Library

Languages: English, French

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

Sound: Dolby

Comments: Even cops dial 911

Summary: Samuel L. Jackson and Colin Farrell swagger through "S.W.A.T.", a guns-and-big-trucks macho extravaganza based on the 1970s TV show of the same name, about the police teams brought in to take care of extremely dangerous situations. Jackson plays a sergeant brought out of retirement to form a new squad, which includes rebellious Farrell ("The Recruit") and tough babe Michelle Rodriguez ("Girlfight", "Blue Crush"). After a lot of training and head-butting with a smarmy police captain, the squad gets assigned to transfer the head of a European crime cartel (Olivier Martinez, "Unfaithful") who's declared on television that he'll give $100 million to anyone who gets him out. Every scumbag in Los Angeles descends to claim the money, turning a routine transfer into a bullet-filled gauntlet. Despite some gaps in logic and a generic flavor, "S.W.A.T." will satisfy most action-movie junkies. Also featuring LL Cool J and Josh Charles. "--Bret Fetzer"

Languages: Arabic, English, French

Subtitles: English, French, Spanish

Sound: Dolby

Summary: It took more than 25 years for another Clive Cussler novel to come to the screen after the financial and critical disaster of "Raise the Titanic". Based on Cussler's oddly landlocked adventure, "Sahara" finds the author's hero, Dirk Pitt (Matthew McConaughey)--a sort of all-American, high seas variation of James Bond--in Africa looking for a Confederate ironclad ship that impossibly might have ended up there. Soon he and his faithful sidekick Al Giordino (Steve Zahn) are lost in another adventure, discovering a deadly contaminate being tracked by a beautiful doctor (Penelope Cruz). The results are checkered: there's no one outstanding sequence, but the action is enjoyably varied, while the thrills are mild yet not bombastic or gratuitous. The cast are all adept in their roles, yet the only one who sparkles is the scene-stealing Zahn, cast against type; McConaughey, who also produced, knows he might be starting a franchise character and plays it safe. He's never as dangerous as Cussler's hero is on the page (except in his introduction), and in fact, the whole movie plays towards comedy, infused by a soundtrack of 70s FM radio monsters. Cussler fanatics may not like this lighter fare, especially with the archeological portion (a Cussler strong point) not fully embraced, but with a very, very likable cast and colorful settings, "Sahara" is a kindler, gentler action film that has all the elements in place for a better, more memorable franchise if anyone cares to attempt it. "--Doug Thomas"

Languages: English, French, Spanish

Subtitles: English, Spanish

Sound: AC-3

Summary: Following the success of "The Sound of Music", director Robert Wise chose to film Robert McKenna's prize-winning 1962 novel, "The Sand Pebbles"--an ambitious choice for a director at the peak of his career. Shot in Taiwan and Hong Kong, the film combines historical sweep and intimate human drama in several parallel stories, all revolving around U.S. Navy machinist's mate Jake Holman (Steve McQueen). Holman is a skillful but fiercely independent sailor who joins the "sand pebble" crew of the U.S.S. San Pablo, a Navy gunboat patrolling the Yangtze River on the eve of the Chinese revolution in 1926. The San Pablo's inexperienced captain (Richard Crenna) obsessively defends the Navy's mission--however unnecessary or unwanted--to protect American missionaries and businessmen, blind to the more dangerous implications of American involvement with China's opposing political factions.
Holman is a defiant voice of humanity in this clash between outmoded values and inevitable change; his final line of dialogue ("What the hell happened?") is a tragic summation of misguided policy, expressing the film's criticism of the Vietnam War. Rather than preach, however, Wise lets McKenna's potent drama emerge from finely-drawn relationships--between Holman and a young American teacher (19-year-old Candice Bergen, in her second film); between Holman and the Chinese "coolie" (Mako) whose heartbreaking fate transcends all issues of racial or political difference; and between crewmate "Frenchy" Burgoyne (Richard Attenborough) and the Chinese woman he's sworn to love and protect at all costs. Combined with the film's colorful supporting cast, adventurous scope, and climactic battle scenes, these personal dynamics bring substance and spirit to a complex story of good intentions gone awry. --"Jeff Shannon"

Languages: English

Subtitles: English

Sound: Dolby

Summary: Adam (Leigh Whannell) wakes up in a dank room across from Dr. Lawrence Gordon (Cary Elwes) and the body of a guy who has blown his own brains out. Not a happy place, obviously, and it gets worse when both men realize that they've been chained and pitted against one another by an unseen but apparently omniscient maniac who's screwing with their psyches as payment for past sins. Director James Wan, who concocted this grimy distraction with screenwriter Whannell, has seen "Seven" and any number of other arty existential-psycho-cat-and-mouse thrillers, so he's provided "Saw" with a little flash, a little blood, and a lot of ways to distract you from the fact that it doesn't make a whole hell of a lot of sense. Wan and Whannell (who's not the most accomplished actor, either) pile on the plot twists, which after some initially novel ideas become increasingly juvenile. Elwes works hard but looks embarrassed, and the estimable Danny Glover suffers as the obsessed detective on the case. The denouement will probably surprise you, but it won't get you back the previous 98 minutes. "--Steve Wiecking"

