Studio: Warner Home Video Release Date: 09/11/2007 Run time: 250 minutes

John Dunstan, David Croft, Robin Carr Studio: Warner Home Video Release Date: 09/11/2007 Run time: 220 minutes Rating: Nr

John Dunstan, David Croft Studio: Warner Home Video Release Date: 09/11/2007 Run time: 230 minutes

Nick Dunlap

Milton Lage

Rob Cohen

Terry Gilliam The year is 2035 and humankind subsists in a desolate netherworld following an airborne viral holocaust. Desperate scientists time-shuttle a convict james cole to the past in hopes of discovering a means of saving the future. When cole arrives in 1996 hes deemed mad and placed in an asylum. Studio: Uni Dist Corp. (mca) Release Date: 05/23/2006 Starring: Bruce Willis Run time: 130 minutes Rating: R

Jill Sprecher 13 conversations weaves five contemporary stories together into a single tale that examines the dramatic impace people have on one another. The film offers an unusual glimpse into each characters past present and future in ways that are both playful and poignant. Studio: Sony Pictures Home Ent Release Date: 01/22/2008 Starring: Matthew Mcconaughey Alan Arkin Run time: 94 minutes Rating: R

Gary Winick On her 13th birthday jennas only wish is to get older & fast. When she wakes up the next morning shes 30 years old a successful magazine editor with a live-in boyfriend! jenna tracks down matt(her best friend when she was younger) to try & figure out what has happened. Studio: Sony Pictures Home Ent Release Date: 06/27/2006 Starring: Jennifer Garner Mark Ruffalo Run time: 98 minutes Rating: Pg13

Sean Penn and Benecio Del Toro, two of the most gripping actors around, play wildly different men linked through a grieving woman (Naomi Watts, Mulholland Drive, The Ring) in 21 Grams. Del Toro (Traffic, The Usual Suspects) delves deep into the role of an ex-con turned born-again Christian, a deeply conflicted man struggling to set right a terrible accident, even at the expense of his family. Penn (Mystic River, Dead Man Walking) captures a cynical, philandering professor in dire need of a heart transplant, which he gets from the death of Watts' husband. 21 Gramsslips back in forth in time, creating an intricate emotional web out of the past and the present that slowly draws these three together; the result is remarkably fluid and compelling. The movie overreaches for metaphors towards the end, but that doesn't erase the power of the deeply felt performances. —Bret Fetzer

Michael Winterbottom An ingenious docudrama on the Manchester music scene of the 1980s and '90s. 24 Hour Party People traces the rise and fall of bands like Joy Division, New Order, and Happy Mondays—bands whose success in the U.S. was limited, but whose impact in Europe (and England in particular) was phenomenal. It all centers around the record label that spawned these bands, Factory Records, and its impresario Tony Wilson (Steve Coogan), a man both ludicrous in his self-absorption and brilliant in his willingness to go out on a limb for bands he likes. Coogan, a British comic, gives a remarkable and deeply funny performance that manages to be simultaneously sincere and ironic. The movie communicates what was great about this time without any false majesty—the squalor and disasters are as crucial to this portrait as the wild successes. The soundtrack, of course, is superb. —Bret Fetzer

Olivier Marchal

Studio: Lions Gate Home Ent. Release Date: 09/09/2008 Run time: 122 minutes Rating: R

Judd Apatow Andy Stitzer's friends make it their mission to help him finally lose his virginity at forty.
Genre: Feature Film-Comedy
Rating: UN
Release Date: 23-MAY-2006
Media Type: DVD

A movie about surfers and a rediscovery of the wandering spirit of surf filmmaking, the 5th Symphony Document takes us on a soulful journey around the world to capture the very essence of surfing and the people who love it . This movie features a killer soundtrack and is a must have for anyone interested great surfing in exotic locales. Awards: Surfer Magazine Video of the Year 2001 Starring: Shane Dorian, Ben Brough, Conan Hayes, Mikala Jones, Greg Browning, Kelly Slater, CJ Kanuha, Rob Machado, Darieus Legg, Justin Souter, Maz Quinn, Jason Bennet, Jeremy Heit, Kassia Meador, Tom Carroll, Ross Williams, Joe Curren, Tom Curren Locations: New Zealand, Australia, United States, California, Hawaii, Mexico Featuring music by: EPQ, Erin McKeown, Infectious Organisms, Little Doc Thornton, Liz Capra, Pepper, Arena Productions, Exit Human, The Five Points Band, Forest Sun, Gene Lubin, Rad Bones, Bargain Music, Red Whyte, I Decline Directed by: Andy Carlson and Chad Campbell

Paul Weitz Chris Weitz This movie is set in contemporary London and its story revolves around the life of playboy Will Freeman (Hugh Grant). Freeman is an independent man who enjoys a leisurely life carved into careful sections. His friends find him desperately lonely and unfulfilled, a notion he entirely disregards. Whilst trying to find creative new ways to meet single women for casual relationships, he meets a boy named Marcus (Nicholas Hoult). Marcus is the misfit at his school, overburdened by his freethinking and chronically depressed mother, Fiona (Toni Collette). Freeman and Marcus forge an unlikely but edifying bond that transposes their generation gap and differences. Culminating in a hilarious school music performance, the two discover new ways to navigate a changing world and terms in which to redefine the meaning of family.

Saturated by the amazing music of Badly Drawn Boy, this is an enduring and enjoyable comedy. Hugh Grant's character of the roguish unlikely hero seems ideally suited to him. Collette's performance as a seeming shallow liberal is wonderfully dynamic, bringing depth and heart to the character. The film tackles many social issues, especially problems of male (father-son) relations, from a compelling point of view. It's a picture of modern England that burrows into the largely untapped life of this fascinating country. The horribly undeveloped and unrealistic character of the rebellious teenage girl with whom Marcus becomes smitten is the only place where this film really lacks. Otherwise it is a pleasure to watch.

Carefully chronicling in great detail the early years of Hitler's life and the events that shaped him into the zealous leader of Germany, this early documentary offers a critical insight into the stealthy rise of the Nazi party and how its racist vision of the world slowly took hold in a disillusioned Germany. Learn of the deceit and violence Hitler used to seize power of the state, the formation of Nazi ideology, the mistreatment of the Jews, and the tricks utilized in order to assume complete control over the minds and lives of all Germans. A truly harrowing tale of fierce determination and brute force saddling a weak nation into submission, this is a documentary you won't want to miss.

Terry Gilliam Monty Python's Terry Gilliam (Fear and Loathing in Las Vegas) directs this wild, wild version of the stories of Baron Munchausen, pushing the limits of 1989 special effects technology to bring us such sights as a horse divided in half and running around in two parts, and a giant Robin Williams with his head flying off his shoulders. Basically, this is a treat for Gilliam fans, as the sustaining idea of the film runs out of steam, and manic energy alone keeps the momentum going. Casual viewers might find it tedious after awhile. There are nice parts for fellow Python Eric Idle, as well as Sting, Alison Steadman, and Uma Thurman as a dazzlingly beautiful Venus on a half-shell. Gilliam had greater artistic and commercial success with Brazil, The Fisher King, and 12 Monkeys. —Tom Keogh

Leo McCarey Get out your handkerchiefs for this four-star weepie, a 1957 remake of the 1939 Love Affair, directed by Leo McCarey, who also made the original. Grant and Kerr are strangers on an ocean liner, involved with other people, but who can't resist each other for a shipboard romance. They decide to test whether this is the real thing by agreeing to split up, then meet in six months atop the Empire State Building. Is there anyone who can resist that setup or the tragic romantic mishap that nearly splits them up? Can you keep dry eyes during the famous finale? Some prefer the original (with Charles Boyer); practically no one liked the underrated 1994 remake with Warren Beatty and Annette Bening. While occasionally a shade slow, this one soars on Grant's charm and Kerr's noble suffering.

