sean Patrick Flanery and Norman Reedus play two Irish brothers, Connor and Murphy, who believe themselves ordained by God to rid the world of evil men. Their first killing is in self-defense; but after that, they start killing with devotion, gunning down a summit of the Russian mafia. Willem Dafoe plays a gay FBI agent (he listens to opera while examining crime scenes) who knows what the boys are doing but feels that their vigilante tactics are necessary. There's not much plot to "The Boondock Saints"--it's mostly a series of violent scenes in which the boys are partially ingenious and partially lucky. The movie seems to want to provoke debate about vigilantism, but the scenario is too implausible to stir any real controversy. The peculiar mix of earnestness and machismo will not appeal to everyone, but it's certainly unique and may acquire a cult following. "--Bret Fetzer"

Theatrical: 1996

Studio: Criterion Collection

Genre: Comedy

Duration: 164

Summary: This quietly daffy comedy should have been an indie hit, but ended up ignored by audiences. Too bad; it's a wonderfully sustained caper movie about friends whose career choice is all wrong. Low-key Anthony (Luke Wilson) and high-strung Dignan (Owen C. Wilson--the two actors are brothers) are brought into a life of crime by Dignan's ambition to be a small-time thief. After a few amusingly laid-back trial burglaries, they (and a third buddy) find themselves over their heads when they hook up with an experienced crime boss (James Caan). Because this movie is so relentlessly deadpan, you really have to be dialed in to its brand of humor--but once there, Bottle Rocket shoots off plenty of sparks. Above all, Owen Wilson's portrayal of Dignan is a terrifically original comic creation; Dignan is so sincerely focused on his goals that he can't see how completely absurd his ideas are. Owen Wilson, who went on to supply similarly knuckle-headed performances in Armageddon and Permanent Midnight, wrote the screenplay with director Wes Anderson. --Robert Horton

Theatrical:

Studio: Warner Home Video

Genre: Drama

Duration: 115

Summary: Director Richard Kelly has crafted yet another evocative, spectacular, maddening film guaranteed to provoke passionate love-it or hate-it responses. Though far more straightforward than his previous cult favorites, "Donnie Darko" or "Southland Tales", "The Box" is crammed just as full of stunning visuals and ambiguous metaphysics. Norma and Arthur Lewis (Cameron Diaz of "Charlie's Angels" and James Marsden of "X-Men") find a plainly wrapped package on their doorstep one day. Inside is a strange box with a large, red button--and if they press that button, explains a courtly but alarming-looking gentleman (Frank Langella, "Frost/Nixon"), they will receive a million dollars… and someone they don't know will die. This is but the starting point for an increasingly creepy tale, featuring eye-popping wallpaper, spontaneous nosebleeds, allusions to Jean-Paul Sartre, overly attentive library patrons, boxes of water, warehouses full of light, and a bell-ringing Santa Claus standing in the middle of a road. Some of it makes sense, some of it doesn't, but the person who's going to love this movie won't care. "The Box"'s true power lies in the slow accumulation of dizzying hypnotic images and a tangible sense of unease and anticipation. Kelly aspires to capture the beauty and terror of existence on film; even if he doesn't succeed--and every viewer will have to decide that for himself or herself--his sheer ambition is remarkable. "--Bret Fetzer"

Theatrical: 1992

Studio: Columbia Pictures

Genre: Action & Adventure

Duration: 128

Summary: With dizzying cinematic tricks and astonishing performances, Francis Coppola's 1992 version of the oft-filmed Dracula story is one of the most exuberant, extravagant films of the 1990s. Gary Oldman and Winona Ryder, as the Count and Mina Murray, are quite a pair of star-crossed lovers. She's betrothed to another man; he can't kick the habit of feeding off the living. Anthony Hopkins plays Van Helsing, the vampire slayer, with tongue firmly in cheek. Tom Waits is great fun as Renfield, the hapless slave of Dracula who craves the blood of insects and cats. Sadie Frost is a sexy Lucy Westenra. And poor Keanu Reeves, as Jonathan Harker, has the misfortune to be seduced by Dracula's three half-naked wives. There's a little bit of everything in this version of "Dracula": gore, high-speed horseback chases, passion, and longing.