Languages: English

Subtitles: English, Spanish

Sound: AC-3

Summary: "Saw II" brings back many features of the original "Saw": elaborate sadistic scenarios designed to "test" the victims' will to live; Tobin Bell as the Machiavellian (yet doomed) serial killer Jigsaw; Shawnee Smith as Amanda, a survivor of one of Jigsaw's "games", forced to play again; Dina Meyer ("Starship Troopers"), whose role as a detective is considerably expanded; and the stunningly godawful dialogue of screenwriter Leigh Whannel. The set-up this time is even more preposterous than before, as a rough-and-tumble cop named Eric (Donnie Whalberg, "Band of Brothers") watches, on video monitors, his son trapped in a house filled with nerve gas and a handful of other victims, all of whom are mysteriously connected. Eric has captured Jigsaw, but the implacable killer refuses to reveal where the cop's son is being held... unless Eric will play by Jigsaw's rules. Fans of "Saw" will love "Saw II", as the tortures are more gruesome than before; viewers who found "Saw" either detestable or laughable won't like "Saw II" either, as the characters rarely behave like actual people (even when a moment's explanation would solve a conflict, no one bothers to communicate, even though their lives are on the line). It's a festival of body fluids, agonized grimaces, and shrieks of pain--and if that's your thing, this is your movie. "--Bret Fetzer"

Languages: English

Sound: DTS

Comments: Sometimes Rules Are Meant To Be Broken...

Summary: The third installment of the 'Saw' series comes at a time when blood and gore seem to be ruling theaters. However, this series is one of the few that can successfully mix both gore and intelligent story lines. This third piece of the puzzle is fantastic because it keeps you engrossed from beginning to end. Also they somehow one again managed to create a twist for the ending that completly changes what you believed throughout the whole film. The acting is superb, unlike other new horrors such as 'The Descent' and 'Hostel'. If you are a fan of the series than there is no way you can pass on this terrific DVD.

Languages: English

Sound: SDDS

Comments: It's a Trap

Summary: Jigsaw and his apprentice Amanda are dead. Now, upon the news of Detective Kerry's murder, two seasoned FBI profilers, Agent Strahm and Agent Perez, arrive in the terrified community to assist the veteran Detective Hoffman in sifting through Jigsaw's latest grisly remains and piecing together the puzzle. However, when SWAT Commander Rigg is abducted and thrust into a game, the last officer untouched by Jigsaw has but ninety minutes to overcome a series of demented traps and save an old friend or face the deadly consequences.

Languages: English, French, Spanish

Subtitles: English, French, Spanish

Sound: AC-3

Summary: There's nothing original in "The Scorpion King", but this derivative action franchise gets off to a rousing start by cleverly stealing from a lot of better movies. Capitalizing on his brief cameo in "The Mummy Returns", Dwayne Johnson (a.k.a. World Wrestling Federation star the Rock) stars as Mathayus, an Akkadian assassin in the age preceding Egyptian pharaohs, who vows to avenge his brother's murder by an undefeated warlord (Steven Brand) prophesied to become the desert-ruling Scorpion King. Their battle for supremacy comprises most of the film's brisk 95-minute running time, punctuated by comic relief from Mathayus's obligatory sidekick (Grant Heslov), romance with a beautiful sorceress (Kelly Hu), and alliance with a massive Nubian (Michael Clarke Duncan) on the eve of their climactic showdown. There's no rhyme or reason to the film's depiction of ancient civilization (the costuming is particularly ludicrous), but the Rock demonstrates adequate action-star potential, and director Chuck Russell ("The Mask") wraps it all in a slick, professional package. --"Jeff Shannon"

Languages: English, French, German

Subtitles: English, German, French, Hindi, Turkish, Danish, Icelandic, Romanian, Bulgarian, Swedish, Hungarian, Polish, Dutch, Arabic, Korean, Finnish, Croatian, Czech, Greek