Brett Ratner After the Sunsetmay not be the greatest jewel-heist caper comedy ever made, but it sure is easy on the eyes. Shifting back into his crowd-pleasing Rush Hourmode, director Brett Ratner kicks off the action with a rousing chase scene that pretty much describes the entire film: utter nonsense, but adequately enjoyable. Things get very sunny thereafter, when FBI agent Woody Harrelson lands in the Bahamas to track down ace diamond thief Pierce Brosnan and his lovely accomplice Salma Hayek, whom he suspects of planning their next big heist on a cruise ship. A Bahamian gangster (Don Cheadle) wants in on the action, and the whole thing's about as fluffy as an Elmo doll and just as harmless, especially when you consider Hayek's revealing wardrobe (which, thankfully, distracts from Brosnan's less-than-Bond-like physique). There's an abundance of witty banter between everyone, and the tropical locations make After the Sunseta balmy, vicarious vacation. Critics weren't exactly kind to this breezy dose of popcorn entertainment, but it's an agreeable time-killer and an instant cure for seasonal affective disorder, even if the comedic chemistry leaves something to be desired. —Jeff Shannon

Oliver Stone If you're determined to spend three hours with Oliver Stone's take on the personal and military struggles of ancient Macedonian conqueror Alexander the Great, you should know that Alexander (Colin Farrell, in blonde disarray) is not half so much fun as mom Olympias (Angelina Jolie) or his future wild bride Roxane (Rosario Dawson). Indeed, it's the women in Alex's life who provide the movie's most satisfying action: Jolie, sporting some kind of Russian accent, wraps herself in snakes while hissing promises of Farrell's destiny; Dawson disrobes and threatens to cut Farrell's throat before shtupping his brains out. The rest is leaden history, supposedly novel because it showcases epic battle sequences and addresses Alexander's great love for his buddy Hephaistion (Jared Leto). But the man-on-man romance is limited to teary hugs, and the battles are indecipherable messes-you have to wait for Anthony Hopkins' narration to tell you what happened (in fact, you have to wait for Hopkins' narration to tell you everythingthat happens). There's some spectacle on display but, alas, not much that is truly spectacular. —Steve Wiecking

Charles Shyer In this remake of the 1966 classic, Jude Law stars as Alfie, the quintessential Don Juan who is rather caught up in himself. Using his charm and a great smile, Alfie searches for beautiful women who will give him what he wants. Once they become too attached, he breaks their heart. This ideal bachelor lifestyle ends up unraveling and Alfie must learn to admit defeat and change his ways.

Jude Law's Alfie, much like Michael Caine's Alfie in the 1966 original, is what you'd call an unrepentant womanizer. He beds 'em but never weds 'em, and New York provides ample opportunity to continue the process—until reality slaps him in the face. Because Jude Law is, well, Jude Law, you can see why he gets away with it as long as he does, and the actor also pulls off the usually awkward trick of narrating directly to the camera. Neither his Alfie, however, nor director Charles Shyer's remake emerges completely without scratches. Law has a Chesire Cat carnality, but he emanates too much intellect to buy him as the relatively dim bulb he's supposed to be. The film, meanwhile, is a bit soft around the edges; the whole thing would have more resonance if it wasn't quite so intent on watching the unrepentant repent. Regardless, it's a surprisingly thoughtful diversion, and there's fine work from Marisa Tomei, Nia Long, and Susan Sarandon as the women who understandably make Alfie reconsider his ways.—Steve Wiecking —This text refers to the Theatrical Release edition.

James Bobin Aiiiii! Staines’s favourite son is back with his funniest video yet. This time the self-styled gangster rapper is heading for America, to bring us his own unique perspective on the country and its people. The 70-minute show includes a number of brand new interviews that will never be seen on television and, just as in the early days of his appearances on ‘The 11 o’clock Show’, he’s meeting people that have no idea who he is! All the better for Ali to create havoc with his special blend of questioning and all out mickey taking!

Boyakasha! The unsuspecting celebrities in Ali’s line of fire this time include Vice President Alexander Haig, an unbelievable encounter with some real-life ER surgeons and an on-location guide to gang warfare in the heart of South Central LA. Also included will be Ali’s infamous interview with David and Victoria Beckham, as filmed for Comic Relief. Although this has been hugely requested it has never previously been available – until now!

Mark Mylod Ali G addicts have been fretting over the British comedian's spiraling popularity. As word of his outrageous celebrity interviews spreads—the deer-in-the-headlights gaze of his victims as they wrestle with incredulity over his audacious stupidity is itself always worth the price of admission—his pool of potential victims naturally diminishes. Not to worry: Ali G as a character has enough flexibility to make the leap to full-length film. The transition is far from perfect: few moments in Ali G Indahouse can match the unforced hilarity of Da Ali G Show. The film's biggest drawback, in fact, is the absence of the real-life personalities we know from the interview format; it's the friction between them and comic actor Sacha Baron Cohen's imposter shtick that generates so many howlers. Ali G Indahouse, in contrast, hangs on a silly plot. The setup of fictional characters interacting with Ali G simply can't have the same payoff.

Said plot is nothing more than a vehicle to subject the hip-hop poseur to a variety of ridiculous situations. He finds himself the unexpected champion in a parliamentary election and has to deal with the devious plotting of the Machiavellian Chancellor of the Exchequer (played by Charles Dance, who undergoes all manner of extreme humiliation). The result is a mix of Dumb and Dumber and Leslie Nielsen-esque pratfalls, with a hint of the Peter Sellers character in Being There. A good deal of the intended irony falls flat, and the litany of dated jokes calculated to offend all over the spectrum gets tiresome: from raunchy malapropisms to Ali G's recurrent obsession with being perceived as gay. But Baron Cohen's genius for getting under the skin of his creation remains undiluted. One aspect of special interest to Ali G fans is the light Ali G Indahouse throws on topics that are always behind the scenes in the Ali G Show context. We actually see Ali's Nana and his crib in suburban Staines, and "me Julie" (Kellie Bright) becomes a focal point as the story unwinds. Genial Borat makes an appearance (and gets dissed by Ali); we even learn the secret origin of Ali G's name (an abbreviation of Alistair Graham). It all might add up to a guilty pleasure, but hey—check yaself before ya wreck yaself. —Tom May

James Bobin Ali G "Keep it real" says Ali G (Sacha Baron Cohen) at the top of each show. Keeping it real is what the British comedian does—and doesn't do—during each episode. First, there's the character of Ali G himself. There's nothing real about this slang-slinging geezer. He's a poser, a white hip-hop wannabe from the 'burbs who aspires to be "gangsta" like Biggie and Tupac. His interview subjects, on the other hand, are the real deal: Newt Gingrich, Buzz Aldrin, Donald Trump, etc. Ali asks stupid questions, they attempt to provide intelligent answers. The humor comes from the disconnect between the two, which is to say: 60 Minutesmeets In Living Color.

Da Ali G Showwas a hit in Britain before Cohen brought his act to the States, but Ali wasn't the only character who came with him. There's also Borat, a Kazakhstan TV reporter with a shaky command of English. His show-within-a-show is called "Borat's Guide to America" and he travels the "US and A" interviewing regular folks, such as matchmakers and rodeo riders. Then there's Bruno, a sexually ambiguous fashion reporter with "Funkyzeit Mit Bruno." His subjects include models and designers. Borat and Bruno have their moments, but Ali G is the star of the show and gets the most screen time. It's Ali G, after all, who gets both James Lipton and Ralph Nader to rap. (The verdict? Lipton's got skills; Nader should stick to politics.) As proof of his popularity in the U.K., Ali G got his own theatrical release, Ali G Indahousein 2002. As proof of his popularity in the U.S., HBO renewed his show for a second season. Due to sexual content, raunchy humor, and drug content, Da Ali G Showis recommended for mature audiences. —Kathleen C. Fennessy

Scott Preston James Bobin If there's such a thing as surreality TV, then Sacha Baron Cohen is da man, and Da Ali G Showis da bomb. Better known as his alter egos Ali G (the "wanskta" journalist), Borat (the clueless correspondent from Kazakhstan), and Bruno (the gay Austrian fashionista), Cohen is consistently hilarious in these six episodes (on two discs) from the 2003 season of his HBO show. With his cracked Cockney-Rasta patois ("does you 'tink… ") and constant malapropisms (confusing "incest" with "incense" and "bi-lingual" with "bi-sexual"; calling MIT linguistics professor Noam Chomsky "Norman"), Ali G is the star. But so is the odd and, well, surreal assortment of folks he interviews in his relentless, "Candid Camera"-goes-hip-hop assault on the idiots and idiosyncrasies of American culture and politics. Some are at least partly complicit; Pat Buchanan, of all people, plays right along with the shtick, as does Immigration and Naturalization Service chief James Ziegler. Others are merely confused, like the doc who grows increasingly frustrated by Ali's inability to differentiate between "veteran" and "veterinarian," newsman Sam Donaldson, or former LAPD chief Daryl Gates. But as absurd as Da Ali G Showgets, this isn't Jackass, and Cohen is no dummy. Along with all the goofing are some shrewd questions about abortion, teaching religion in schools, Iraq, and homeland security, to name a few ("How come there ain't no security on trains?" Ali G asks Ziegler, who laughs off the question… and then came the Madrid and London subway bombings). With a generous helping of extras (including Ali's commencement speech at Harvard!) along with the episodes, Da Ali G Showis a riot. Fuh real, yo. —Sam Graham

James Bobin, Steve Smith A compilation of the highlights of the Ali G show including unseen footage. By the time Ali G—the inspired creation of comedian Sacha Baron Cohen who debuted on the lame satirical series The 11 O'Clock Show—first got his own series, the gangsta rapper from Berkshire was already one of the biggest things on TV. Ali G—Aiiii is a compilation of the best bits from his own series, Da Ali G Show. Part chat show (Paul Daniels makes a memorably awful appearance; Gail Porter turns up and Ali dims the house lights and gets all soppy), and part saucy variety show (Ali's duet with Jarvis Cocker is fun, but no-where near as good as his improvised rap with Mohammed Al Fayed "from Arrods"), the material here is richer and more varied than his 11 O'Clock appearances, which more or less depended on his interviewees not knowing he was stitching them up. At various points, Ali reports from the States—the Staines rapper's spiritual home, you suspect—and the bemused reactions of the unsuspecting people he meets there makes for some of the video's funniest moments ("Has anyone ever been killed by a gun?" he asks someone from the National Rifle Association).

