Library

Languages: English, French

Subtitles: English, Spanish

Sound: Dolby Digital 2.0 Surround

Summary: "Cast Away" is a good movie that wants to be much better. While director Robert Zemeckis's earlier film "Contact" achieved a kind of mainstream spiritual significance, "Cast Away" falls just short of that goal. That may explain why the film's most emotionally powerful scene involves the loss of an inanimate object, even as it presents a heart-rending dilemma in its very human final act.
It's three movies in one, beginning when punctuality-obsessed Federal Express systems engineer Chuck Noland (Tom Hanks) departs on Christmas Eve to escort an ill-fated flight of FedEx packages. Following a mid-Pacific plane crash, movie number two chronicles Chuck's four-year survival on a remote island, totally alone save for a Wilson volleyball (aptly named "Wilson") that becomes Chuck's closest "friend." Movie number three leads up to Chuck's rescue and an awkward encounter with his ex-girlfriend Kelly (Helen Hunt, in a thankless role), for whom Chuck has seemingly risen from the grave.
It's fascinating to witness Chuck's emerging survival skills, and Hanks's remarkable physical transformation is matched by his finely tuned performance. With slow, rhythmic camera moves and brilliant use of sound, Zemeckis wisely avoids the postcard prettiness of "The Black Stallion" and "The Blue Lagoon" to emphasize the harshness of Chuck's ascetic solitude, and this stylistic restraint allows "Cast Away" to resonate more than one might expect. Even the final scene--which feels like a crowd-pleasing compromise--offers hope without shoving it down our throats. You may not feel the emotional rush that you're meant to feel, but "Cast Away" remains a respectable effort. "--Jeff Shannon"

Languages: English, French

Subtitles: English, French, Spanish

Sound: Dolby Digital 2.0 Surround

Summary: An enormously entertaining (if somewhat shallow) affair from blockbuster director Steven Spielberg. Leonardo DiCaprio stars as Frank Abagnale, Jr., a dazzling young con man who spent four years impersonating an airline pilot, a doctor, and a lawyer--all before he turned 21. All the while he's pursued by a dedicated FBI agent named Carl Hanratty (Tom Hanks), whose dogged determination stays one step behind Abagnale's spontaneous wits. Both DiCaprio and Hanks turn in enjoyable performances and the movie has a bouncy rhythm that keeps it zipping along. However, it never gets under the surface of Frank's drive to lose himself in other identities, other than a simplistic desire to please his father (Christopher Walken, excellent as always), nor does it explore the complex mechanics of fraud with any depth. By the movie's end, it feels like one of Frank's pilot uniforms--appearance without substance. "--Bret Fetzer"

Languages: English, French, Spanish

Subtitles: English, French, Spanish

Sound: Dolby

Summary: Mixed reviews and creepy comparisons to Michael Jackson notwithstanding, Tim Burton's splendidly imaginative adaptation of "Charlie and the Chocolate Factory" would almost surely meet with Roald Dahl's approval. The celebrated author of darkly offbeat children's books vehemently disapproved of 1971's "Willy Wonka and the Chocolate Factory" (hence the change in title), so it's only fitting that Burton and his frequent star/collaborator, Johnny Depp, should have another go, infusing the enigmatic candyman's tale with their own unique brand of imaginative oddity. Depp's pale, androgynous Wonka led some to suspect a partial riff on that most controversial of eternal children, Michael Jackson, but Burton's film is too expansively magnificent to be so narrowly defined. While preserving Dahl's morality tale on the hazards of indulgent excess, Burton's riotous explosion of color provides a wondrous setting for the lessons learned by Charlie Bucket (played by Freddie Highmore, Depp's delightful costar in "Finding Neverland"), as he and other, less admirable children enjoy a once-in-a-lifetime tour of Wonka's confectionary wonderland. Elaborate visual effects make this an eye-candy overdose (including digitally multiplied Oompa-Loompas, all played by diminutive actor Deep Roy), and the film's underlying weirdness is exaggerated by Depp's admirably risky but ultimately off-putting performance. Of course, none of this stops Burton's "Charlie" from being the must-own family DVD of 2005's holiday season, perhaps even for those who staunchly defend Gene Wilder's portrayal of Wonka from 34 years earlier. "--Jeff Shannon"

Languages: English

Subtitles: English

Sound: Dolby Digital 5.1

Summary: Writer-director Kevin Smith ("Clerks") makes a huge leap in sophistication with this strong story about a comic-book artist (Ben Affleck) who falls in love with a lesbian (Joey Lauren Adams) and actually gets his wish that she love him, too. Their relationship is attacked, however, by his business partner (Jason Lee), who pulls a very unsubtle Iago act to cast doubt over the whole affair. The film has the same sense of insiderness as "Clerks"--this time, Smith takes us within the arcane, funny world of comic-book cultism--but the themes of jealousy, deceit, and the high price of growing up enough to truly care for someone make this a very satisfying movie. "--Tom Keogh"