Sound: AC-3

Summary: Johnny Depp gets high off another acting challenge in this tricky adaptation of a Stephen King yarn. Although the mood is too sinister to allow for the mischief of his "Pirates of the Caribbean" turn, Depp still manages to embroider his role here with plenty of quirky business. He plays a writer, depressed and nearly divorced, who's stuck in an isolated cabin (shades of "The Shining") when a stranger (John Turturro) arrives, accusing him of plagiarism. Writer-director David Koepp ("Stir of Echoes") does his best to make the rickety material compelling--he gets the maximum out of the cabin set, for instance--but the problems inherent in the King story eventually win out. The climactic scenes are particularly unpleasant, especially in contrast to the cleverness of Depp's performance. A Philip Glass score adds class, but this one ultimately feels like a disappointment. "--Robert Horton"

Languages: English

Summary: Every action movie has a moment so over the top you have to laugh; "Shoot 'Em Up" consists of nothing but these moments. A carrot-eating, lone wolf kind of guy named Smith (Clive Owen, "Children of Men", "Inside Man") steps in to protect a pregnant woman from a gunman--and finds himself, with the aid of a lactating prostitute (Monica Belluci, "The Matrix Revisited"), defending the newborn child from a sleazy contract killer Mr. Hertz (Paul Giamatti, "American Splendor", "Sideways") and his army of thugs. That's pretty much the plot, but story is beside the point. Writer/director Michael Davis ("Monster Man") has a keen sense of what matters in an action movie. The rapid-fire editing is scrupulously coherent; you always grasp what happened in every shoot-out, even if it flagrantly violates the laws of physics or basic plausibility. Explaining how Smith survives a four-story fall--even if that explanation is beyond ridiculous--demonstrates both a sense of wit and a winking respect for the audience's imagination. As a result, "Shoot 'Em Up" is ten times more entertaining than the likes of "Transformers" or "Rush Hour 3", movies so self-satisfied with special effects or movie stars that they forgot to be fun. ("Shoot 'Em Up"'s only weakness is a sliver of misogyny, the one action movie cliche that it's not clever enough to transcend.) "--Bret Fetzer"

Languages: English

Sound: SDDS

Comments: Yesterday was about honor. Today is about justice.

Summary: A movie that would not have been out of place in the run of paranoid-political thrillers of the 1970s, "Shooter" works an entertaining variation on the assassination picture. Mark Wahlberg, carrying over good mojo from "The Departed," slides neatly into the character of Bob Lee Swagger, master marksman. Swagger has retreated from his duty as an off-the-books hired gun for the military, having become disillusioned with his government (switching on his TV at his remote mountain cabin, he mutters, "Let's see what kind of lies they're trying to sell us today."). Ah, but the government needs Swagger to scope out the location of a rumored attempt on the life of the president, so a shadowy government operative (Danny Glover) begs Swagger to use his sniper's skills to out-fox the assassin. From there--well, spoilers are not fair, since the movie has a few legitimate shocks and a very nice wrong-man scenario about to unfold.
A novel by the Washington Post's Pulitzer Prize-winning film critic Stephen Hunter gives the movie a logical spine, even if the premise itself is the stuff of conspiracy theorists. Wahlberg gets support from Michael Pena, as a skeptical FBI agent; Kate Mara, as a trustworthy widow; and Ned Beatty, trailing along memories of Network, as a supremely cynical Senator. Along with the well-executed action sequences (the previously unreliable director Antoine Fuqua gets it in gear here), the movie includes a few potshots at the Bush administration. No, that doesn't put Shooter at the level of "The Parallax View" or "All the President's Men", but it provides some tang along with the flying bullets. --"Robert Horton"

Languages: English

Sound: Dolby

Summary: John Badham's family-oriented adventure comedy, though obviously hatched in the wake of "E.T." and "Star Wars", manages to create its own identity through a sweet tone and an affectionate sense of fun. Military robot Number 5, a well-armed killing machine, is zapped by lightning during a test and emerges with a consciousness, curiosity, a wacky sense of humor, and a new peace-loving philosophy. Ally Sheedy (who debuted in Badham's hit "WarGames") is the animal lover whose home is sanctuary for a zoo-full of strays and who adopts the adolescent robot. Steve Guttenberg is the goofy but reclusive robotics designer who goes off in search of his creation to save him from the gun-happy army. The mix of gentle slapstick and innocent romance makes for a harmless family comedy. It veers toward the terminally cute, what with 5's hyperactive antics and E.T.-ish voice, and the mangled grammar of Guttenberg's East Indian sidekick (Fisher Stevens) threatens to become offensive, but Badham's breezy direction keeps the film on track. Sheedy and Guttenberg deliver spirited and engaging performances, but most importantly the robot emerges as a real person. Give credit to designer Syd Mead, an army of puppeteers and robotics operators, and the cartoony voice of Tim Blaney: Number 5 is alive. "--Sean Axmaker"

Languages: English, French, Portuguese, Spanish

Subtitles: English, French, Portuguese, Spanish

Sound: AC-3

Summary: When Shrek married Fiona the last thing he had in mind was becoming the next King of Far Far Away. But when Shrek’s father-in-law, King Harold, suddenly croaks, that is exactly what he faces. Recruiting Donkey and Puss In Boots for a new quest, Shrek sets out to bring back the rightful heir to the throne. Meanwhile back in the kingdom, Fiona's jilted Prince Charming storms the city with an army of fairy tale villains to seize the throne. Fiona and a band of princesses must stop him to ensure there will be a kingdom left to rule!