Ali G—Aiii also features Cohen's newest character Borat, a reporter from Kazakhstani television who is producing a guide to Britain for his viewers back home. Amazingly, Cohen ran into trouble with the Kazakhstani embassy in Britain over his portrait of the bumbling reporter with only the faintest grasp of English, but in fact it's the Brits he interviews who patronise Borat who come off a lot worse. (See, for example, the embarrassed silence which greets Borat's attempt at introductory small talk at a society dinner party: "My wife, she is dead"!) Like the rest of the show, there is a smart satiric edge to the comedy but it's also very, very funny. Ali introduces the compilation, keepin' it real with a promise that profits from the sale of the video will be channelled back into the Staines ghetto.

James Bobin Twenty interviews from 'The 11 O'Clock Show' presented by the man himself plus footage never seen on TV. An oasis of chortles in the laugh desert that is Channel 4's The 11 O'Clock Show, Ali G has since progressed to both his own programme and comedy icon status. Innit, meanwhile, rounds up the finest moments from the rapper's time on 11 O'Clock with some extra footage thrown in for good measure, which show Sacha Baron Cohen's vowel-dropping, dope-smoking gangsta wannabe at home in his Berkshire "hood". However, it is the previously seen interview material that produces the best moments as Ali, resplendent in a series of eye-searing day-glo tracksuits, grills the likes of ex-film censor James Ferman ("Why did they ban Chocolate Orange?"), the late Tory educational expert Sir Rhodes Boyson ("Do you think porn stars ought to teach sex education in schools?") and a pre-Clapham Common Ron Davies ("What is so good about Wales? Because, no disrespect, but me's hears it's crap.") Exactly who is being lampooned—publicity-hungry celebs? misogynistic rappers? white middle-class wiggers?—is never entirely made clear but the results are rarely less than hilarious. Only the ever-argumentative Tony Benn succeeds in taking on his shades-sporting persecutor. Anyone yet to fall under Ali G's spell, though, is unlikely to be convinced by his opening assertion that 85% of the video's cost price will be spent on top-quality marijuana.

Paul W.S. Anderson In delivering PG-13-rated excitement, Alien vs. Predator is an acceptably average science-fiction action thriller with some noteworthy highlights, even if it squanders its opportunity to intelligently combine two popular and R-rated franchises. Rabid fans can justifiably ask "Is that all there is?" after a decade of development hell and eager anticipation, but we're compensated by reasonably logical connections to the Alien legacy and the still-kicking Predator franchise (which hinted at AVP rivalry at the end of Predator 2); some cleverly claustrophobic sets, tense atmosphere and impressive digital effects; and a climactic AVP smackdown that's not half bad. This disposable junk should've been better, but nobody who's seen Mortal Kombat or Resident Evil should be surprised by writer-director Paul W.S. Anderson's lack of imagination. As a brisk, 90-minute exercise in generic thrills, however, Anderson's work is occasionally impressive... right up to his shameless opening for yet another sequel. —Jeff Shannon

Pedro Almodóvar Won Oscar (2000) for Best Foreign Language Film; also won 40 other awards with 28 additional nominations. PLOT OUTLINE: Young Esteban wants to become a writer and also to learn the identity of his father, which has been carefully concealed by the mother, Manuela. Written and directed by Pedro Almodóvar. ++++ DVD Features: This officially licensed release from South Korea is listed as NTSC Code 3 (will play on all region-free players or DVD-ROM drives); please check compatibility BEFORE purchasing. Widescreen 2.35:1 Anamorphic; Dolby Digital Sound. SPANISH w/optional English or Korean subtitles.

Bud Molin, Carl Reiner Roger cobb is a swinging bachelor who is a lawyer but would rather be a jazz musician. Edwina cutwater is an ailing spinster who is given a second chance at life if her soul can be transported into that of another woman. Unfortunately her soul winds up taking over the entire right side of roger cobb. Studio: Lions Gate Home Ent. Release Date: 05/20/2003 Starring: Lily Tomlin Steve Martin Run time: 93 minutes Rating: Pg

Lewis Milestone Studio: Uni Dist Corp. (mca) Release Date: 02/06/2007 Run time: 132 minutes Rating: Nr

Cameron Crowe The guys of stillwater have the sound they have the look and rolling stone magazine wants their story. For young reporter william miller its the opportunity of a lifetime as he hits the road with his favorite band and discovers the price of fame the value of family and the limits of friendship. Studio: Paramount Home Video Release Date: 01/17/2006 Starring: Billy Crudup Patrick Fugit Run time: 123 minutes Rating: R Director: Cameron Crowe

"Alone in the Wilderness" is the story of Dick Proenneke. To live in a pristine land unchanged by man... to roam a wilderness through which few other humans have passed... to choose an idyllic site, cut trees and build a log cabin... to be a self-sufficient craftsman, making what is needed from materials available... to be not at odds with the world, but content with one's own thoughts and company... Thousands have had such dreams, but Dick Proenneke lived them. He found a place, built a cabin, and stayed to become part of the country. This video "Alone in the Wilderness" is a simple account of the day-to-day explorations and activities he carried out alone, and the constant chain of nature's events that kept him company.

Morgan freeman reprises his kiss the girls role as detective alex cross teaming with a beautiful secret service agent to try and stop a brilliant psychopath from committing the crime of the century. Studio: Paramount Home Video Release Date: 08/22/2006 Starring: Morgan Freeman Michael Wincott Run time: 103 minutes Rating: R

Milos Forman The satirical sensibilities of writer Peter Shaffer and director Milos Forman (One Flew over the Cuckoo's Nest) were ideally matched in this Oscar-winning movie adaptation of Shaffer's hit play about the rivalry between two composers in the court of Austrian Emperor Joseph II—official royal composer Antonio Salieri (F. Murray Abraham), and the younger but superior prodigy Wolfgang Amadeus Mozart (Tom Hulce). The conceit is absolutely delicious: Salieri secretly loathes Mozart's crude and bratty personality, but is astounded by the beauty of his music. That's the heart of Salieri's torment—although he's in a unique position to recognize and cultivate both Mozart's talent and career, he's also consumed with envy and insecurity in the face of such genius. That such magnificent music should come from such a vulgar little creature strikes Salieri as one of God's cruelest jokes, and it drives him insane. Amadeuscreates peculiar and delightful contrasts between the impeccably re-created details of its lavish period setting and the jarring (but humorously refreshing and unstuffy) modern tone of its dialogue and performances—all of which serve to remind us that these were people before they became enshrined in historical and artistic legend. Jeffrey Jones, best-known as Ferris Bueller's principal, is particularly wonderful as the bumbling emperor (with the voice of a modern midlevel businessman). The film's eight Oscars include statuettes for Best Director Forman, Best Actor Abraham (Hulce was also nominated), Best Screenplay, and Best Picture. —Jim Emerson

Milos Forman A note-perfect cinematic event whose immortality was assured from its opening night, Amadeus is an unlikely candidate for the director's-cut treatment. Like one of Mozart's operas, the multiple Oscar-winning theatrical version seemed perfectly formed from the outset—ideal casting, costumes, sets, cinematography, lighting, screenplay, music, music, music—so the reinstatement of an extra 20 minutes simply risks adding "too many notes." Yet though this extended cut can hardly be said to improve a picture that needed no improvement, it does at least flesh out a couple of small subplots and shed new light on certain key scenes. Here we learn why Constanze Mozart bears such ill will towards Salieri when she discovers him at her husband's deathbed, and we see deeper into the reasons why Mozart has no students. The structure of the picture is otherwise unaltered.