Theatrical:

Studio: Sony Pictures

Genre: Comedy

Duration: 346

Summary: No one would confuse the desperate dad Bryan Cranston plays in this character-driven drama with the fun-loving Hal from "Malcolm in the Middle". In AMC's "Breaking Bad", Walter White lives in the suburbs with his wife--and wears tighty-whiteys--but the similarities end there. During the pilot, the cash-strapped chemistry teacher finds out he has inoperable lung cancer. He and Skyler ("Deadwood"'s Anna Gunn) have one son, Walter Jr. (R.J. Mitte), and a daughter on the way. With two years to get his affairs in order, Walter comes up with a wild plan: he and former student Jesse (Aaron Paul), a drug dealer, will open a meth lab.
In the hands of creator Vince Gilligan ("The X-Files"), "Bad"'s first season plays like the improbable offspring of "Weeds" and "The Shield". With nothing left to lose, the Albuquerque 50-year-old uses his death sentence as a catalyst to break every rule he's ever followed while keeping his family--including Skyler's radiologist sister, Marie (Betsy Brandt), and her DEA agent husband, Hank (Dean Norris)--out of the loop. Throughout these seven episodes, Walt takes on a hostage, a dead body, and a partner who likes to sample his own product. Based on the description alone, the program shouldn't work as well as it does, except Gilligan and company keep the situations psychologically believable and Emmy winner Cranston makes Walt surprisingly sympathetic as he swings between compassion and self-interest. As he tells his students, "Chemistry is the study of change," a statement that applies equally well to the show, since Walt ends up in a very different place than the one he began. This three-disc set comes complete with cast and crew commentary, an installment of AMC's "Shootout", two featurettes, deleted scenes, and screen tests. "--Kathleen C. Fennessy"

Theatrical:

Studio: Sony Pictures

Genre: Comedy

Duration: 615

Summary: As "Breaking Bad"'s first year concluded, chemistry teacher Walt (two-time Emmy-winner Bryan Cranston) and his meth-making partner, Jesse (Emmy-nominee Aaron Paul), hooked up with drug kingpin Tuco (Raymond Cruz), and the money started to roll in. They expected some degree of danger--but not a homicidal maniac. When DEA agent Hank (Dean Norris) starts to close in on Tuco, he kidnaps the duo, who eventually escape, but the experience creates a host of new complications, leaving Jesse temporarily homeless and driving a wedge between Walt and his pregnant wife, Skyler (Anna Gunn), and their 15-year-old son, Walt Jr. (R. J. Mitte). In his commentary, creator Vince Gilligan explains that the "chickens come home to roost" in season 2 as Walt's criminal activity catches up with him. In effect, he lives out the psychological version of "The Fly", with his double life merging into one, such that he starts to become as ruthless as Tuco. Hank, meanwhile, gets a promotion that expands his jurisdiction to El Paso, while Skyler takes an accounting job that could cause her to "break bad" in season 3.
If this AMC hit lacked a sense of humor, it just might be too hard to take. Aside from Walt's incurable illness and Hank's post-traumatic stress disorder, there's a head crushing, a shooting, an explosion, and an overdose. Though Walt and Skyler get few humorous moments, Jesse, Hank, and ambulance-chasing attorney Saul ("Mr. Show"'s Bob Odenkirk, an inspired addition) make the most of theirs. Jesse even gets a girlfriend (Krysten Ritter), who comes with a wary father (John de Lancie)--but there's still more shadow than light (not counting those panoramic desert shots). Strong stuff, but it's impossible to look away. Extensive extras include commentaries, deleted scenes, and featurettes on every episode. "--Kathleen C. Fennessy"

Stills from "Breaking Bad: The Complete Second Season" (Click for larger image)

