Rack up this 2003 theatrical release featuring an all-star cast including Chazz Palminteri and Christopher Walken. A gritty dramatic thriller: POOLHALL JUNKIES.

When Johnny, a poolhall hustler, tries to quit the game, it's not as easy as he thinks. And when his younger brother gets hooked into a con that could cost his brother's life, Johnny is forced to play for the biggest stake of his career. It's bigger than money, bigger than life, and bigger than either player can imagine.

Studio: Sony Music Release Date: 11/25/2003

In the annals of acting, 2004 will be remembered as a banner year for Jamie Foxx. Before his acclaimed turns in Collateral, alongside Tom Cruise, and Ray, the Ray Charles biopic, he produced and starred in this made-for-cable movie about former gangbanger Stan "Tookie" Williams. Directed by actor-turned-filmmaker Vondie Curtis Hall (Gridlock'd), Redemption tracks Tookie's rise as co-founder of L.A.'s notorious Crips, fall to death-row inmate, and rise again to Nobel Prize Nominee. Tookie's reminiscences to journalist Barbara Becnel (Lynn Whitfield), while he is on death row, frame the story. Virtually unrecognizable from his days on In Living Color, a buffed-up, dreadlocked Foxx gives an effectively low-key performance, while Whitfield also shines in a less rewarding role. Redemption may not have the grandeur of Malcolm X or The Hurricane—and Tookie's transformation from man of violence to man of peace happens too quickly—but his story is just as inspirational. —Kathleen C. Fennessy

Quentin Tarantino came out of nowhere (i.e., a video store in Manhattan Beach, California) and turned Hollywood on its ear in 1992 with his explosive first feature, Reservoir Dogs. Like Tarantino's mainstream breakthrough Pulp Fiction, Reservoir Dogs has an unconventional structure, cleverly shuffling back and forth in time to reveal details about the characters, experienced criminals who know next to nothing about each other. Joe (Lawrence Tierney) has assembled them to pull off a simple heist, and has gruffly assigned them color-coded aliases (Mr. Orange, Mr. Pink, Mr. White) to conceal their identities from being known even to each other. But something has gone wrong, and the plan has blown up in their faces. One by one, the surviving robbers find their way back to their prearranged warehouse hideout. There, they try to piece together the chronology of this bloody fiasco—and to identify the traitor among them who tipped off the police. Pressure mounts, blood flows, accusations and bullets fly. In the combustible atmosphere these men are forced to confront life-and-death questions of trust, loyalty, professionalism, deception, and betrayal. As many critics have observed, it is a movie about "honor among thieves" (just as Pulp Fiction is about redemption, and Jackie Brown is about survival). Along with everything else, the movie provides a showcase for a terrific ensemble of actors: Harvey Keitel, Tim Roth, Steve Buscemi, Michael Madsen, Christopher Penn, and Tarantino himself, offering a fervent dissection of Madonna's "Like a Virgin" over breakfast. Reservoir Dogs is violent (though the violence is implied rather than explicit), clever, gabby, harrowing, funny, suspenseful, and even—in the end—unexpectedly moving. (Don't forget that "Super Sounds of the Seventies" soundtrack, either.) Reservoir Dogs deserves just as much acclaim and attention as its follow-up, Pulp Fiction, would receive two years later. —Jim Emerson

In Road to Perdition, Tom Hanks plays a hit man who finds his heart. Michael Sullivan (Hanks) is the right-hand man of crime boss John Rooney (Paul Newman), but when Sullivan's son accidentally witnesses one of his hits, he must choose between his crime family and his real one. The movie has a slow pace, largely because director Sam Mendes (American Beauty) seems to be in love with the gorgeous period locations. Hanks gives a deceptively battened-down performance at first, only opening up toward the very end of the film, making his character's personal transformation all the more convincing. Newman turns in a masterful piece of work, revealing Rooney's advancing age but at the same time, his terrifying power. Jude Law is also a standout, playing a hit man-photographer with chilling creepiness. This movie requires a little patience, but the beautiful cinematography and moving ending make it well worth the wait. —Ali Davis

Studio: Warner Home Video Release Date: 01/27/2009 Run time: 116 minutes Rating: R