Languages: English

Subtitles: Spanish

Sound: Dolby Digital 5.1

Summary: Bob Fosse's sexy cynicism still shines in "Chicago", a faithful movie adaptation of the choreographer-director's 1975 Broadway musical. Of course the story, all about merry murderesses and tabloid fame, is set in the Roaring '20s, but "Chicago" reeks of '70s disenchantment--this isn't just Fosse's material, it's his attitude, too. That's probably why the movie's breathless observations on fleeting fame and fickle public taste already seem dated. However, Renée Zellweger and Catherine Zeta-Jones are beautifully matched as Jazz Age vixens, and Richard Gere gleefully sheds his customary cool to belt out a showstopper. (Yes, they all do their own singing and dancing.) Whatever qualms musical purists may have about director Rob Marshall's cut-cut-cut style, the film's sheer exuberance is intoxicating. Given the scarcity of big-screen musicals in the last 25 years, that's a cause for singing, dancing, cheering. And all that jazz. "--Robert Horton"

Languages: English, French, Spanish

Subtitles: French, Spanish

Sound: Dolby

Summary: C.S. Lewis's classic novel "The Lion, the Witch, and the Wardrobe" makes an ambitious and long-awaited leap to the screen in this modern adaptation. It's a CGI-created world laden with all the special effects and visual wizardry modern filmmaking technology can conjure, which is fine so long as the film stays true to the story that Lewis wrote. And while this film is not a literal translation--it really wants to be so much more than just a kids' movie--for the most part it is faithful enough to the story, and whatever faults it has are happily faults of overreaching, and not of holding back. "The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe" tells the story of the four Pevensie children, Lucy, Peter, Edmund, and Susan, and their adventures in the mystical world of Narnia. Sent to the British countryside for their own safety during the blitz of World War II, they discover an entryway into a mystical world through an old wardrobe. Narnia is inhabited by mythical, anthropomorphic creatures suffering under the hundred-year rule of the cruel White Witch (Tilda Swinton, in a standout role). The arrival of the children gives the creatures of Narnia hope for liberation, and all are dragged into the inevitable conflict between evil (the Witch) and good (Aslan the Lion, the Messiah figure, regally voiced by Liam Neeson).
Director (and co-screenwriter) Andrew Adamson, a veteran of the "Shrek" franchise, knows his way around a fantasy-based adventure story, and he wisely keeps the story moving when it could easily become bogged down and tiresome. Narnia is, of course, a Christian allegory and the symbology is definitely there (as it should be, otherwise it wouldn't be the story Lewis wrote), but audiences aren't knocked over the head with it, and in the hands of another director it could easily have become pedantic. The focus is squarely on the children and their adventures. The four young actors are respectable in their roles, especially considering the size of the project put on their shoulders, but it's the young Georgie Henley as the curious Lucy who stands out. This isn't a film that wildly succeeds, and in the long run it won't have the same impact as the "Harry Potter" franchise, but it is well done, and kids will get swept up in the adventure. Note: "Narnia" does contain battle scenes that some parents may consider too violent for younger children. "--Dan Vancini"

Languages: English

Subtitles: English, French

Sound: Dolby

Summary: Some critics complained that "City of Angels" could never compare to Wim Wenders's exquisite German film "Wings of Desire", which served as the later film's primary inspiration. The better argument to make is that any such comparisons are beside the point, because "Wings of Desire" was a much more deeply poetic, artfully contemplative film, whereas "City of Angels" is an enchanting product of mainstream Hollywood. Meg Ryan stars as Dr. Maggie Rice, a heart surgeon who is grieving over a lost patient when an angel named Seth (Nicolas Cage) appears to comfort her. She can see him despite the "rule" that angels are invisible, and Seth's love for Maggie forces him to choose between angelic immortality and a normal human existence on earth with her. Featuring heavenly roles for TV veterans Andre Braugher and Dennis Franz, the film liberally borrows imagery from "Wings of Desire", but it also creates its own charming identity. Cage and Ryan give fine performances as lovers convinced they are soul mates, and although the plot relies on a last-minute twist that doesn't quite work, this earnest love story struck a chord with audiences and proved to be one of the surprise hits of 1998. The Special Edition widescreen DVD includes audio commentary by Nicolas Cage, producer Charles Roven, and director Brad Silberling in addition to deleted scenes, a behind-the-scenes documentary, a featurette about the film's special effects, and the theatrical trailer. "--Jeff Shannon"

Languages: English

Subtitles: English, French, Spanish

Sound: PCM Stereo

Summary: What You Can Expect: A documentary fashioned after The Beatles Anthology, only about 9 hours shorter. Instead of using a narrator, the story of the Clash is told mostly by Joe Strummer, Mick Jones, and Paul Simonon. The documentary doesn't have a great deal of depth, but you get a quick overview of how the guys met, their earlier work, their influences, and their politics. They talk about growing up on the Beatles and the Kinks and not wanting to end up playing concerts with symphonies, like Rod Stewart.