The director's cut of Amadeus finally accords this masterful work the DVD treatment it deserves. The handsome anamorphic widescreen picture is accompanied by a choice of Dolby 5.1 or Dolby stereo sound options, and it's all contained on one side of the disc. Director Milos Forman and writer Peter Shaffer provide a chatty though sporadic commentary, but they're obviously still too mesmerized by the movie to do much more than offer the odd anecdote. The second disc contains an excellent new hour-long "making of" documentary, with contributions from Forman, Shaffer, Sir Neville Marriner, and all the main actors, taking in the scriptwriting, choice of music, casting, and problems involved in filming in Communist Czechoslovakia with half the crew and extras working for the Secret Police. —Mark Walker

Jean-Pierre Jeunet Amelie is looking for love and perhaps for the meaning of life in general. We see her grow up in an original and slightly dysfunctional family. Now a waitress in central paris she interacts curiously with her neighbors and customers as well as a mysterious picture collector and one of his photo subjects. Studio: Buena Vista Home Video Release Date: 01/11/2005 Starring: Audrey Tatou Run time: 122 minutes Rating: R

Studio: Tcfhe Release Date: 08/05/2008

Studio: Tcfhe Release Date: 08/05/2008 Run time: 418 minutes Rating: Nr

Studio: Tcfhe Release Date: 08/05/2008 Run time: 418 minutes Rating: Nr

George Lucas Contains: the making of american graffiti documentary featuring interviews with director george lucas executive producer francis ford coppola and cast members plus never-before-seen screen tests of the cast and theatrical trailer. Studio: Uni Dist Corp. (mca) Release Date: 05/31/2005 Starring: Ron Howard Richard Dreyfuss Run time: 112 minutes Rating: Pg

Tony Kaye Perhaps the highest compliment you can pay to Edward Norton is that his Oscar-nominated performance in American History Xnearly convinces you that there is a shred of logic in the tenets of white supremacy. If that statement doesn't horrify you, it should; Norton is so fully immersed in his role as a neo-Nazi skinhead that his character's eloquent defense of racism is disturbingly persuasive—at least on the surface. Looking lean and mean with a swastika tattoo and a mind full of hate, Derek Vinyard (Norton) has inherited racism from his father, and that learning has been intensified through his service to Cameron (Stacy Keach), a grown-up thug playing tyrant and teacher to a growing band of disenfranchised teens from Venice Beach, California, all hungry for an ideology that fuels their brooding alienation.

The film's basic message—that hate is learned and can be unlearned—is expressed through Derek's kid brother, Danny (Edward Furlong), whose sibling hero-worship increases after Derek is imprisoned (or, in Danny's mind, martyred) for the killing of two black men. Lacking Derek's gift of rebel rhetoric, Danny is easily swayed into the violent, hateful lifestyle that Derek disowns during his thoughtful time in prison. Once released, Derek struggles to save his brother from a violent fate, and American History Xpartially suffers from a mix of intense emotions, awkward sentiment, and predictably inevitable plotting. And yet British director Tony Kaye (who would later protest against Norton's creative intervention during post-production) manages to juggle these qualities—and a compelling clash of visual styles—to considerable effect. No matter how strained their collaboration may have been, both Kaye and Norton can be proud to have created a film that addresses the issue of racism with dramatically forceful impact. —Jeff Shannon

Harold Ramis They locked up mob boss Paul Vitti in Sing Sing and that's where he sang sang - bellowing West Side Story tunes and convincing officials he's more suited for a nut house than the Big House. Better yet, the Feds say, let's release Vitti into the custody of his therapist Ben Sobel.

Analyze That has more bada bing than its lukewarm reception would lead you to expect. Analyze This (1999) had the advantage of a then-fresh idea—Robert De Niro as a neurotic mob boss seeking therapy with reluctant shrink Billy Crystal—but that idea's stale (and has been handled more authentically in The Sopranos), so this sequel relies on established chemistry and zesty dialogue that matches the original. There's nothing wrong with a retread when it's this funny, and De Niro's latter-day penchant for comedy suits him well when, as kingpin Paul Vitti, he lures Dr. Sobel (Crystal) into a prison breakout scheme involving faked catatonia and West Side Story show tunes. The contrived plot involves Vitti's criminal comeback. Unfortunately, there's little room for Lisa Kudrow as Sobel's sarcastic wife, but De Niro's Raging Bull costar Cathy Moriarty-Gentile is welcomed as a rival mob queen. You want a comedy masterpiece? Fuhgeddaboudit. You want 95 minutes of easy fun? It's right here... and don't miss those obligatory outtakes. —Jeff Shannon

David Kew, David Amphlett Part concert, part documentary, part travelogue, this video hit duplicates the sleeper success of Italian tenor Andrea Bocelli's album compilations and underscores his unique crossover appeal. In the U.S., Bocelli's critical response has been confined to fusillades of scorn from classical and opera writers, but the bulletproof superstar is better understood in the context of Europe's more established tradition of pop-classical fusions. Ironically, fans abroad are less prickly than stateside arbiters about the need for a discreet wall between high (classical) art and low (pop) kitsch, which Bocelli cheerfully ignores with his mix of operatic chestnuts, soft pop, and traditional Italian songs.

Indeed, despite interview segments in which he proclaims his love of opera or proudly recalls an apprenticeship to operatic veteran Franco Corelli, Bocelli comes across as more fan than virtuoso. But if his voice can prompt technical cavils from hard-core opera buffs, the blind singer's emotional directness and relative lack of onstage preening explain much of his populist appeal. Featured songs include warhorse arias, leading off with the "Louie, Louie" of tenor showpieces, Turandot's "Nessun Dorma," and duets with gruff Italian pop-rocker Zucchero and sopranos Nuccia Focile and Sarah Brightman (who buddies up for the tear-jerking closer, "Time to Say Goodbye").

Even with the marquee bonus of those guests, however, A Night in Tuscany gets its biggest boost from the seductive Italian countryside, prominently featured in between-song segments, and in the romantic concert setting, Pisa's Piazza dei Cavalieri. —Sam Sutherland

Mike Nichols Tony Kushner's prize-winning play Angels in America became the defining theatrical event of the 1990s, an astonishing mix of philosophy, politics, and vibrant gay soap opera that summed up the Reagan era for an entire generation of theater-goers. Post-9/11 would seem to be too late for a film version—philosophy and politics don't always age well—but this 2003 HBO adaptation, ably directed by Mike Nichols (The Graduate), provides a time capsule of the '80s and reveals the deep emotional subcurrents that will give the play lasting power.

The story centers around Prior Walter (Justin Kirk) and Louis Ironson (Ben Shenkman), a gay couple that falls apart when Prior grows ill as a result of AIDS. But cancer is not the only thing invading Prior's life: He begins to have religious visions of an angel (Emma Thompson, Sense and Sensibility) announcing that he is a prophet. Louis, who doesn't cope well with disease and suggestions of mortality, leaves and starts a relationship with Joe Pitt (Patrick Wilson), a closeted Mormon who works for Roy Cohn (Al Pacino, Dog Day Afternoon)—the real-life right-wing lawyer, notorious for his ruthless behind-the-scenes machinations. Add in Joe's depressed and hallucinating wife Harper (Mary Louise Parker, Fried Green Tomatoes), his determined but open-minded mother Hannah (Meryl Streep, Adaptation), a fierce drag queen/nurse named Belize (Jeffrey Wright, Basquiat, reprising his celebrated performance from the Broadway production), and you've still only begun to discover the wealth of characters and storylines in Kushner's ambitious work.

The powerhouse cast (also featuring James Cromwell, Michael Gambon, and Simon Callow) is uniformly superb. The script has its weaknesses—some of the fantastic elements, including Prior's journey to Heaven towards the end, fall flat—but even what doesn't work is bristling with ideas and a ferocious desire to capture human existence in this time and place. —Bret Fetzer

Andy Jones, Kôji Morimoto, Mahiro Maeda, Peter Chung, Shinichirô Watanabe Studio: Warner Home Video Release Date: 02/14/2006 Run time: 88 minutes Rating: Nr

Woody Allen Annie Hallis one of the truest, most bittersweet romances on film. In it, Allen plays a thinly disguised version of himself: Alvy Singer, a successful—if neurotic—television comedian living in Manhattan. Annie (the wholesomely luminous Dianne Keaton) is a Midwestern transplant who dabbles in photography and sings in small clubs. When the two meet, the sparks are immediate—if repressed. Alone in her apartment for the first time, Alvy and Annie navigate a minefield of self-conscious "is-this-person-someone-I'd-want-to-get-involved-with?" conversation. As they speak, subtitles flash their unspoken thoughts: the likes of "I'm not smart enough for him" and "I sound like a jerk." Despite all their caution, they connect, and we're swept up in the flush of their new romance. Allen's antic sensibility shines here in a series of flashbacks to Alvy's childhood, growing up, quite literally, under a rumbling roller coaster. His boisterous Jewish family's dinner table shares a split screen with the WASP-y Hall's tight-lipped holiday table, one Alvy has joined for the first time. His position as outsider is uncontestable he looks down the table and sizes up Annie's "Grammy Hall" as "a classic Jew-hater."

