The long awaited release of the first Facedown video collection is finally here. This DVD features live and interview footage from the entire Facedown Family of bands as well as footage from the sold out Facedown Fest 2003, Point Of Recognition's final show, and No Innocent Victim's final shows in the USA and Puerto Rico. Other bands featured include Dodgin' Bullets, Sinai Beach, The Deal, Overcome, Comeback Kid, Symphony In Peril, Hanover Saints, Nodes Of Ranvier, xDisciplex A.D., Figure Four, One 21, and Seventh Star.

This film, about a downsized engineer (Michael Douglas) who goes ballistic, triggered a media avalanche of stories about middle-class white rage when it was released in 1993. In fact, it's nothing more than a manipulative, violent melodrama about one geek's meltdown. Douglas, complete with pocket protector, nerd glasses, crewcut, and short-sleeved white shirt, gets stuck in traffic one day near downtown L.A. and proceeds to just walk away from his car—and then lose it emotionally. Everyone he encounters rubs him the wrong way—and a fine lot of stereotypes they are, from threatening ghetto punks to rude convenience store owners to a creepy white supremacist—and he reacts violently in every case. As he walks across L.A. (now there's a concept), cutting a bloody swath, he's being tracked by a cop on the verge of retirement (Robert Duvall). He also spends time on the phone with his frightened ex-wife (Barbara Hershey). Though Douglas and Duvall give stellar performances, they can't disguise the fact that, as usual, this is another film from director Joel Schumacher that is about surface and sensation, rather than actual substance. —Marshall Fine

If you're still eating that fast-food burger after watching Super Size Me, you might not feel too hungry after watching Fast Food Nation, a fictionalized feature based on Eric Schlosser's bestselling nonfiction expose. Director Richard Linklater, who cowrote the screenplay with Schlosser, guides a topnotch ensemble cast through a peek behind the veil of how that Big Mac is born. Much of the film focuses on the illegal immigrants who work in the loosely regulated meat-packing industry, and actors including the luminous Catalina Sandino Moreno (Maria Full of Grace), who plays a desperate but outraged laborer. Greg Kinnear also delivers a spot-on performance as a fast-food chain marketing manager, trying frantically to discover the source of stomach-turning contamination in the company's meat. Stories are woven in unexpected ways, and cameos by the likes of Kris Kristofferson, Patricia Arquette, and especially Bruce Willis keep the narrative fresh. The film has a point of view, but thanks to Linklater's deft touch, is never didactic. As Willis's character slyly says, "Most people don't like to be told what's best for them." Agreed, yet Fast Food Nation likely will help the viewer be more conscious of what's on the end of that fork. —A.T. Hurley

Extras from Fast Food Nation

Fast Food Nation Arcade-Style Game

Beyond Fast Food Nation

Super Size Me

Fast Food Nation (Paperback)

Fast Food Nation: Music from and Inspired by the Motion Picture

Stills from Fast Food Nation

This tells the story of chinese martial arts master huo yuanjia (1969-1910). Huo yuanjia was the founder & spiritual guru of the jin wu sports federation. Studio: Uni Dist Corp. (mca) Release Date: 05/01/2007 Starring: Jet Li Brandon Rhea Run time: 99 minutes Rating: Ur Director: Yimou Zhang

Like a soda pop left open all night, Bueller seems to have lost its effervescence over time. Sure, Matthew Broderick is still appealing as the perennial truant, Ferris, who fakes his parents out and takes one memorable day off from school. Jeffrey Jones is nasty and scheming as the principal who's out to catch him. Jennifer Grey is winning as Ferris's sister (who ends up making out in the police station with a prophetic vision of Charlie Sheen). But there's a definite sense that this film was of a particular time frame: the '80s. It's still fun, though. There's Ferris singing "Twist and Shout" during a Chicago parade, and a lovely sequence in the Art Institute. But don't get it and expect your kids to love it the way you did. Like it or not, it's yours alone. —Keith Simanton

All films take a certain suspension of disbelief. Fight Club takes perhaps more than others, but if you're willing to let yourself get caught up in the anarchy, this film, based on the novel by Chuck Palahniuk, is a modern-day morality play warning of the decay of society. Edward Norton is the unnamed protagonist, a man going through life on cruise control, feeling nothing. To fill his hours, he begins attending support groups and 12-step meetings. True, he isn't actually afflicted with the problems, but he finds solace in the groups. This is destroyed, however, when he meets Marla (Helena Bonham Carter), also faking her way through groups. Spiraling back into insomnia, Norton finds his life is changed once again, by a chance encounter with Tyler Durden (Brad Pitt), whose forthright style and no-nonsense way of taking what he wants appeal to our narrator. Tyler and the protagonist find a new way to feel release: they fight. They fight each other, and then as others are attracted to their ways, they fight the men who come to join their newly formed Fight Club. Marla begins a destructive affair with Tyler, and things fly out of control, as Fight Club grows into a nationwide fascist group that escapes the protagonist's control.