Theatrical:

Studio: Columbia/Tri-Star

Genre: Television

Duration: 780

Summary:

Theatrical: 2006

Studio: First Look Pictures

Genre: Action & Adventure

Duration: 87

Summary: Wes Craven served as executive producer on this direct-to-video chiller about a group of friends who discover that the remote island they've chosen as a vacation spot is home to a wild pack of attack dogs. After dispatching a sailboater and his bikini-clad girlfriend, the canines (which look more cuddly than ferocious) pick off the interloping friends with all-too-human cunning; the survivors have just enough time to discover that the mutts are the product of military genetic experiments to create unstoppable attack dogs. Director Nick Mastrandrea (a longtime production associate of both Craven and George Romero) lends a professional look to his debut feature, and gets decent performances from his cast (which includes "Lost"'s Michelle Rodriguez, Taryn Manning, and Oliver Hudson), but the script is tired almost from page one, and the resulting action and gore do little to help this indie picture stand out from the rest of the horror crowd. Dog lovers with soft hearts should be forewarned that the CGI stand-ins for the animal actors endure some gruesome abuse in the course of the picture. "–-Paul Gaita"

Theatrical: 1957

Studio: Sony Pictures

Genre: Action & Adventure

Duration: 161

Summary: Director David Lean's masterful 1957 realization of Pierre Boulle's novel remains a benchmark for war films, and a deeply absorbing movie by any standard--like most of Lean's canon, "The Bridge on the River Kwai" achieves a richness in theme, narrative, and characterization that transcends genre.

The story centers on a Japanese prison camp isolated deep in the jungles of Southeast Asia, where the remorseless Colonel Saito (Sessue Hayakawa) has been charged with building a vitally important railway bridge. His clash of wills with a British prisoner, the charismatic Colonel Nicholson (Alec Guinness), escalates into a duel of honor, Nicholson defying his captor's demands to win concessions for his troops. How the two officers reach a compromise, and Nicholson becomes obsessed with building that bridge, provides the story's thematic spine; the parallel movement of a team of commandos dispatched to stop the project, led by a British major (Jack Hawkins) and guided by an American escapee (William Holden), supplies the story's suspense and forward momentum.

Shot on location in Sri Lanka, "Kwai" moves with a careful, even deliberate pace that survivors of latter-day, high-concept blockbusters might find lulling--Lean doesn't pander to attention deficit disorders with an explosion every 15 minutes. Instead, he guides us toward the intersection of the two plots, accruing remarkable character details through extraordinary performances. Hayakawa's cruel camp commander is gradually revealed as a victim of his own sense of honor, Holden's callow opportunist proves heroic without softening his nihilistic edge, and Guinness (who won a Best Actor Oscar, one of the production's seven wins) disappears as only he can into Nicholson's brittle, duty-driven, delusional psychosis. His final glimpse of self-knowledge remains an astonishing moment--story, character, and image coalescing with explosive impact.

Like Lean's "Lawrence of Arabia", "The Bridge on the River Kwai" has been beautifully restored and released in a highly recommended widescreen version that preserves its original aspect ratio. "--Sam Sutherland"
Stills from "The Bridge on the River Kwai" (click for larger image)












Beyond "The Bridge on the River Kwai"
The David Lean Collection
"WWII 60th Anniversary Collection"
"The True Story of the Bridge on the River Kwai" (History Channel)