The relationship arcs, as does Annie's growing desire for independence. It quickly becomes clear that the two are on separate tracks, as what was once endearing becomes annoying. Annie Hallembraces Allen's central themes—his love affair with New York (and hatred of Los Angeles), how impossible relationships are, and his fear of death. But their balance is just right, the chemistry between Allen's worry-wart Alvy and Keaton's gangly, loopy Annie is one of the screen's best pairings. It couldn't be more engaging. —Susan Benson

Francis Ford Coppola Digitally remastered with 49 minutes of previously unseen footage, Apocalypse Now Redux is the reference standard of Francis Coppola's 1979 epic. A metaphorical hallucination of the Vietnam War, the film was reconstructed by Coppola and editor Walter Murch to enrich themes and clarify the ending. On that basis Redux is a qualified success, more coherent than the original while inviting the same accusations of directorial excess. The restored "French plantation" sequence adds ghostly resonance to the war's absurdity, and Willard's theft of Colonel Kurtz's beloved surfboard adds welcomed humor to the film's nightmarish upriver journey. An encounter with Playboy Playmates seems superfluous compared to the enhanced interplay between Willard and his ill-fated boat crew, but compensation arrives in the hellish Kurtz compound, where Willard's mission—and the performances of Martin Sheen and Marlon Brando—reach even greater heights of insanity, thus validating Redux as the rightful heir to Coppola's triumphantly rampant ambition. —Jeff Shannon

Mel Gibson Set in the mayan civilization when a mans idyllic presence is brutally disruted by a violent invading force he is taken on a perilous journey to a world ruled by fear & oppression where a harrowing end awaits him. Studio: Buena Vista Home Video Release Date: 03/28/2008 Starring: Rudy Youngblood Maria Isabel Diaz Run time: 136 minutes Rating: R Director: Mel Gibson

A random act of kindness snowballs into vivid proof that "no good deed goes unpunished" in APRES VOUS, the irresistible French comedy that garnered actor Daniel Auteuil (GIRL ON THE BRIDGE, JEAN DE FLORETTE) a Cesar Award nomination for Best Actor. Antoine (Auteuil), a restaurant headwaiter; takes a shortcut through a park one night and spots Louis (Jose Garcia), a despondent, lovelorn stranger, attempting to kill himself. Antoine intervenes-despite Louis's vehement protests-and hustles him home to his apartment. And it isn't long before Antoine has decided to fix all that is wrong in Louis's life. He artfully intercepts a suicide note mailed to Louis's grandparents…riotously attempts to land Louis a job at his posh restaurant…and boldly attempts to mend the rifts between Louis and his former girlfriend, Blanche (Sandrine Kiberlain). But an unexpected twist of fate upsets Antoine's grandiose plans for Louis's "rehabilitation." Here's a surprising, dazzling comedy treat that sparkles like a bottle of fine wine.

Mike Stephens Studio: Warner Home Video Release Date: 02/22/2005 Run time: 360 minutes Rating: Nr

Jeremy Lloyd, Mike Stevens Studio: Warner Home Video Release Date: 09/27/2005 Run time: 120 minutes Rating: Nr

Bob Kellett While the store floor is being remodeled the staff of grace brothers is treated to a continental holiday at don bernardos palace hotel in costa plonka where they tangle with the local cuisine swap cheeky lust letters and are caught in the middle of an armed rebel insurrection. Studio: Starz/sphe Release Date: 06/03/2008 Starring: John Inman Frank Thornton Run time: 96 minutes Rating: Nr Director: Bob Kellett

Mark Pellington Widowed when his fbi agent wife is killed by a right-wing group college professor michael faraday becomes obsessed with the culture of these groups especially when his new neighbors the all-american oliver and cheryl lang start acting suspiciously. With each twist the mystery deepens and the question looms. Studio: Sony Pictures Home Ent Release Date: 04/22/2008 Starring: Jeff Bridges Tim Robbins Run time: 119 minutes Rating: R Director: Mark Pellington

Jay Roach Upon learning that his father has been kidnapped austin powers must travel to 1975 and defeat the aptly-named villain goldmember - who is working with dr. Evil. Studio: New Line Home Video Release Date: 12/09/2008 Starring: Mike Myers Seth Green Run time: 95 minutes Rating: Pg13

Jay Roach If you don't think Austin Powers is one of the funniest movies of the 1990s, maybe you should be packed into a cryogenic time-chamber and sent back to the decade whence you came. Perhaps it was the 1960s—the shag-a-delic decade when London hipster Austin Powers scored with gorgeous chicks as a fashion photographer by day, crime-fighting international man of mystery by night. Yeah, baby, yeah! But when Powers's arch nemesis, Dr. Evil, puts himself into a deep-freeze and travels via time-machine to the late 1990s, Powers must follow him and foil Evil's nefarious scheme of global domination. Mike Myers plays dual roles as Powers and Dr. Evil, with Elizabeth Hurley as his present-day sidekick and karate- kicking paramour. A hilarious spoof of '60s spy movies, this colorful comedy actually gets funnier with successive viewings, making it a perfect home video for gloomy days and randy nights. Oh, behave! —Jeff Shannon

Jay Roach "I put the grrr in swinger, baby!" a deliciously randy Austin Powers coos near the beginning of The Spy Who Shagged Me, and if the imagination of Austin creator Mike Myers seems to have sagged a bit, his energy surely hasn't. This friendly, go-for-broke sequel to 1997's Austin Powers: International Man of Mystery finds our man Austin heading back to the '60s to keep perennial nemesis Dr. Evil (Myers again) from blowing up the world—and, more importantly, to get back his mojo, that man-juice that turns Austin into irresistible catnip for women, especially American spygirl Felicity Shagwell (a pretty but vacant Heather Graham). The plot may be irreverent and illogical, the jokes may be bad (with characters named Ivana Humpalot and Robin Swallows, née Spitz), and the scenes may run on too long, but it's all delivered sunnily and with tongue firmly in cheek.

Myers's true triumph, though, is his turn as the neurotic Dr. Evil, who tends to spout the right cultural reference at exactly the wrong time (referring to his moon base as a "Death Star" with Moon Units Alpha and Zappa—in 1969). Myers teams Dr. Evil with a diminutive clone, Mini-Me (Verne J. Troyer), who soon replaces slacker son Scott Evil (Seth Green) as the apple of the doctor's eye; Myers and Troyer work magic in what could plausibly be one of the year's most affecting (and hysterically funny) love stories. Despite a stellar supporting cast—including a sly Rob Lowe as Robert Wagner's younger self and Mindy Sterling as the forbidding Frau Farbissina—it—it's basically Myers's show, and he pulls a hat trick by playing a third character, the obese and disgusting Scottish assassin Fat Bastard. Many viewers will reel in disgust at Mr. Bastard's repulsive antics and the scatological bent Myers indulges in, including one showstopper involving coffee and—shudder—a stool sample. Still, Myers's good humor and dead-on cultural references win the day; Austin is one spy who proves he can still shag like a minx. —Mark Englehart

Before Mrs. Emma Peel joined the team and before THE AVENGERS came to America, Mr. Steed (Patrick Macnee) was a familiar figure on the British telly, pursuing his crime-fighting career alongside a shifting cast of sidekicks.