They go on to cover their early concerts, writing songs, recording the albums, and the eventual dissolution of the band. Overall you get a decent amount of information and some interesting stories. The best aspect is watching the guys seemingly come to a few conclusions about their career right in front of the camera as they share some of their regrets. For any fan of the Clash, this is a great source of information and a way to learn a bit more about the band.

What Not to Expect: This is not a great introduction to the Clash. If you're not at least familiar with the band and punk rock in general, there's not much here to bring you up to speed. You might feel a little lost. This is really a better fit for Clash fans who would like to see some extra interviews with the band.

You also shouldn't expect to see a lot of songs. If that's what you're looking to find, go for a concert film. There are a lot of snippets from tracks throughout their career, but no song is played in it's entirety.

Languages: English

Subtitles: English

Sound: Dolby Digital 2.0 Surround

Summary: Before Kevin Smith became a Hollywood darling with "Chasing Amy", a film he wrote and directed, he made this $27,000 comedy about real-life experiences working for chump change at a New Jersey convenience store. A rude, foul-mouthed collection of anecdotes about the responsibilities that go with being on the wrong side of the till, the film is also a relationship story that takes some hilarious turns once the lovers start revealing their sexual histories to one another. In the best tradition of first-time, ultra-low budget independent films, Smith uses "Clerks" as an audition piece, demonstrating that he not only can handle two-character comedy but also has an eye for action--as proven in a smoothly handled rooftop hockey scene. Smith himself appears as a silent figure who hangs out on the fringes of the store's property. "--Tom Keogh"

Languages: English, French

Subtitles: English, French, Spanish

Sound: AC-3

Summary: A jolting tale of crime and punishment stars Malcolm McDowell as a young neo-punk who becomes the guinea pig for a state-sanctioned cure of his tendency toward ?the old ultraviolence.

Languages: English

Subtitles: French, Spanish

Sound: Dolby Digital 5.1

Summary: Freely adapted from Charles Frazier's beloved bestseller, "Cold Mountain" boasts an impeccable pedigree as a respectable Civil War love story, offering everything you'd want from a romantic epic except a resonant emotional core. Everything in this sweeping, Odyssean journey depends on believing in the instant love that ignites during a "very" brief encounter between genteel, city-bred preacher's daughter Ada (Nicole Kidman) and Confederate soldier Inman (Jude Law), who deserts the battlefield to return, weary and wounded, to Ada's inherited farm in the rural town of Cold Mountain, North Carolina. In an epic (but dramatically tenuous) case of absence making hearts grow fonder, Inman endures a treacherous hike fraught with danger (and populated by supporting players including Philip Seymour Hoffman, Natalie Portman, and others) while the struggling, inexperienced Ada is aided by the high-spirited Ruby (Renée Zellweger), forming a powerful farming partnership that transforms Ada into a strong, lovelorn survivor. The film's episodic structure slightly weakens its emotional impact, and it's fairly obvious that director Anthony Minghella is striving to repeat the prestigious romanticism of his Oscar®-winning hit "The English Patient". For the most part it works, especially in the dynamic performances of Zellweger and Kidman, and the explosive 1864 battle of Petersburg, Virginia, is recreated with violent, percussive intensity. Those who admired Frazier's novel may regret some of the changes made in Minghella's adaptation (the ending is particularly altered), but "Cold Mountain" remains a high-class example of grand, old-fashioned filmmaking, boosted by star power of the highest order. "--Jeff Shannon"

Languages: English

Subtitles: English, Spanish

Sound: Dolby

Summary: Movie studios, by and large, avoid controversial subjects like race the way you might avoid a hive of angry bees. So it's remarkable that "Crash" even got made; that it's a rich, intelligent, and moving exploration of the interlocking lives of a dozen Los Angeles residents--black, white, latino, Asian, and Persian--is downright amazing. A politically nervous district attorney (Brendan Fraser) and his high-strung wife (Sandra Bullock, biting into a welcome change of pace from "Miss Congeniality") get car-jacked by an oddly sociological pair of young black men (Larenz Tate and Chris "Ludacris" Bridges); a rich black T.V. director (Terrence Howard) and his wife (Thandie Newton) get pulled over by a white racist cop (Matt Dillon) and his reluctant partner (Ryan Phillipe); a detective (Don Cheadle) and his Latina partner and lover (Jennifer Esposito) investigate a white cop who shot a black cop--these are only three of the interlocking stories that reach up and down class lines. Writer/director Paul Haggis (who wrote the screenplay for "Million Dollar Baby") spins every character in unpredictable directions, refusing to let anyone sink into a stereotype. The cast--ranging from the famous names above to lesser-known but just as capable actors like Michael Pena ("Buffalo Soldiers") and Loretta Devine ("Woman Thou Art Loosed")--meets the strong script head-on, delivering galvanizing performances in short vignettes, brief glimpses that build with gut-wrenching force. This sort of multi-character mosaic is hard to pull off; "Crash" rivals such classics as "Nashville" and "Short Cuts". A knockout. "--Bret Fetzer"