Theatrical: 2007

Studio: Walt Disney Home Entertainment

Genre: Action & Adventure

Duration: 96

Summary: Based on Katherine Paterson's young-adult novel and filmed in picturesque New Zealand, Bridge to Terabithia has lessons to impart about empathy and self-expression, but the tone is never heavy-handed. Jesse (sleepy-eyed Josh Hutcherson, "Zathura"), a fifth-grade loner, lives in the country with his parents and four sisters, including pesky May Belle (Bailee Madison), who adores him. His strict father (Robert Patrick, "The Terminator 2") works in a hardware store. Money is tight and classmates make fun of his hand-me-downs, so Jesse finds refuge in running and drawing. Everything changes when two writers and their daughter Leslie (wide-eyed AnnaSophia Robb, "Charlie and the Chocolate Factory") move in next door. Leslie is faster than all the boys, which initially puts Jesse off, but the two soon bond over their love of make-believe. In the forest, they find a creek that can only be crossed by rope. Leslie names the land on the other side Terabithia, where they imagine themselves rulers of the kingdom. Jesse and Leslie also connect with their unconventional music teacher, Ms. Edmonds (Zooey Deschanel, "Elf"), who encourages their creativity. Despite the tension at home, Jesse's personal life is finally coming together when the unthinkable happens. Will he revert to his anti-social ways or will he grow from the experience? Though aimed at all ages, pre-school students may find Terebithia's creatures frightening. For grade-school kids and up, however, there's much to savor in this smartly written, sensitively acted film. "--Kathleen C. Fennessy"

Theatrical:

Studio: Channel 4 DVD

Genre: Period

Summary:

Theatrical:

Studio: 4dvd

Genre: Period

Duration: 99

Summary: "Gangster No. 1" is without doubt the most stylish British violent crime thriller from the many produced at the end of the 20th century. For all the pop-video glamour of Guy Ritchie's "Lock, Stock, and Two Smoking Barrels" and "Snatch", neither have anywhere near as much a sense of danger as is shown here. Paul Bettany ignites the screen with a fury that explodes far more than it smoulders beneath his tautly kept temper. The tale concerns his ascent to the titular position of primacy in 1960s London, told in flashback by his present-day self (an equally riveting Malcolm McDowell). A lust for power won't allow anything to stand in either incarnation's way, especially the foppish posturing of established crime boss Freddie Mays (David Thewlis). What distinguishes this from many other tales of greed is that the never-named Gangster actually wants to be Freddie, not simply replace him. Saffron Burrows plays the suffering trophy moll in the middle of this personality clash and provides about the only level head and gentle tongue in what is otherwise a super-violent and super-profane script. This is what "The Krays" should have been, and therefore not for the squeamish. --"Paul Tonks"

Theatrical:

Studio: 4dvd

Genre: Comedy

Duration: 89

Summary: Fed up with the seemingly endless succession of Brit gangster flicks? Or just wish that someone would reinvent the genre? Either way, "Sexy Beast" is for you. While reintroducing some of the well-worn characters of recent years, the film at least attempts to take a sideways look at the genre. Centred on the lives of two ex-con ex-pats and their new lives in Spain, the story is one concerning the conflict between the past and the present. Ray Winston is Gel, who, enjoying his life of early retirement in the sun, finds his loyalties called into question when asked to return to Britain to take part in an audacious heist. There's not much else to say plot wise, but the script and cast is so strong that the film gets away with it. Eschewing the younger brat pack in favour of the likes of Winston, Ian McShane, Amanda Redman (sadly under-used) and Ben Kingsley (whose ultra foul-mouthed Don steals every scene) gives the film a calm authority. Quite violent--although more in language than action--but not without its moments of brilliant humour, "Sexy Beast" is an intelligent, enthralling and welcome addition to the gangster-film genre. --"Phil Udell"

Theatrical:

Studio: 4dvd

Genre: Period

Duration: 88

Summary:

Theatrical:

Studio: 4dvd

Genre: Period

Duration: 90

Summary: The film that effectively launched the star careers of Robert Carlyle, Ewan McGregor and Jonny Lee Miller is a hard, barbed picaresque, culled from the bestseller by Irvine Welsh and thrown down against the heroin hinterlands of Edinburgh. Directed with abandon by Danny Boyle, "Trainspotting" conspires to be at once a hip youth flick and a grim cautionary fable. Released on an unsuspecting public in 1996, the picture struck a chord with audiences worldwide and became adopted as an instant symbol of a booming British rave culture (an irony, given the characters' main drug of choice is heroin not ecstasy).
McGregor, Lee Miller and Ewen Bremner play a slouching trio of Scottish junkies; Carlyle their narcotic-eschewing but hard-drinking and generally psychotic mate Begbie. In Boyle's hands, their lives unfold in a rush of euphoric highs, blow-out overdoses and agonising withdrawals (all cued to a vogueish pop soundtrack). Throughout it all, John Hodge's screenplay strikes a delicate balance between acknowledging the inherent pleasures of drug use and spotlighting its eventual consequences. In "Trainspotting"'s world view, it all comes down to a question of choices--between the dangerous Day-Glo highs of the addict and the grey, grinding consumerism of the everyday Joe. "Choose life", quips the film's narrator (McGregor) in a monologue that was to become a mantra. "Choose a job, choose a starter home... But why would anyone want to do a thing like that?" Ultimately, "Trainspotting"'s wised-up, dead-beat inhabitants reject mainstream society in favour of a headlong rush to destruction. It makes for an exhilarating, energised and frequently terrifying trip that blazes with more energy and passion than a thousand more ostensibly life-embracing movies. --"Xan Brooks"

Theatrical: 2008

Studio: Koch Media GmbH - DVD

Genre: Sprachfassungen

Duration: 88

Summary: Spiegel zerbrechen ohne Grund, Hunde erkennen ihre Herrchen nicht mehr wieder, ehemals sympathische Liebhaber verhalten sich plötzlich emotionslos, und die Radiologin Lena Headey sieht ihre eigene Doppelgängerin auf der Straße vorbeifahren. Ist dies ein neuer Angriff der "Body Snatchers"? Und wem kann sie jetzt noch trauen...?



Die britisch/französische Produktion THE BROKEN von Sean Ellis aus dem Jahr 2008 ist eine Mischung aus Horror, Mystery und Arthaus-Kino. Der Film bietet eine sehr kühle, durchgestylte Atmosphäre, gute Darsteller und ein paar sehr gelungene Schockeffekte (wie einen wirklich beängstigenden Alptraum). Spektakulär neu oder sonderlich originell ist das alles nicht, aber sehr hübsch gefilmt und bis zum Schluss mysteriös und spannend. Brutalitäten sind so gut wie nicht vorhanden, weswegen sich "Hostel"-gewöhnte Horror-Fans eher langweilen dürften, denn THE BROKEN setzt durchgängig auf Beunruhigung statt Blut und Action. Der finale Twist kommt nicht sonderlich überraschend, rundet den Film aber befriedigend ab. Die Besetzung agiert auf gutem Niveau, wobei die meisten sich nur bemühen müssen, möglichst wenig zu spielen. Besonders über das Wiedersehen mit Melvil Poupaud (Die Zeit, die bleibt) habe ich mich persönlich gefreut. Lena Headey ist in der Hauptrolle durchaus charismatisch und anziehend.

Negativ fällt auf, dass einige Einstellungen deutlich zu lange gehalten werden bzw. sich wiederholen (wie ein Slow-Mo-Autounfall, in welchem man sehr genau den Dummy am Steuer erkennen kann, der wie Lena Headey aussehen soll). Dazu bleiben viele Fragen und Logiklöcher offen, was mich aber nicht weiter gestört hat. Ein Meilenstein des Horors ist THE BROKEN nicht, aber solide Unterhaltung für die eine oder andere Gänsehaut. Ich habe den Kauf nicht bereut.



Die Blu-Ray bietet - in diesem Sinne passend - ebenfalls sehr solide Qualität, ohne Begeisterungsstürme zu entfachen. Das Bild ist scharf, die entfärbte, beinahe schwarzweiße Bildästhetik kommt sehr gut zur Geltung. Der Ton liegt in Deutsch/Englisch DTS-HD 5.1 vor (deutsche Untertitel sind vorhanden, englische nicht) und ist makellos. Gerade das zerbrechende Glas - das Stilmerkmal des Films - wird immer wieder effektiv eingesetzt und sorgt für mehrere Herzinfarkte. Als Bonus bietet die Blu-Ray leider nur ein paar Trailer (nicht in HD), dafür aber immerhin ein Wendecover für alle FSK-Siegel-Gegner.