During THE AVENGERS'

Americans tuning into The Avengers in 1966 had never seen a woman on television quite like Emma Peel. But British viewers had. Her name was Cathy Gale (Honor Blackman, the future Pussy Galore in Goldfinger), "charming companion" and, at this point in this classic British series, unofficial partner to gentleman spy John Steed (Patrick Macnee). This boxed set contains six vintage, rarely seen episodes from the series' third season. Two of them are considered by one Avengers Web site to be among the 10 best of the Cathy Gale era. In "The Nutshell," Steed himself is charged with treason when an intruder manages to break into a seemingly impregnable underground security facility and copy secret documents. "The Gilded Cage" is solid gold, as Steed and Mrs. Gale bait a criminal mastermind by plotting the heist of $3 million in bullion. Also a keeper is "The Man with Two Shadows," in which Mrs. Gale must determine if Steed is Steed and not his replacement double. "The Undertakers,""Death of a Batman," and "November Five" are more uneven, but die-hard fans of this unconventional espionage series will relish the characteristically quirky, convoluted plots and eccentric characters. And Diana Rigg/Mrs. Peel-bias aside, Mrs. Gale cuts quite a formidable figure. At one point in "The Man with Two Shadows," Steed asks her what's for breakfast. She smartly replies, "Cook it and see." —Donald Liebenson

"Whenever you wine and dine me, it's always a prelude to some hideous adventure." So complains a peeved Mrs. Cathy Gale (Honor Blackman) to gentleman spy John Steed (Patrick Macnee) in "The Golden Fleece," one of six vintage, rarely seen episodes from The Avengers' third season. Hideous, not so much, but certainly bizarre, as was the high style of this unconventional espionage series. In "The Grandeur That Was Rome," for example, infestation, crop failure, and soil erosion point Steed and Mrs. Gale toward a modern-day toga-partying Caesar bent on ruling the world. For Avengers aficionados, this set contains two episodes considered to be the best of the Cathy Gale era: "Fleece," in which renegade military officers rip off a Chinese gold smuggler to finance their operation to support needy ex-servicemen; and "Dressed to Kill," an almost Agatha Christie-like caper in which a New Year's Eve costume party aboard a train gets off track when the guests, all prospective owners of property near a radar station, meet fatal ends. Fueling the Mrs. Gale vs. Mrs. Peel debate is "Don't Look Behind You," which was later remade as "The Joker" (available in The Avengers '67: Set 3). Less inspired are "The Medicine Men,""Second Sight," and "Death à la Carte," but even the series' weakest episodes have their peculiar charms. Steed himself perhaps says it best in "The Golden Fleece" as he reads from his fortune cookie: "A steed is not known for its might, but for its thoroughbred qualities." —Donald Liebenson

Peter Hammond James Hill Peter Graham Scott Roger Jenkins Leslie Norman Don Leaver John Krish Robert Day Don Sharp Kim Mills (II) Devoted Avengers fans will get a kick out of this boxed set, which contains six vintage episodes from the series' second season. But it's also worth a look to those for whom the series begins and ends with Emma Peel. After all, Patrick MacNee, in his signature role as John Steed, is the star of the show. At this early stage, the urbane, umbrella-toting Steed is a more interesting character, more risible and ruthless, a little less the gentleman spy with whom American audiences are more familiar. These episodes, shot on videotape, are also cruder (part of the primitive charm is spotting bloopers such as dropped props or crouching crew members caught on camera). A pre-Pussy Galore Honor Blackman costars as Steed's "amateur assistant," the formidable Cathy Gale (although "I need your help, my dear" just doesn't have the ring of "Mrs. Peel, we're needed"). This collection contains two episodes ranked among her best. In "Intercrime," she is recruited to infiltrate an international criminal organization responsible for 12 robberies, not one, Steed observes, "with the hallmark of an English criminal." "Warlock" casts a chilling spell, as creepy villain Cosmo Gallion (Peter Arne) uses the occult to obtain scientific secrets. This episode was originally intended to have been Cathy Gale's introduction to the series. At one point, after she deposits an inebriated Steed at his doorstep, he provocatively propositions her, "Would you like to come up?" "Immortal Clay" and especially "Golden Eggs" have their moments, but the true rarities of this set are the episodes "Box of Tricks" and "School for Traitors," in which Steed calls upon the services of an unwitting jazz singer named Venus Smith (Julie Stevens). The perky Venus is a love-her-or-hate-her character whose tenure with the series was brief. —Donald Liebenson

Peter Hammond James Hill Peter Graham Scott Roger Jenkins Leslie Norman Don Leaver John Krish Robert Day Don Sharp Kim Mills (II) This boxed set dips deeper into the vaults for seven vintage, rarely seen episodes from The Avengers' second season. For series devotees, these episodes, shot on video, have a crude fascination. At this early stage, the fledgling series was more serious with less way-out stories or bizarre characters. Three of these episodes rank as among the best costarring a pre-Goldfinger Honor Blackman as Cathy Gale, Steed's resourceful and often leather-clad partner. "The White Dwarf" is an early dabbling in science fiction, which would become this series' stock in trade in later years. Is a white dwarf star on a collision course with Earth? Can worldwide panic be avoided? Leave it to Steed to vow to "have a good time while there's still time to have it." In "Six Hands Across a Table," Steed must sink a scheme to control British shipbuilding launched by none other than Gale's new lover. In "Brief for Murder," Gale is a very delicti corpse as Steed goes undercover to entrap the Lakin brothers, two elderly defense lawyers with a gift for acquittal. "A Conspiracy of Silence" and "Killer Whale" are average episodes. Of special interest to Avengers buffs are two episodes costarring Julie Stevens as Venus Smith, a perky jazz singer whom Steed unaccountably recruits to help him. "Man in the Mirror" is one of the worst in her brief tenure with the series, while "A Chorus of Frogs" is perhaps her best. Venus is the entertainment on a ship on which Steed has stowed away to investigate a smuggler's death. Still, you might want to fast-forward through her two songs. —Donald Liebenson

Peter Hammond James Hill Peter Graham Scott Roger Jenkins Leslie Norman Don Leaver John Krish Robert Day Don Sharp Kim Mills (II) From Britain with leather comes this three-volume collection of rare Avengers episodes starring Patrick Macnee as urbane, umbrella-toting spy John Steed and Honor Blackman as Cathy Gale, who preceded Emma Peel as Steed's partner. Virtually unseen in the United States, these six episodes from the third season of The Avengers will be a revelation for fans of this offbeat series.

Blackman portrayed Cathy Gale, stylish, leather-clad anthropologist and judo expert, from 1962 to '64, leaving the series to star as Pussy Galore in Goldfinger. Another veteran of the James Bond series makes a surprising appearance in "Little Wonders," an episode on volume 1: Miss Moneypenny (Lois Maxwell), a machine-gun-toting nurse. This episode, in which Steed goes undercover in a 300-year-old crime organization, features a kiss between Steed and Gale. He was never so intimate with Emma Peel... at least not onscreen. Volume 2 contains two episodes ranked among the best of the Cathy Gale era. In "The Wringer," Gale comes to Steed's rescue after he becomes a guinea pig in a diabolical plot to brainwash agents. In "Mandrake," a deserted village becomes the burial ground of choice for a rash of "rich and reasonably eminent" victims of a murder-for-hire business. "The Secrets Broker" on volume 3, in which a murder leads Steed to a wine shop, is not quite vintage Avengers, but "Trojan Horse," set at a racetrack and involving an illicit betting syndicate, is a winner.

Produced before the series switched over to film, these black-and-white episodes are technically cruder than their more popularly known counterparts. But the plots are often just as confounding. Cathy Gale may leave Emma Peel enthusiasts underwhelmed; her banter with Steed lacks the erotic promise that made the Peel episodes so provocative. But you'll get a kick out the martial-arts prowess that reportedly knocked out her male adversary in the graveyard fight sequence in "Mandrake." —Donald Liebenson

Peter Hammond James Hill Peter Graham Scott Roger Jenkins Leslie Norman Don Leaver John Krish Robert Day Don Sharp Kim Mills (II) "Genuine eccentrics are a dying breed. Could be amusing," notes a character in "Build a Better Mousetrap," one of the six rarely seen black-and-white episodes in this three-volume boxed set from the third season of The Avengers. Genuine eccentrics and diabolical madmen plotting to plunge the world into chaos were The Avengers' stock in trade. Nobody on TV did it better.

As with the first set, which contains volumes 1 to 3, what makes this set a must for collectors is that these episodes, virtually unseen in the United States, feature Honor Blackman as Mrs. Cathy Gale, who preceded Mrs. Emma Peel as the leather-clad partner to Patrick Macnee's urbane, umbrella-toting gentleman spy John Steed. Blackman left the series after two seasons to star as Pussy Galore in Goldfinger. In "Lobster Quadrille," which concludes this set as well as the Gale era, Steed remarks that he expects the departing Gale to be "pussy-footing along sun-soaked shores."