Languages: English

Summary: After captivating audiences with THE SIXTH SENSE and UNBREAKABLE writer/director M. Night Shyamalan created his next mind-blowing movie event: SIGNS -- now more tantalizing than ever on Blu-ray Disc(R)! SIGNS is the gripping story of an ordinary family as they encounter the possibility that Earth is being invaded by creatures from another planet. When Graham Hess (Mel Gibson) and his family awaken to find a 500-foot crop circle in their backyard they're told extraterrestrials are responsible. As they watch with growing dread news reports tell of similar "signs" suddenly appearing all over the world! Don't even blink as razor-sharp high definition transports you to a new dimension of awe and terror. Jump out of your skin as the spectacularly enhanced audio quality intensifies every gasp heartbeat and otherworldly echo. Stir your sense and experience SIGNS as if for the very first time in Blu-ray™ High Definition!System Requirements:Running Time: 106 minutesFormat: BLU-RAY DISC Genre: DRAMA/PSYCHOLOGICAL DRAMA Rating: PG-13 UPC: 786936767155 Manufacturer No: 05763100

Languages: English

Subtitles: English

Sound: Dolby

Summary: A lot of movies can be described as "dripping with atmosphere," but in the case of "Silent Hill" it's literally true. Faithfully adapted from the Konami video games by French director Christophe Gans and "Pulp Fiction" cowriter Roger Avary (both self-confessed video game addicts), this dark and grisly horror-fest is nothing if not a triumph of cinematography and production design, consisting of a minimal and mostly incoherent plot propped up by a mysterious maze of sets that literally seep, drip, and ooze with the atmospheric evil of past misdeeds. Welcome to the abandoned and perpetually foggy ghost town of Silent Hill, where grey ash falls like snow, a devastating coal-mine fire still burns in a hellish underground, and demons of various shapes and sizes make your worst nightmares seem like a walk in the park. It's here that distressed mother Rose (played by "Pitch Black" heroine Radha Mitchell) has taken her daughter Sharon (Jodelle Ferland) in hopes of discovering the source of Sharon's sleepwalking nightmares. What they find instead is a burned-out legacy of unspeakable evil, as Silent Hill's dark secrets are revealed. As opposing denizens of Silent Hill's meta-morphing underworld, Canadian actresses Alice Krige and Deborah Kara Unger seem to be the only ones who recognize this morbid mess as campy comedy; Gans (who established his visual flair with "The Brotherhood of the Wolf") and Avary take it far too seriously, and the entire movie is utterly devoid of any emotional hooks or plot logic that would make us care about anything that happens. In crafting a loyal big-screen rendition of "Silent Hill" and its Playstation sequels, they've forgotten that movies play by a different and more demanding set of rules. As a result, they've made an impressive-looking but ultimately hollow horror film that only "Silent Hill" game-players can truly appreciate. "--Jeff Shannon"

Languages: English, DTS 5.1; English, Dolby Digital 5.1; French, Unknown

Subtitles: Spanish

Sound: Dolby Digital 5.1

Comments: Hell of a way to end a partnership.

Summary: "Sin City" is four stories inter-weaved telling tales of corruption in Basin City. The first story (The Customer is always right) is short, and is based on the depression of women that they need to pay a man to feel loved when they commit suicide. The next story is Part 1 of "That Yellow Bastard" about a cop who needs to save a young girl from being raped. The third story (The Hard Goodbye) features a man taking revenge on a heartless killer who murdered his one-night stand. The fourth story (The Big, Fat Kill) stars a man who must dispatch a cop's body, but it will be a tough ride to do it. Following that are two conclusions to Sin City, the ending of "That Yellow Bastard" which is set 8 years later, and a short story that ends Sin City.

Languages: English, Portuguese, Spanish

Subtitles: English, Spanish, French, Portuguese

Sound: AC-3

Summary: Thirty-five years after Michael Caine played the role of crass boy-toy Milo Tindle in Joseph L. Mankiewicz’s screen adaptation of Anthony Shaffer’s hit play "Sleuth", the actor takes over his 1972 co-star Laurence Olivier’s role of rich cuckold Andrew Wyke in Kenneth Branagh’s updated remake of the same story. Where Olivier brought a seething, upper-class disgust to mystery-novelist Wyke’s attitude toward Tindle--who is having an affair with the former’s wife and has come to the writer’s mansion to request that Wyke divorce her--Caine basks in the comic absurdity of a superficial man like Tindle (Jude Law) led by the nose into one or another illusion of happiness. The new film’s script by Harold Pinter has the arid air of expectation familiar to his work, the weight of things not said whenever someone speaks. That’s a considerable weight indeed, in Sleuth’s story of a psychological contest between two very different men who despise one another beneath outward civility.