A little drunk on its own arcane exotica as a gambling movie, Rounders is a film that takes us inside a world of high-stakes card players but falls short on such essentials as character development, relationships, that sort of thing. Still, it is a real curiosity, written by a couple of guys (David Levien and Brian Koppelman) who appear to know something about the dark underbelly of card hustling for fun and profit. Matt Damon stars as a reluctant law student who can't put aside his subterranean career of playing poker and blackjack for big money. After he loses his post-grad nest egg to a weird Russian kingpin (John Malkovich)—and also loses his disgusted girlfriend (Gretchen Mol) in the process—Damon—Damon's character turns to an unreliable old buddy (Edward Norton) for a dangerous game of sharking wherever there happens to be a game underway: frat boys, cops, bad dudes, you name it. Norton appears to be living out every young actor's fantasy of re-creating Robert De Niro's prototypical head case in Martin Scorsese's Mean Streets, and while his performance is burdened by obvious quotation marks, his estimable talent still shines through. Damon's charm and intelligence bring some oomph to the curiously flat proceedings, and while his hushed, soul-bearing scenes with Martin Landau (as a law professor who takes a shine to the kid) seem gratuitous, they're still nice to watch. Behind all this is director John Dahl (Red Rock West), who is not exactly at the top of his game here but who brings his distinctive toughness to the crime-noir tone. —Tom Keogh

This 1993 film by David Anspaugh (Hoosiers) is slowly building a reputation as a minor highlight of '90s movies. Based on a true story, Rudy stars Sean Astin as Rudy Ruettiger, a blue-collar kid whose father (Ned Beatty) worships Notre Dame football but who would never dare to dream that any of his sons could be a part of the team. The film is entirely about Ruettiger's ceaseless if sometimes wavering commitment toward that goal, despite tremendous obstacles in physical stature, education requirements, the dismissiveness of coaches, poverty, his father's envy, and endless delays of one kind or another. This is the sort of film that looks back on a life and says the battle was its own reward, not the glory. Astin is very moving as a boy who becomes a man and watches his world change, often in unexpected ways, through painful determination. Great support from Beatty, Lili Taylor as a hometown girl, and Robert Prosky and Charles S. Dutton as two valuable mentors. —Tom Keogh

Synopsis: The inspiring story of Billy Mills the American Indian that overcame adversity to go on to win the 10,000 meter long distance race in the Tokyo Olympics.

This sprawling epic of bloodshed and excess, Brian De Palma's update of the classic 1932 crime drama by Howard Hawks, sparked controversy over its outrageous violence when released in 1983. Scarface is a wretched, fascinating car wreck of a movie, starring Al Pacino as a Cuban refugee who rises to the top of Miami's cocaine-driven underworld, only to fall hard into his own deadly trap of addiction and inevitable assassination. Scripted by Oliver Stone and running nearly three hours, it's the kind of film that can simultaneously disgust and amaze you (critic Pauline Kael wrote "this may be the only action picture that turns into an allegory of impotence"), with vivid supporting roles for Steven Bauer, Michelle Pfeiffer, Mary Elizabeth Mastrantonio, and Robert Loggia. Universal's special edition digital video disc includes a documentary about the making of the film that features numerous interviews and several deleted scenes. —Jeff Shannon

Nothing? Seinfeld is a show about everything! It's about the appeal of the posse and coma etiquette. It's about importing and exporting. It's about sneaking a peek, and seeing the baby. It's about this, that, and the other. TV Guide ranked Seinfeld the best TV series of all time. It has become the master of its syndication domain. Its most devoted fans can quote each episode chapter and verse; their absorption of each scene's minutiae anything but a trivial pursuit. With such fervent devotion to the show, and demand for its DVD release, series creators Jerry Seinfeld and Larry David could have easily just OK'd a bare-bones set containing nothing but the episodes. Not that there would have been anything wrong with that, but instead, the creative team came together to create extensive and encyclopedic features that make this four-disc set buy-worthy. The candid and revealing audio commentaries and interviews, deleted scenes and original episode promos, and optional "Notes About Nothing" pop-ups are as irresistible as a Drake's coffee cake.

It's always fun and instructive to return to the humble beginnings of a series that became a pop culture benchmark. Here are Kramer's first not-so-grand entrance, Jerry's first contemptuous "Hello, Newman," and Elaine's first "Get Out!" shove. But what is most revelatory about these episodes from the first two seasons is what Jason Alexander, during his commentary for the episode "The Revenge," calls a "sweet quality" that somehow redeems these characters' more base instincts. Consider the scene in which Jerry gives a freshly unemployed George some career guidance, or Jerry and Elaine's palpably affectionate banter throughout. The "Inside Look" episode intros offer fascinating insights into this singular show that subverted sitcom convention with such now-classic episodes as "The Chinese Restaurant," in which Jerry, George, and Elaine wait in vain for a table. We learn, for example, why movie tough guy Lawrence Tierney, who guest starred in "The Jacket," never reprised his role as Elaine's father. All of this, of course, is yadda yadda yadda to Seinfeld fans, whose patience for the show's DVD debut has been amply rewarded. As Elaine screams in the third-season episode, "The Subway,""It's not nothing, it's something!"—Donald Liebenson