Theatrical: 2008

Studio: Summit Entertainment

Genre: Action & Adventure

Duration: 113

Summary: Writer-director Rian Johnson’s "The Brothers Bloom" has a lot going for it, like an excellent cast doing good work, fabulous locations, a sumptuous look, and some interesting ideas in a genre that’s rife with possibilities. Somehow, though, the film is a whole that’s less than the sum of its parts. We meet siblings Stephen and Bloom, the products of numerous foster homes, at ages 13 and 10, respectively, as they’re starting to develop the skills and savvy that will help them become the full-blown scam-meisters they are when we meet up with them in their thirties (with Mark Ruffalo taking over as Stephen and Adrien Brody as Bloom). It seems Bloom wants to pack it in and live "an unwritten life" free of his brother’s elaborate schemes. But Stephen, who is now accompanied by a sidekick named Bang Bang ("Babel"’s Rinko Kikuchi, in an amusing, mostly silent performance as what Stephen refers to as "our fifth Beatle"), convinces his younger brother to take part in one last swindle, this one targeting the filthy rich Penelope Stamp (Rachel Weisz), who lives alone in what’s described as the biggest house on the eastern seaboard. Penelope’s an oddball, to say the least, having overcome a sickly childhood and become a master hobbyist whose skills rage from origami and playing six or eight instruments to riding a unicycle while balancing two chainsaws. Posing as antiquities dealers, the brothers pull her into a scheme that takes the trio all over the world (Greece, Prague, Montenegro, St. Petersburg, Mexico). Needless to say, complications ensue. Penelope turns out to be pretty good at the con game herself; what’s more, we know from the moment Stephen warns Bloom not to fall in love with her that he’ll quickly do exactly that. For sure, "The Brothers Bloom" has its high points, with surreal touches and amusing moments that help counterbalance its fairly arch overall tone. But in the end, it feels as if Johnson is trying too hard, sacrificing character for cleverness, and it’s the audience--even those who enjoy and are adept at sorting through the various clues and red herrings to figure out what’s supposedly really happening--that feels conned, or at least finds it difficult to care. "--Sam Graham"

Theatrical: 2005

Studio: Miramax Home Entertainment

Genre: Action & Adventure

Duration: 118

Summary: Fairy tales come vividly to life in "The Brothers Grimm", a long-delayed fantasy/horror comedy that greatly benefits from the ingenuity of director Terry Gilliam. In lesser hands, the ambitious screenplay by prolific horror specialist Ehren Kruger (who wrote the American versions of "The Ring" and "The Ring 2") might have turned into an erratic monster mash like "Van Helsing". But Gilliam's maverick sensibility makes the film more closely comparable to Tim Burton's "Sleepy Hollow" and Neil Jordan's "The Company of Wolves", with the added benefit of impressive CGI effects and lavish (though cost-efficient) production design, making the most of a challenging $75 million budget. Kruger's clever conceit is to turn "folklore collectors" Wilhem and Jacob Grimm (Matt Damon and Heath Ledger, respectively) into 19th-century con artists who perform bogus exorcisms of "evil enchantments" while traveling from village to village in French-occupied Germany. The two soon find themselves ensnared in a genuinely supernatural crisis involving the curse of the Mirror Queen (Monica Bellucci) and such fantastical marvels as the Big Bad Wolf, the Gingerbread Man, and a host of other truly enchanted (and not altogether friendly) flora and fauna. It's kind of a mess, switching from over-the-top humor (mostly from Peter Stormare as a manic villain) to serious fantasy involving the beautiful Angelika (Lena Headey), who proves to be the Grimm Brothers' most reliable ally. And like many of Gilliam's films, "Grimm" suffered from production delays (during which Gilliam filmed "Tideland"), distributor fallout, and several changes in its theatrical release date, but none of these issues prevent the film from being a welcomed addition to Gilliam's remarkable list of credits. "--Jeff Shannon"