The story finds Tindle arriving at Wyke’s home. Following various small humiliations, he is invited by the older man to steal his wife’s jewels in a scheme that benefits everyone. There’s more than meets the eye to Wyke’s proposal, however, leading to unexpected developments and surprises in the film’s second half. Branagh’s direction is suitably cool and sleek in the beginning, when the characters’ emotions are still in check and the oddness of Wyke’s gadget-filled world is still entertaining to behold. (The film’s set design is one of its strongest elements.) But once voices rise and threats appear and the like, Branagh can’t seem to penetrate the surface of things. Unlike Mankiewicz’s take, the new version is caught up in the insularity of the characters’ tit-for-tat gamesmanship, lacking the intriguing, class-warfare subtext of the earlier work. A gay angle thrown into the last half-hour sits uncomfortably and irrelevantly with the rest of the material. The best thing about this "Sleuth" are the performances of Law and Caine, who could have been even better with a great script. "--Tom Keogh"
Stills from "Sleuth" (click for larger image)












Beyond "Sleuth"
On DVD
Audio CD

Languages: English, French, Spanish

Subtitles: English, French, Spanish

Sound: AC-3

Comments: Boys will be boys.

Summary: Even though this DVD doesn't boast that it's a special edition, it has some of the nicest extras you'd want to see. There's nearly an hour of behind-the-footage material, all of it superior made-for-cable featurettes so often included on DVDs. The technicians divulge little tricks of the trade, revealing more computer effects in the film than you'd think. Longtime Eastwood editor Joel Cox provides insight into the director's work routine. The highlight, though, is an extended version of the four principles' appearance on "The Tonight Show", with Jay Leno providing some interesting comments on how he chooses what films will "appear" on his show. "--Doug Thomas"

Languages: English, French, Spanish

Sound: Dolby

Summary: "Spider-Man 3"
How does "Spider-Man 3" follow on the heels of its predecessor, which was widely considered the best superhero movie ever? For starters, you pick up the loose threads from that movie, then add some key elements of the Spidey comic-book mythos (including fan-favorite villain Venom), the black costume, and the characters of Gwen Stacy and her police-captain father. In the beginning, things have never looked better for Peter Parker (Tobey Maguire): He's doing well in school; his alter ego, Spider-Man, is loved and respected around New York City. And his girlfriend, Mary Jane Watson (Kirsten Dunst), has just taken a starring role in a Broadway musical. But nothing good can last for Spidey. Mary Jane's career quickly goes downhill; she's bothered by Peter's attractive new classmate, Gwen Stacy (Bryce Dallas Howard); and the new "Daily Bugle" photographer, Eddie Brock (Topher Grace), is trying to steal his thunder. Enter a new villain, the Sandman (Thomas Haden Church), who can transform his body into various forms and shapes of sand and who may be connected to Peter's past in an unexpected way. There's also the son of an old villain, Harry Osborne (James Franco), who unmasked Spidey in the previous movie and still has revenge on his mind. And a new black costume seems to boost Spidey's powers, but transforms mild-mannered Peter into a mean and obnoxious boor (Maguire has some fun here).
If that sounds like a lot to pack into one 140-minute movie, it is. While director Sam Raimi keeps things flowing, assisted on the screenplay by his brother Ivan and Alvin Sargent, there's a little too much going on, and it's inevitable that one of the villains (there are three or four, depending on how you count) gets significantly short-changed. Still, the cast is excellent, the effects are fantastic, and the action is fast and furious. Even if "Spider-Man 3" isn't the match of "Spider-Man 2", it's a worthy addition to the megamillion-dollar franchise. "--David Horiuchi"
"Spider-Man 2"
More than a few critics hailed "Spider-Man 2" as "the best superhero movie ever," and there's no compelling reason to argue--thanks to a bigger budget, better special effects, and a dynamic, character-driven plot, it's a notch above Spider-Man in terms of emotional depth and rich comic-book sensibility. Ordinary People Oscar-winner Alvin Sargent received screenplay credit, and celebrated author and comic-book expert Michael Chabon worked on the story, but it's director Sam Raimi's affinity for the material that brings "Spidey 2" to vivid life. When a fusion experiment goes terribly wrong, a brilliant physicist (Alfred Molina) is turned into Spidey's newest nemesis, the deranged, mechanically tentacled "Doctor Octopus," obsessed with completing his experiment and killing Spider-Man (Tobey Maguire) in the process. Even more compelling is Peter Parker's urgent dilemma: continue his burdensome, lonely life of crime-fighting as Spider-Man, or pursue love and happiness with Mary Jane Watson (Kirsten Dunst)? Molina's outstanding as a tragic villain controlled by his own invention, and the action sequences are nothing less than breathtaking, but the real success of Spider-Man 2 is its sense of priorities. With all of Hollywood's biggest and best toys at his disposal, Raimi and his writers stay true to the Marvel mythology, honoring Spider-Man creators Stan Lee and Steve Ditko, and setting the bar impressively high for the challenge of "Spider-Man 3"1. "--Jeff Shannon"