Volume 4 contains two topnotch episodes. "Mousetrap" revolves around the Peck sisters, two "wicked" old ladies who seem to have put a curse on the surrounding countryside that causes all mechanical devises to stall. In "The Outside-In Man," James Maxwell steals the show as an agent presumed dead who materializes just as the man he was once assigned to assassinate arrives in Britain for arms talks. Volume 5 contains "The Charmers," which was remade in 1967 as "The Correct Way to Kill.""Concerto," in which Steed must cooperate with the Russians to prevent an assassination at a recital, is a classical gas. Even a weaker episode such as "Esprit de Corps," which opens volume 6, has its bizarre charms, as renegade Scotsmen plot a coup and plan to install Gale on the throne as Queen Anne the Second. —Donald Liebenson

Peter Hammond James Hill Peter Graham Scott Roger Jenkins Leslie Norman Don Leaver John Krish Robert Day Don Sharp Kim Mills (II) A toast to A&E for releasing this two-volume set of vintage episodes from the fourth season of The Avengers. The Avengers debuted in Great Britain in 1961 (predating the James Bond films), but it was not until the late 1960s that it found a welcome home in the United States. Unlike other baby-boomer-era series, The Avengers was not widely syndicated or officially released on home video. This may be one reason why these rarely seen episodes seem as cool as when they first aired. Another reason, of course, is Diana Rigg in her signature role as the ravishing Emma Peel, partner to Patrick Macnee's urbane, umbrella-toting spy John Steed who is every bit his equal in dispatching villains or engaging in provocative banter. What makes this collection of particular interest is that these episodes introduced Mrs. Peel. Steed and Mrs. Peel were the Mulder and Scully of their time; they investigated extraordinary goings-on in the most ordinary locales, such as a seaside town populated by sinister imposters, in "The Town of No Return" or a department store that has been rigged with a nuclear bomb, in "Death at Bargain Prices." Also included is "The Cybernauts," which was the first Avengers episode to be broadcast in America. It is representative of the series' best, with its automated assassins and a colorful madman who plots to install an electronic dictatorship. Other episodes are the haunting "Castle De'ath,""The Gravediggers," and "The Master Minds." All are in glorious black and white and highly recommended. —Donald Liebenson

Peter Hammond James Hill Peter Graham Scott Roger Jenkins Leslie Norman Don Leaver John Krish Robert Day Don Sharp Kim Mills (II) According to one Avengers-appreciation Web site, three of the seven episodes contained in this two-volume set——"Too Many Christmas Trees, "A Surfeit of H20," and "Dial a Deadly Number"—rank among the 10 best episodes from the series' Mrs. Emma Peel era (a fourth, "The Hour That Never Was," is ranked in the top 20), making this the perfect chaser to The Avengers '65 Set 1, Vols. 1 and 2. "What nasty situation have you got in store for me this time?" Mrs. Peel asks in "The Man-Eater of Surrey Green," another of the vintage, black-and-white episodes from the series' breakthrough fourth season, which introduced Diana Rigg in her signature role. The answers make for diabolically clever entertainment in classic Avengers tradition: a "herbicial" plant from outer space (in "The Man-Eater"), matrimonial matchmaker assassins (in "The Murder Market"), a rainmaking vintner (in "H20"), and a brainwashing dentist (in "The Hour"). "Christmas Trees" alone is worth the price of the set. In this haunting episode for all seasons, Steed is plagued by deadly nightmares that have begun to come true. Outfitted at one point as Oliver Twist, Mrs. Peel proves herself to be the woman of our dreams. —Donald Liebenson

Peter Hammond James Hill Peter Graham Scott Roger Jenkins Leslie Norman Don Leaver John Krish Robert Day Don Sharp Kim Mills (II) Get your kicks with The Avengers '66. This two-volume set uncorks six sought-after episodes from this cult classic series' fourth season. Patrick Macnee, the umbrella-toting gentleman spy John Steed, and Diana Rigg, the ravishing Mrs. Emma Peel, investigate further extraordinary goings-on in the most ordinary of places, including a swank hotel ("Room Without a View") and a golf course and dance school ("The 13th Hole" and "The Quick-Quick-Slow Death"). Suitable for framing is "The Girl from Auntie," in which an art dealer, who supplies his clients "anything for a price" (including the Mona Lisa!), kidnaps Emma for auction to enemy agents. Perhaps members of Monty Python's Flying Circus got the inspiration for their "Hell's Grannies" sketch from this episode's quaint assassin, an elderly "lady" who does in her victims (including four chaps named John, Paul, George, and... Fred) with knitting needles.

For new fans, the episodes found in The Avengers '65 sets are of a better vintage, and The Avengers '67 offerings give more of a campy, effervescent kick. But '66 was still a very good year, and Avengers aficionados will, of course, want to own every episode from the Mrs. Peel era. "What's so special about Mrs. Peel?" a woman asks in "Auntie.""You'd think she was Madame Curie and a half-dozen others all rolled into one." She is, to borrow a phrase, all that. A second Avengers '66 boxed DVD set is also available. —Donald Liebenson

Peter Hammond James Hill Peter Graham Scott Roger Jenkins Leslie Norman Don Leaver John Krish Robert Day Don Sharp Kim Mills (II) Devotees of Diana Rigg's Mrs. Emma Peel will be especially thrilled by this two-volume collection of seven black-and-white episodes that closed out the fourth season of The Avengers in high and often provocative style. One Avengers Web site ranks "A Touch of Brimstone" among the 10 best episodes of the Mrs. Peel era;"What the Butler Saw" and "Honey for the Prince" rank among the top 20.

To these add "The House That Jack Built." This mind-bending tour de force finds Mrs. Peel at the mercy of a vengeful techno-obsessed mastermind who has rigged a mansion to drive her insane. Also included in this collection are "The Danger Makers," in which umbrella-toting gentleman spy John Steed (Patrick Macnee) and Mrs. Peel uncover a secret society of thrill-crazed soldiers;"A Sense of History," about a deadly clique of university students; and "How to Succeed... At Murder," in which secretarial assassins take their orders from, yes, a puppet. The mysteries are intriguing, the villains suitably mad, and the banter between Steed and Mrs. Peel charged with erotic possibilities. With the ravishing, knee-weakening sight of Emma decked out as Robin Hood in "A Sense of History," as a harem girl in "Honey for the Prince," and—be still my beating heart—as the Queen of Sin in "A Touch of Brimstone," this Avengers collection boasts very potent Emma "a-Peel."—Donald Liebenson

Peter Hammond James Hill Peter Graham Scott Roger Jenkins Leslie Norman Don Leaver John Krish Robert Day Don Sharp Kim Mills (II) The long-running Avengers series added some extra gloss to its look and feel by filming in color starting in 1967, making the inimitable, eccentric atmosphere of the show complete. That production change coincided with some of the best writing the program ever enjoyed. So it makes sense that those late-1960s episodes of The Avengers have been packaged to help us forget the botched 1998 feature film version of the show. Set 1 includes a mystery about killer phobias, "The Fear Merchants"; the time-travel story "Escape in Time"; the feathery spy tale "The Bird Who Knew Too Much"; the invisible-villain yarn "The See-Through Man"; and the comic-book spoof "The Winged Avenger"; and "From Venus with Love."—Tom Keogh

Peter Hammond James Hill Peter Graham Scott Roger Jenkins Leslie Norman Don Leaver John Krish Robert Day Don Sharp Kim Mills (II) Set 2 in The Avengers '67 includes more episodes of the long- running British television series at its creative peak of great writing, color filming (for the first time on the show), and flawless chemistry between actors Patrick Macnee and Diana Rigg. This batch includes six episodes on two DVDs, including the unstoppable-corpse mystery "The Living Dead"; the cheeky, killer-feline story "The Hidden Tiger"; the finishing-school drama "The Correct Way to Die"; the scary "Epic"; the Agatha Christie-like "The Superlative Seven"; and "Never Never Say Die."—Tom Keogh

Peter Hammond James Hill Peter Graham Scott Roger Jenkins Leslie Norman Don Leaver John Krish Robert Day Don Sharp Kim Mills (II) Following the huge success of the first filmed series of The Avengers, starring Patrick MacNee as debonair British agent John Steed and his cool, sophisticated partner Mrs. Emma Peel, the producers opted to make the next batch of 26 episodes in color, to be broadcast in 1967. In order to accomplish this, foreign backing was necessary, and the American networks were approached. The US had broadcast the black and white season four as a mid-season replacement, and were interested in moving forward with a color season in prime time, however they only provided enough backing for 16 episodes initially. Another challenge was that Diana Rigg was not particularly keen to film another season of the show, and demanded a huge salary increase in order to secure her participation. She got the money, but it was made clear it would be her second and last season with the show.