For Seinfeld, the third season's—for want of a better word—the charm. The show has found its misanthropic voice (by season's end, a fed-up Elaine tells herself, "I gotta get some new friends"), the ensemble has a firmer grasp of their characters, and the writers rise to the occasion with episodes that have entered the Seinfeld pantheon, including the Seinfeld equivalent of a Very Special Episode, "The Boyfriend," with Keith Hernandez and the J.F.K. parody, "The Library," featuring Philip Baker Hall channeling Jack Webb as library bookhound Bookman, "The Pez Dispenser," and "The Keys," with an L.A.-bound Kramer winding up on Murphy Brown. Michael Richards, especially, comes into his own this season as Kramer. The first two seasons built up the mystique of this "man-child"/"parasite." So while he was absent in season 2's "The Chinese Restaurant," he is now out and about with the close-knit, albeit dysfunctional, trio. Julia Louis-Dreyfus has some of her giddiest golden moments, zonked on painkillers in "The Pen," or, as a bored party guest in "The Stranded," telling an obnoxious bride-to-be that "Maybe the dingo ate your baby." And don't get us started on Jason Alexander as George, series co-creator Larry David's neurotic and angst-ridden alter-ego. To paraphrase what Julia Roberts said of Denzel Washington, we don't want to live in a world where Alexander doesn't have an Emmy.

But it's the extensive bonus features that give this four-disc set "hand" over other TV-on-DVD releases. The "Inside Look" episode intros, optional pop-up "Notes About Nothing," and candid, albeit a little too casual, commentaries offer a fount of information to even the most obsessive Seinfeld fans. We learn that even the most outrageous episodes, such as "The Pez Dispenser," were inspired by real-life events. Especially telling is Alexander's observation that Jerry never really socialized with the other ensemble members. This has extended to the commentaries: Seinfeld pairs with David on some episodes, while Alexander, Richards and Dreyfus team up on others. They are gracious to the guest stars and extras, and mostly mum on Jer. —Donald Liebenson

Samuel L. Jackson makes a gleefully updated John Shaft in John Singleton's homage to (not remake of) the early '70s action classic, picking up where Richard Roundtree's legendary Shaft left off. The Manhattan-set film is highlighted by excellent performances, dynamic action scenes, and witty one-liners (Jackson's Shaft: "It's my duty to please the booty"—although the line's deceptive: there's a surprising lack of sex in the film). Unfortunately, it's offset by a surprisingly uninspired, predictable, one-dimensional story, penned by Singleton, Richard Price, and Shane Salerno. The story, in which Shaft investigates the murder of a young African American, is without suspense, since from the start the audience knows that rich white boy Walter Wade (Christian Bale) did the deed, and that Shaft is going to kick his ass, big time. That said, charismatic performances—from Jackson (who, in keeping with the times, is more volatile and fiery than his predecessor), Toni Collette (as a frightened witness), the villainous Bale, and the utterly amazing Jeffrey Wright (Basquiat)—make the film enticing and watchable. Look for a cameo by the original Shaft's director, the legendary Gordon Parks, and fans of the original should note that a still stunningly handsome Roundtree briefly appears as Jackson's uncle. —N.F. Mendoza

When this popular prison drama was released in 1994, some critics complained that the movie was too long (142 minutes) to sustain its story. Those complaints miss the point, because the passage of time is crucial to this story about patience, the squeaky wheels of justice, and the growth of a life-long friendship. Only when the film reaches its final, emotionally satisfying scene do you fully understand why writer-director Frank Darabont (adapting a novella by Stephen King) allows the story to unfold at its necessary pace, and the effect is dramatically rewarding. Tim Robbins plays a banker named Andy who's sent to Shawshank Prison on a murder charge, but as he gets to know a life-term prisoner named Red (Morgan Freeman), we realize there's reason to believe the banker's crime was justifiable. We also realize that Andy's calm, quiet exterior hides a great reserve of patience and fortitude, and Red comes to admire this mild-mannered man who first struck him as weak and unfit for prison life. So it is that The Shawshank Redemption builds considerable impact as a prison drama that defies the conventions of the genre (violence, brutality, riots) to illustrate its theme of faith, friendship, and survival. Nominated for seven Academy Awards including Best Picture, Actor, and Screenplay, it's a remarkable film that signaled the arrival of a promising new filmmaker—a film that many movie lovers count among their all-time favorites. —Jeff Shannon