DVD Features:
The first commentary track is by director Sam Raimi and a self-deprecating Tobey Maguire speaking in tandem, and producer (and Marvel CEO) Avi Arad and coproducer Grant Curtis speaking in tandem. They discuss a number of topics, including Raimi's memory of his excitement over Richard Donner's Superman and how the character of Black Cat had to be dropped from the film. The second commentary is by six members of the Oscar-nominated effects team, and one of their primary focuses is how Doc Ock's arms were achieved by a combination of puppetry and CGI.
The centerpiece of the second disc is a massive two-hour documentary that can be viewed all at once or in 12 separate pieces. It covers the development of the story, the visual effects, costumes, stunts, and sound and music. Three shorter featurettes cover Peter Parker's struggle between his personal and hero lives, Doc Ock, and the women in Spider-Man's life, and what's interesting is how they discuss those topics not just in relation to the movies but to the comic books as well. (For example, Betty Brant and Gwen Stacy had a much greater impact in the comics.) There's a scene in which you can toggle among three different camera angles, and a gallery of 17 paintings Alex Ross created for the opening sequence. The sound and picture are spectacular, though only the Superbit edition has DTS. "--David Horiuchi"

"Spider-Man"
For devoted fans and nonfans alike, "Spider-Man" offers nothing less--and nothing more--than what you'd expect from a superhero blockbuster. Having proven his comic-book savvy with the original "Darkman", director Sam Raimi brings ample energy and enthusiasm to Spidey's origin story, nicely establishing high-school nebbish Peter Parker (Tobey Maguire) as a brainy outcast who reacts with appropriate euphoria--and well-tempered maturity--when a "super-spider" bite transforms him into the amazingly agile, web-shooting Spider-Man. That's all well and good, and so is Kirsten Dunst as Parker's girl-next-door sweetheart. Where "Spider-Man" falls short is in its hyperactive CGI action sequences, which play like a video game instead of the gravity-defying exploits of a flesh-and-blood superhero. Willem Dafoe is perfectly cast as Spidey's schizoid nemesis, the Green Goblin, and the movie's a lot of fun overall. It's no match for Superman and Batman in bringing a beloved character to the screen, but it places a respectable third. "--Jeff Shannon"

Languages: English

Subtitles: Spanish

Sound: Dolby Digital 5.1

Comments: It Will Take You A Million Light Years From Home

Summary: "Stargate" is, obviously, the movie that later spawned the hit "Stargate SG-1" TV series, and its spinoffs.



But taken on its own merits, "Stargate" is a pretty entertaining blockbuster with some big flaws. It uncomfortably straddles the fence between "shoot-em-up bombs'n'action" and "mythology sci-fi," but provides a solid villain, some sketchy writing, and the foundation for a hit TV show. Well, it's definitely far better than your average sci-fi blockbuster.



Egyptologist Daniel Jackson (James Spader) has just lost his job, when a mysterious old lady invites him to become involved in a secret military project. Soon he finds out why -- a massive stone ring found in Giza decades ago, with strange symbols on a central ring. When they use his calculations, the Air Force is able to open a wormhole to a distant galaxy.



Obviously a recon team is sent through, led by the grieving Colonel O'Neil (Kurt Russell). This new world is a desert planet, inhabited by a race of primitive human slaves who practically worship the strangers. But things turn deadly when a pyramid ship descends on the desert, and a malevolent "god" decides to obliterate Earth -- using a nuclear bomb O'Neil brought along.



It's a pretty straightforward action plot -- scientist opens gateway to new planet, bad guy shows up and makes trouble, good guys attack bad guy with the help of plucky natives. "Stargate" doesn't add much to the typical formula, but it does dress it up with gilded robes, giant stone statues, glittering starships and sandswept deserts.



In fact, spectacle is what "Stargate" excels at -- it has big armies of invading, big ships, big pyramids, and big battles with Ra's warriors. When it comes to gun battles and explosions, Roland Emmerich does a pretty decent job. However, he gets mesmerized by the gilded interior of Ra's starship and the prettyboy alien slinking around -- the middle part of the movie is very slow-moving.