Theatrical: 2009

Studio: Universal Studios

Genre: Action & Adventure

Duration: 82

Summary:

Theatrical:

Studio: Mill Creek Ent

Genre: Action & Adventure

Summary:

Theatrical: 2002

Studio: Rough Trade Distribution GmbH

Genre: Komödie

Duration: 92

Summary: Bubba Ho-Tep DV

Theatrical: 1968

Studio: Warner Home Video

Genre: Action & Adventure

Duration: 114

Summary: Peter Yates's 1968 cop drama has its existentialist pretensions, but there is something seductive about its strained seriousness and Steve McQueen's intentionally stoic performance as a San Francisco police detective on the trail of a murderer. A couple of key action sequences boost the film's stature, the most memorable of which is a vertiginous car chase that Yates almost approaches as a dance. Jacqueline Bisset provides window dressing as Bullitt's girlfriend--worried about how much his job strips away his humanity--and Robert Vaughan is almost reptilian as an opportunistic politician. "--Tom Keogh"

Theatrical: 2008

Studio: Universal Studios

Genre: Comedy

Duration: 96

Summary: After the dark brilliance of No Country for Old Men, Burn After Reading may seem like a trifle, but few filmmakers elevate the trivial to art quite like Joel and Ethan Coen. Inspired by Stansfield Turner's Burn Before Reading, the comically convoluted plot clicks into gear when the CIA gives analyst Osborne Cox (John Malkovich) the boot. Little does Cox know his wife, Katie (Tilda Swinton, riffing on her Michael Clayton character), is seeing married federal marshal Harry (George Clooney, Swinton's Clayton co-star, playing off his Syriana role). To get back at the Agency, Cox works on his memoirs. Through a twist of fate, fitness club workers Linda (Frances McDormand) and Chad (Brad Pitt in a pompadour that recalls Johnny Suede) find the disc and try to wrangle a "Samaratin tax" out of the surly alcoholic. An avid Internet dater, Linda plans to use the money for plastic surgery, oblivious that her manager, Ted (The Visitor's Richard Jenkins), likes her just the way she is. Though it sounds like a Beltway remake of The Big Lebowski, the Coen entry it most closely resembles, this time the brothers concentrate their energies on the myriad insecurities endemic to the mid-life crisis--with the exception of Chad, who's too dense to share such concerns, leading to the funniest performance of Pitt's career. If Lebowski represented the Coen's unique approach to film noir, Burn sees them putting their irresistibly absurdist stamp on paranoid thrillers from Enemy of the State to The Bourne Identity. --Kathleen C. Fennessy


Stills from "Burn After Reading" (Click for larger image)

Theatrical: 1969

Studio: 20th Century Fox

Genre:

Duration: 110

Summary: This 1969 film has never lost its popularity or its unusual appeal as a star-driven Western that tinkers with the genre's conventions and comes up with something both terrifically entertaining and--typical of its period--a tad paranoid. Paul Newman plays the legendary outlaw Butch Cassidy as an eternal optimist and self-styled visionary, conjuring dreams of banks just ripe for the picking all over the world. Robert Redford is his more levelheaded partner, the sharpshooting Sundance Kid. The film, written by William Goldman ("The Princess Bride") and directed by George Roy Hill ("The Sting"), basically begins as a freewheeling story about robbing trains but soon becomes a chase as a relentless posse--always seen at a great distance like some remote authority--forces Butch and Sundance into the hills and, finally, Bolivia. Weakened a little by feel-good inclinations (a scene involving bicycle tricks and the song "Raindrops Keep Falling on My Head" is sort of Hollywood flower power), the movie maintains an interesting tautness, and the chemistry between Redford and Newman is rare. (A factoid: Newman first offered the Sundance part to Jack Lemmon.) "--Tom Keogh"

Theatrical: 2004

Studio: Icon Home Entertainment

Genre: Foreign Horror Films

Duration: 294

Summary: I have this set & have only watched the 1st movie so far but be aware that the version of the 1st film in this set is the original cinema cut & not the directors cut that was previously released on DVD so i am keeping the DVD because of this even though the original cut is still as good. I have seen part 2 before but not the currently released part 3 hope it is as good. if you like it as much as i do buy this set but if not just get the directors cut DVD if thats all you can get or want.