Fight Club, directed by David Fincher (Seven), is not for the faint of heart; the violence is no holds barred. But the film is captivating and beautifully shot, with some thought-provoking ideas. Pitt and Norton are an unbeatable duo, and the film has some surprisingly humorous moments. The film leaves you with a sense of profound discomfort and a desire to see it again, if for no other reason than to just to take it all in. —Jenny Brown

Bound by love for their slain adoptive mother, the brothers in Four Brothers form a unique quartet that gives John Singleton's film a razor's edge of redemption. It's a thin edge, to be sure, because while Singleton's urban Western pays homage to the Blaxpoitation films of the '70s (as he did with his remake of Shaft), it walks a fine line of credibility with a mythic vengeance plot (recalling John Wayne's 1965 hit The Sons of Katie Elder) that endorses violence as the last resort of a family under siege. When a saintly foster mother (Fionnula Flanagan) is gunned down in a convenience store, her only adopted sons (two white, two black, played respectively by Mark Wahlberg, Garrett Hedlund, Tyrese Gibson and Andre Benjamin) go after the killers, only to discover that their mother's death was not a random event. As they uncover a sticky web of criminal activity involving a local kingpin (Chiwitel Ejiofor), the character-driven plot races toward an inevitable showdown, with ex-con Wahlberg leading the way. Making excellent use of blue collar locations in Detroit, Singleton keeps the action moving fast enough that the film's lack of realism is easily ignored, and the well-drawn characters (including Terrence Howard as a tenacious detective) lend emotional dimension to an otherwise familiar revenge scenario. Four Brothers is manipulative, but it's filled with grace notes of rugged working-class humanity, and it definitely holds your attention. —Jeff Shannon

Will Smith stars as a teenager from inner city Philadelphia who's sent to California to live in with his wealthy relatives in the hopes that they will "straighten him out and teach him some good old-fashioned values" but Will soon takes his rightful place as The Fresh Prince of Bel Air.Running Time: 587 min.Format: DVD MOVIE Genre: TELEVISION/SERIES & SEQUELS UPC: 012569593909

Will Smith stars as a teenager from inner city Philadelphia who's sent to California to live with his wealthy relatives in the hopes that they will "straighten him out and teach him some good old-fashioned values. On Season 2 Bel-Air is starting to feel like the hood for Will. His Philly roots run deep but even a street-smart rapper can wrap his mind around croissants and credit cards and his arms around upscale hotties. Guest stars include Queen Latifah Milton Berle and Zsa Zsa Gabor.Running Time: 562 min.Format: DVD MOVIE Genre: TELEVISION/SERIES & SEQUELS UPC: 012569707696

Friday is the rarest specimen of African American cinema: a 'hood movie refreshingly free of the semiseriousness and moralism of shoot 'em up soaps such as Boyz N the Hood, yet still true to the inner-city experience.

Scripted by rapper Ice Cube, Friday is a no-frills tale of a typical day in the life of a pair of African American youth in South Central. Cube plays Craig, a frustrated teen who endures the ultimate humiliation: getting fired on his day off. Then unknown Chris Tucker plays Smokey, a marijuana-worshipping homeboy whose love for the green stuff lands him in predicament after predicament.

Sitting on the stoop of Craig's rundown home, the two hilariously confront a kaleidoscopic array of gangbangers, weed dealers, crack heads, prostitutes, scheming girlfriends, and neighborhood bullies—all of whom, it should be noted, come off as sympathetic even as they are being caricatured, a true achievement in the crass, "booty call" environment of '90s African American comedy. —Ethan Brown

Gangs of New York may achieve greatness with the passage of time. Mixed reviews were inevitable for a production this grand (and this troubled behind the scenes), but it's as distinguished as any of director Martin Scorsese's more celebrated New York stories. From its astonishing 1846 prologue to the city's infernal draft riots of 1863, the film aspires to erase the decorum of textbooks and chronicle 19th-century New York as a cauldron of street warfare. The hostility is embodied in a tale of primal vengeance between Irish American son Amsterdam Vallon (Leonardo DiCaprio) and his father's ruthless killer and "Nativist" gang leader Bill "the Butcher" Cutting (Daniel Day-Lewis, brutally inspired), so named for his lethal talent with knives. Vallon's vengeance is only marginally compelling; DiCaprio is arguably miscast, and Cameron Diaz (as Vallon's pickpocket lover) is adrift in a film with little use for women. Despite these weaknesses, Scorsese's mastery blossoms in his expert melding of personal and political trajectories; this is American history written in blood, unflinching, authentic, and utterly spectacular. —Jeff Shannon

In Get Rich or Die Tryin', rapper Curtis "50 Cent" Jackson presents himself as a rap superhero, encased in muscular flesh like armor, his face impassive as a mask, reaching out to destroy his enemies with his unique talent. The plot, though based on Jackson's life, is standard—a gangster breaks from his youthful life of crime to triumph as a rapper—but there's vitality in the details: Jackson's girlfriend helps him pull free the wires holding his jaw shut when he's recovered from being shot in the face; a startling, brutal fight by naked men in a prison shower. Jackson even has his comic-book moment of transformation when a razor blade is thrown into his cell, encouraging him to kill himself; instead, he uses it to carve his rhymes into the walls. Unfortunately, as an actor Jackson only has two sides, gangster hard or oddly childlike and vulnerable. This second aspect falls away from the movie as Jackson assumes power, leaving only the cold, impassive face of a tough guy. That's the fate of superheroes too—they become the mask they present to the world, which is both their dream and their fate. Terrence Howard (Crash, Hustle & Flow) livens things up as a volatile prison friend. Also featuring Bill Duke (Predator) as a raspy ganglord and Joy Bryant (Honey) as Jackson's girlfriend. Capably directed by Jim Sheridan (My Left Foot, In America). —Bret Fetzer