It's more clumsy at the intimate stuff of character development, such as Daniel's serious romance with a chief's daughter, or O'Neil's depression over his son. It just never feels natural or deep. The accompanying dialogue is usually pretty solid, but sometimes gets downright clumsy ("I don't want to die. Your men don't want to die. These people don't want to die. It's a shame you're in such a hurry to").



Spade pretty much steals the show as a lovable geek who sticks to his guns, even if it makes him a laughingstock. And the geek gets the girl, not the military grunts -- a nice change. Russell is stuck with a rather stiff, humourless military man, although he loosens up in the last lap. And Alexis Cruz, Mili Avital and Erick Avari all get kudos for making the lovable, deep characters come alive without a word of English.



"Stargate" is a fun movie for the spectacle and slam-bang action scenes, so long as the weak scripting doesn't hold you up. And it served as a good foundation for one of the best "exploration" sci-fi series in ages.

Languages: English, French, Spanish

Subtitles: English, French, Spanish

Sound: AC-3

Summary: If "Continuum", the second feature length, made-for-DVD film spun off from the long-running "Stargate SG-1" television series, marks the end of this wing of the franchise--and it is hardly a certainty, given the show’s Lazarus-like history--then all involved, including the viewer, should be well satisfied. "Continuum" commingles all the elements that have made "Stargate" so eminently watchable over the years, including engaging characters and storyline, plenty of action, impressive sets, and first-rate special effects. This time the whole gang is on hand, as the most recent SG-1 contigent (Ben Browder as fearless leader Lt. Col. Cameron Mitchell, Amanda Tapping as the brainy Lt. Col. Samantha Carter, Christopher Judge as the implacable alien Teal’c, Michael Shanks as the ever-resourceful Dr. Daniel Jackson, and Claudia Black as the irreverent, motor-mouthed Vala) is joined by characters whose roles had been reduced or eliminated along the way; principal among the latter is Richard Dean Anderson, whose Major General Jack O’Neill makes a welcome return after sitting out "The Ark of Truth", the first post-series film (both of Stargate Command’s head honchos, played by Beau Bridges and the late Don S. Davis, are also back). The villain is familiar as well: Ba’al (Cliff Simon), the last of the "Goa’uld system lords," who’s scheduled to be executed--or, more specifically, "extracted," whereby the bad mojo inside him will be exorcised. Things don’t quite go as planned, of course. Ba’al has managed to manipulate time, creating a situation where Mitchell, Jackson, and Carter find themselves caught in a paradox, an alternate timeline in which the Stargate program never even existed, making it easy for the bad guy and his gigantic space brigade to launch an all-out attack on Earth (though long-threatened throughout the series, such an invasion never actually happened until now). Our heroes’ intrepid efforts to thwart Ba’al’s dastardly scheme take them from the Arctic (for real) to the cockpits of F-15 jets and even the hold of a 1930s cargo ship (built specially for the occasion). All this, and Browder portraying his own grandfather too? Yo, "Stargate: Continuum" rocks! "--Sam Graham"

Languages: English, Turkish, French, Spanish

Subtitles: English, French, Spanish

Sound: AC-3

Summary: "Street King"s is a pungent bouquet of corruption, violence, multi-ethnic mayhem, macho glee laced with macho angst, and fluorescently obscene dialogue from the mind of James Ellroy. Its hero, though he'd scarcely consent to be called one, is L.A. police detective Tom Ludlow (Keanu Reeves), for whom life is a wound that won't heal and dealing out retribution to scumbags is the ongoing treatment. Ludlow's the star player--"the tip of the [expletive] spear"--on a team of detectives headed by Capt. Jack Wander (Forest Whitaker). Coach Wander relies on his boys to keep breaking lurid cases, usually through deeply darkside underground work, and raising his profile with the media and the department. In pursuit of these goals, nothing is forbidden except failure, and the truth is what you make it look like. This is familiar Ellroy territory, most effectively translated to the screen in "L.A. Confidential" (which should have won the 1997 Oscar, and would have if "Titanic" hadn't launched that year). If you know Ellroy's ground game, you can pretty much guess where Street Kings is going, and where it's been. Still, the twists and torques of its urban road-rage course maintain the centrifugal force needed to hold us in our seats (a tactical highlight: refrigerator adapted as rolling barricade), and the movie keeps bopping us with oddball casting coups: comic Jay Mohr and "Northern Exposure/Sex and the Cit"y veteran John Corbett as two members of Coach Warden's gonzo detective squad; Cedric the Entertainer doing a nicely nuanced turn as a street creature; Hugh Laurie doing a less-hyper version of "House", if House worked Internal Affairs.