Great set

Theatrical: 2003

Studio: Lionsgate

Genre: Drama

Duration: 102

Summary: As a last hurrah after college, friends Jeff, Karen, Paul, Marcy and Bert embark on a vacation deep into the mountains. With the top down and the music up, they drive to a remote cabin to enjoy their last days of decadence before entering the working world. Then somebody gets sick. Karen’s skin starts to bubble and burn as something grows inside her, tunneling beneath her flesh. As the others debate about how to save her, they look at one another and realize that any one of them could also have it. What began as a struggle against the disease soon turns into a battle against friends, as the fear of contagion drives them to turn on each other.

Theatrical: 2009

Studio: SUNFILM Entertainment

Genre: Action & Thriller

Duration: 91

Summary: Cabin Fever 2 DV

Theatrical: 1979

Studio: IMAGE ENTERTAINMENT

Genre: Art House & International

Duration: 156

Summary: Remember the dumbstruck, jaw-dropped expressions on "Springtime for Hitler's" shocked opening-night audience in Mel Brooks's original film of "The Producers"? That will no doubt be your face through much of the two-and-a-half-hour running time of this infamous 1979 pornographic epic that was a ("Penthouse") pet project of publisher Bob Guccione. That's not necessarily a bad thing. But don't take our word for it. Listen to Helen Mirren--yes, the Oscar-winning "Queen" herself--who stars as Caesonia, Caligula's third wife and "the most promiscuous woman in Rome" (and in this film's salacious vision of Pagan Rome, that is saying something). In her very gracious, thoughtful and candid audio commentary that alone is worth the price of this set, she remarks, "I think it's a movie that is unlike any other, which is difficult to achieve." And for those of a more prurient bent, she adds, "It has an awful lot of bottoms." Malcolm McDowell ("A Clockwork Orange") gives a brave and fearless performance as Caligula, the hated and feared emperor corrupted by absolute power and no doubt voted Most Likely to Be Assassinated. The film unflinchingly charts his plummet into madness and the brutality of his reign in scenes of hardcore sex and violence that cannot be described here ("I can't watch," Mirren cries to her interviewers over one scene in which unfortunate characters are beheaded by a blade-spinning combine. "I can't even listen to it").
"Caligula" is also a career curiosity for author Gore Vidal, who wrote the original screenplay, but later demanded his name be removed from the credits, and venerable actors Peter O'Toole, appearing briefly as the syphilitic Emperor Tiberius Caesar, and John Gielgud as Nerva, a Senator who'd rather take his own life than "live with this reptile." This controversial film's tortured history is untangled in a very helpful booklet that is packaged along with this set's three discs. One is hard-pressed to think of a more reviled film graced with such a gala presentation, but "Caligula"'s defenders and the curious will be amply rewarded with both the original uncut theatrical version of the film and a re-edited alternate version. Supplementary material includes an hour of deleted footage, a pretentious "making of" documentary made during the film's production and a new interview with director Tinto Brass, whose softcore tendencies clashed with Guccioni's more extreme vision (Brass did not have final cut, allowing Guccione to insert more explicit footage into the film). McDowell contributes his own lively audio commentary. "God help us," he groans as the film begins, but by its bloody conclusion, he proclaims he has "no regrets at all" about making the film. "Caligula", Mirren maintains, is "an irresistible mix of art and genitals." And you've got to hand it to Guccione. Especially in these politically correct times, it is still strong and scandalous stuff. "--Donald Liebenson"