Library

Languages: English

Sound: DTS Surround Sound

Summary: Chapter three of George Romero's mighty zombie trilogy has big footsteps to follow. "Night of the Living Dead" was a classic that revitalized a certain corner of the cinema, and "Dawn of the Dead" was nothing short of epic. "Day of the Dead", however, has always been regarded as a comedown compared to those twin peaks--and perhaps it is. But on its own terms, this is an awfully effective horror movie, made with Romero's customary social satire and cinematic vigor--when a "retrained" zombie responds to the "Ode to Joy," the film is in genuinely haunting territory. The story is set inside a sunken military complex, where Army and medical staff, supposedly working on a solution to the zombie problem, are going crazy (strongly foreshadowing the final act of "28 Days Later"). Tom Savini's makeup effects could make even hardcore gore fans tear off their own heads in amazement. "--Robert Horton"

Languages: English, French, Spanish

Subtitles: English, French, Portuguese, Spanish

Sound: Dolby

Summary: Freddy Benson (Steve Martin) is a crass, loud American. Laurence Jameson (Michael Caine) is a suave, urbane European. Their common ground is that they both are confidence men, and they meet in a train compartment as Benson is scamming his way across Europe, taking advantage of women's generosity. The two are forced into a rivalry, which culminates in a wager to see who can be the first to bilk $50,000 out of American heiress Janet Colgate (Glenne Headly). Their game of one-upmanship is, of course, brought to ridiculous heights as things progress. Written by Paul Henning (the mind behind such TV shows as "Green Acres" and "The Beverly Hillbillies"), "Dirty Rotten Scoundrels" is an uneven but funny mix of Martin's physical comedy and Caine's oily charms. Martin's first role as cohort is to assume the persona of Ruprecht, the "special" younger brother intended to scare off potential brides. As Ruprecht, he comes off as a cross between "The Andy Griffith Show"'s Ernest T. Bass and Jerry Lewis; hilarious as it is, it doesn't quite fit with the rest of the film. Once the wager is on, though, Martin slips into his overly earnest mode as an American military man suffering from hysterical paralysis, with Caine as a psychologist who takes on his case. All in all, "Dirty Rotten Scoundrels" (a loose remake of the 1964 film "Bedtime Story" with David Niven and Marlon Brando) is a droll, intelligent comedy, short on knee slappers but long on comic situations and characterizations. "--Jerry Renshaw"

Languages: English, French

Subtitles: English, French, Spanish

Sound: Dolby Digital 2.0 Surround

Summary: Michael Crichton's bestselling novel was both a high-tech thriller and source of controversy with its hot-button plot about a man's charge of sexual harassment against a female colleague and former lover. The movie, directed by Barry Levinson, turned these issues into a prurient thriller gussied up in glossy production values, virtual reality computer graphics, and steamy sex between Michael Douglas and Demi Moore. Having cornered the market on roles for men whose brains are located south of their waistline, Douglas is well cast as the computer-industry guy who loses a plush promotion to the opportunistic Moore, and he's perfected the expression of paranoid panic. If you don't think about it too much, this is one of those films that can draw you into its manipulative web and really grab your attention. "Disclosure" is more entertaining than thought provoking (because the filmmakers basically danced around the story's potential controversy), but there's enough star power and visual glitz to make this an enjoyable ride. "--Jeff Shannon"

Languages: English, French, Spanish

Subtitles: English, French, Spanish

Sound: Dolby Digital 2.0 Surround

Summary: Kevin Smith is a conundrum of a filmmaker: he's a writer with brilliant, clever ideas who can't set up a simple shot to save his life. It was fine back when Smith was making low-budget films like "Clerks" and "Chasing Amy", both of which had an amiable, grungy feel to them, but now that he's a rising director who's attracting top talent and tackling bigger themes, it might behoove him to polish his filmmaking. That's the main problem with "Dogma"--it's an ambitious, funny, aggressively intelligent film about modern-day religion, but while Smith's writing has matured significantly (anyone who thinks he's not topnotch should take a look at "Chasing Amy"), his direction hasn't. It's too bad, because "Dogma" is ripe for near-classic status in its theological satire, which is hardly as blasphemous as the protests that greeted the movie would lead you to believe.
Two banished angels (Ben Affleck and Matt Damon) have discovered a loophole that would allow them back into heaven; problem is, they'd destroy civilization in the process by proving God fallible. It's up to Bethany (Linda Fiorentino), a lapsed Catholic who works in an abortion clinic, to save the day, with some help from two so-called prophets (Smith and Jason Mewes, as their perennial characters Jay and Silent Bob), the heretofore unknown 13th apostle (Chris Rock), and a sexy, heavenly muse (the sublime Salma Hayek, who almost single-handedly steals the film). In some ways "Dogma" is a shaggy dog of a road movie--which hits a comic peak when Affleck and Fiorentino banter drunkenly on a train to New Jersey, not realizing they're mortal enemies--and segues into a comedy-action flick as the vengeful angels (who have a taste for blood) try to make their way into heaven. Smith's cast is exceptional--with Fiorentino lending a sardonic gravity to the proceedings, and Jason Lee smirking evilly as the horned devil Azrael--and the film shuffles good-naturedly to its climax (featuring Alanis Morissette as a beatifically silent God), but it just looks so unrelentingly... "subpar". Credit Smith with being a daring writer but a less-than-stellar director. "--Mark Englehart"

Languages: English, French, Portuguese

Subtitles: Chinese, English, French, Korean, Portuguese, Spanish, Thai

Sound: Dolby Digital 2.0 Mono

Summary: Arguably the greatest black comedy ever made, Stanley Kubrick's cold-war classic is the ultimate satire of the nuclear age. "Dr. Strangelove" is a perfect spoof of political and military insanity, beginning when General Jack D. Ripper (Sterling Hayden), a maniacal warrior obsessed with "the purity of precious bodily fluids," mounts his singular campaign against Communism by ordering a squadron of B-52 bombers to attack the Soviet Union. The Soviets counter the threat with a so- called "Doomsday Device," and the world hangs in the balance while the U.S. president (Peter Sellers) engages in hilarious hot-line negotiations with his Soviet counterpart. Sellers also plays a British military attaché and the mad bomb-maker Dr. Strangelove; George C. Scott is outrageously frantic as General Buck Turgidson, whose presidential advice consists mainly of panic and statistics about "acceptable losses." With dialogue ("You can't fight here! This is the war room!") and images (Slim Pickens's character riding the bomb to oblivion) that have become a part of our cultural vocabulary, Kubrick's film regularly appears on critics' lists of the all-time best. "--Jeff Shannon"