The problem is that director David Ayer keeps everything intense. Dialogues are shot too close-up, line readings are too strident, the action is too nonstop slam. Recall Curtis Hanson's "L.A. Confidential" and the mind's eye summons up a whole spectrum of existence, mood, place, historical period, emotional investment; there's an amplitude to the picture and the sensibility bringing it to us, something besides the whodunit and the endless rap sheet of nasty what-they-done. Everything in Street Kings is one-note, and with Keanu Reeves playing it implosive and Forest Whitaker locked in crazier-than-an-outhouse-rat mode, that's no way to stay the course. --"Richard T. Jameson "
Beyond "Steet Kings " on DVD
"Jumper" on DVD
"Shutter" on DVD
"Untraceable" on DVD


Stills from "Street Kings" (Click for larger image)

Languages: Arabic, English, German, Russian, Ukrainian, French, Spanish

Subtitles: English, French, Portuguese, Spanish

Sound: AC-3

Summary: It's not easy replacing Harrison Ford as a beloved screen hero, but Ben Affleck brings fresh vitality to "The Sum of All Fears", reviving Paramount's Tom Clancy franchise in the role Ford made famous. As CIA agent Jack Ryan, Affleck is a rookie in the covert ranks, unraveling a plot that lures Russian and American superpowers into a nuclear standoff, while a neofascist faction turns most of Baltimore into an atomic wasteland and holds the world in the grip of a terrorist nightmare. Affleck combines sharp intelligence with a new-guy's perspective, while a senior agent (Morgan Freeman) passes the torch of back-channel authority. The result is one of the best Clancy films to date, ably helmed by Phil Alden Robinson (whose comic thriller "Sneakers" was sorely underrated) with a stellar supporting cast, and adapted with abundant humor, humanity, and thrills by "Donnie Brasco" screenwriter Paul Attanasio and cowriter Daniel Pyne. Even the typically reticent Clancy would approve. "--Jeff Shannon"

Languages: English

Sound: DTS

Comments: If the sun dies, so do we.

Summary: It is the year 2057. The sun is about to peter-out in about 50years. A mission was sent seven years ago to reignite the sun; the ship disappeared. Now a new mission and last chance.



We are now introduced to the standard crew mix over the obligatory eating scene. The mission is reviled. We learn of each person's personality and quirks. And it takes a long slow time. (For people with Blu-ray you can fast-forward with sound on, it does not sound Mickey Mouse.) Soon we find the fate of the previous ship. We also suffer from an accident caused by miscalculation. Will these mishaps jeopardize the mission and the human fate?



The film is a tad slow probably by design and there are lots of flashy visuals. Many look like they ware borrowed from "Solaris" (2002.) The external accouterments aside, the film is a well formulated standard Sci-Fi with all the elements needed. We have each character meting his/her cuisses and how they deal or do not deal with it. There are moral and technical difficulties to deal with. The story has the "stay in the car" or "Don't open that!" feel. And of course the standard twists and turns with the surprise (supposed to be surprise) ending.



The whole film could have been and pretty much has been done in an hour or half hour episode of Star Trek. Not all Star Trek's had space monsters.



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The Blu-ray version has a couple of commentaries that make the movie a tad more attractive and the obligatory extras.

Languages: English, German, French, Spanish

Subtitles: English, French, Spanish

Sound: AC-3

Summary: "Swordfish" is a superficial movie, so let's address the superficial facts: Halle Berry was well paid to bare her breasts in this gratuitous cyber-action thriller, and while Berry's many fans will enjoy a cheap drool at the actress's expense, her brief topless scene doesn't justify this insipid parade of glossy violence from the director of 2000's "Gone in 60 Seconds". Add yet another notch in John Travolta's bad-movie belt, and you've got Hollywood bankruptcy in full blossom. Go ahead, marvel at director Dominic Sena's biggest money shot--a 360-degree pan as a robbery hostage is blown to bits by a bomb that pelts a surrounding SWAT squad with deadly ball bearings.
The plot, as if it matters: Travolta's a slick, self-appointed antiterrorist who recruits a top-flight computer hacker (Hugh Jackman) to transfer a $9.5 billion government slush fund into a cluster of secret accounts. Berry's the curvaceous bait who lures Jackman into the scheme; Don Cheadle's an FBI agent hot on their tails; and an obligatory subplot turns Jackman's daughter (Camryn Grimes) into an innocent bargaining chip. By the time a hostage transport bus is airlifted in the film's not-so-thrilling climax, "Swordfish" will hold your passive attention or put you to sleep--it all depends on your tolerance for Sena's brand of derivative bloodlust. It's pornography of a sort, and efficiently mechanical, but you can bet good money that Berry and her costars didn't cash their paychecks proudly. "--Jeff Shannon"