Apart from the use of color film, there were other subtle changes to the show for this fifth season. Both Steed and Emma were given new apartments and Mrs. Peel a much more stylized wardrobe. The device of ending each story with the two leads driving off in a variety of vehicles was abandoned and instead a tag scene was used to introduce each story, where Steed informed his partner that they were needed in a variety of humorous ways. Each story title was also given a two-line subtitle. After completion of the first batch of 16, the American backers did provide finance for a further 16 but asked for both the subtitles and tag scenes to be dropped, and also requested that Mrs. Peel's wardrobe became more recognizably en vogue.

After only 8 episodes were completed, producers Brian Clemens and Albert Fennell left the show after a disagreement and the new producers opted not to continue with Mrs. Peel and began their own interpretation of the show. It wasn't long before Clemens and Fennell were back in charge, but the 67 series ended with "Mission highly improbable," although Rigg was brought back in 1968 for the one-off "The forget me knot," to introduce her replacement Tara King. This episode is included in this release as a bonus episode.

In terms of storylines, acting and the wonderful interplay between the two leads, there is little difference between this color season and the preceding black and white stories and the show had really reached its zenith by this point. Certainly in terms of popularity and ratings, it was never as successful again. Interestingly, several of these stories are in fact remakes of earlier episodes from the Mrs. Gale era. "The joker,""The correct way to kill," and "The $50,000 breakfast," are all remakes, whereas "The return of the Cybernauts," is a sequel to an earlier Steed/Mrs. Peel adventure.

Peter Hammond James Hill Peter Graham Scott Roger Jenkins Leslie Norman Don Leaver John Krish Robert Day Don Sharp Kim Mills (II) This final set of episodes from the 1967-1968 season of The Avengers follows the delightful, pop-surreal series through the concluding chapter of Diana Rigg's involvement as agent Emma Peel. On tap is "The £50,000 Breakfast," in which a ventriloquist is discovered to be carrying a stash of diamonds in his stomach, leading Mrs. Peel and John Steed (Patrick Macnee) into an investigation that involves murder, dummies, and borzoi dogs. "Dead Man's Treasure" finds a mortally wounded fellow agent hiding important documents in the home of a racing enthusiast—whose driving "simulator" nearly kills poor Mrs. Peel with a lethal dose of electricity. This set also includes the terrific "You Have Just Been Murdered," in which a gaggle of blackmailers and assassins accosts prospective victims with toy weapons to prove they can easily be killed. Steed and Mrs. Peel enter the fray, just as they do in "The Positive-Negative Man," a tense but amusing plot about an electrically charged killer dispatching members of a scientific research team (and very nearly our heroes) with one touch of his high-voltage finger. Also contained in the set is the dark and scary "Murdersville," in which Mrs. Peel is kidnapped in a town full of killers-for-hire. Following that is the cheeky "Mission Highly Improbable," featuring Steed and Emma as shrunken versions of themselves after being subjected to a miniaturization device. The series ends—rather sadly for worshippers of Mrs. Peel—with "The Forget-Me-Knot," introducing Steed's next partner, Tara King (Linda Thorson), in a story about a traitor within the intelligence community. A coda in which Steed and Emma say goodbye is indeed unforgettable. Fortunately, the good times and quirky humor and whimsical sexuality between this perfect pair live on forever in this set. —Tom Keogh

Peter Hammond James Hill Peter Graham Scott Roger Jenkins Leslie Norman Don Leaver John Krish Robert Day Don Sharp Kim Mills (II)

Peter Hammond James Hill Peter Graham Scott Roger Jenkins Leslie Norman Don Leaver John Krish Robert Day Don Sharp Kim Mills (II) The Avengers Season 6 - the final season of the ever popular British TV cult classic. In this, the second set of the Tara King era, we have six rare outings. Featuring fan favorite "All Done With Mirrors". So join join the always suave and sophisticated John Steed, and his able bodied female counterpart Tara King, as they battle ville villians, confounding criminals, and dangerous doubles.

The solo Tara King outing "All Done With Mirrors", and the outrageous and stylish "Maltese Falcon" spoof "Legacy of Death". In "All Done With Mirrors", Steed is put under house arrest by Mother, and Tara is sent to investigate the leakage of secrets from a top-security facility. One of my favorite Tara King episodes, "All Done With Mirrors" is sharp and clever, with great direction and performances, and Tara at her series best. She proves quite resourceful, level-headed, and good in a fight. In "Legacy of Death", Steed is given the Falcon Dagger, which is the key to unlock a secret buried treasure, which is also the central interest of a bunch of crazed criminals. It's actually quite fun in spots, and then exessively over-the-top in others. But just a bevy of weirdos help it to succeed.

This 216-minute bonus disc is part of the 2006 Complete Emma Peel Megaset, but is also available separately for those who already have the 2001 Megaset. Completists will appreciate the "lost" episodes from the first season. Of the very first episode, "Hot Snow," however, only the first 15 minutes were recovered. "Girl on the Trapeze" features a vanilla-esque Ian Hendry as Dr. David Keel investigating the death of a circus performer, while "The Frighteners" perks things up considerably with the addition of Patrick Macnee's John Steed, who displays a bit of the comedic twinkle that would be the cornerstone of the series through its entire run. All in all, the episodes aren't nearly as watchable as the peak years of the series. Of greater interest to fans is "Avenging the Avengers," a 1992 documentary recapping the series through clips and interviews with Macnee, crew members, and actresses Honor Blackman (Cathy Gale, 1962-64) and Linda Thorson (Tara King, 1968-69). Diana Rigg appears briefly in older interview footage. The documentary lasts 25 minutes, and an additional nine minutes of interviews are added to the end. There's also a three-minute promotional film that Macnee and Rigg made to promote the series' switch from black and white to color, an alternate opening sequence, and a 1977 episode in which Mrs. Peel makes a cameo appearance. —David Horiuchi

Jeremiah S. Chechik Based on the sophisticated, quirky british secret-agent television series of the 1960s. a scientist who develops the means to control large-scale weather changes uses his discovery to wreak evil. Emma Peele and John Steed must stop the villian.

Martin Scorsese From Hollywood's legendary Cocoanut Grove to the pioneering conquest of the wild blue yonder, Martin Scorsese's The Aviatorcelebrates old-school filmmaking at its finest. We say "old school" only because Scorsese's love of golden-age Hollywood is evident in his approach to his subject—Howard Hughes in his prime (played by Leonardo DiCaprio in his)—and especially in his technical mastery of the medium reflecting his love for classical filmmaking of the studio era. Even when he's using state-of-the-art digital trickery for the film's exciting flight scenes (including one of the most spectacular crashes ever filmed), Scorsese's meticulous attention to art direction and costume design suggests an impassioned pursuit of craftsmanship from a bygone era; every frame seems to glow with gilded detail. And while DiCaprio bears little physical resemblance to Hughes during the film's 20-year span (late 1920s to late '40s), he efficiently captures the eccentric millionaire's golden-boy essence, and his tragic descent into obsessive-compulsive seclusion. Bolstered by Cate Blanchett's uncannily accurate portrayal of Katharine Hepburn as Hughes' most beloved lover, The Aviatoris easily Scorsese's most accessible film, inviting mainstream popularity without compromising Scorsese's artistic reputation. As compelling crowd-pleasers go, it's a class act from start to finish. —Jeff Shannon

DVD Features
In his commentary track, director Martin Scorsese offers his own impressions of Howard Hughes and rattles off his memories of experiencing Hughes's films. He mentions how he made Cate Blanchett watch every Katharine Hepburn film from the '30s on the big screen, and observes that Kate Beckinsale had "a real sense of the stature of a Hollywood goddess." But in general he doesn't talk much about the craft of making the film. That area is covered better by editor Thelma Schoonmaker, who also appears on the commentary track, and producer Michael Mann makes a few appearances (all were recorded separately). The picture is brilliant, but the 5.1 sound is not as aggressive in the rear speakers and subwoofer as one might expect, other than some nice surround effects in the Hell's Angelsflying sequence.

The second disc collects almost three hours of features. There's one unnecessary deleted scene, and an 11-minute making-of featurette that's basically the cast and director heaping praise on each other. More interesting are the short featurettes on visual effects (including the XF-11 scene, of course), production design, costumes, hair and makeup, and score, and Loudon Wainwright discusses his and his children's musical performances. Historical perspective is provided by spotlights on Hughes's role in aviation and his obsessive-compulsive disorder, and a 43-minute Hughes documentary from the History Channel (part of the Modern Marvels series, it focuses on his mechanical innovations and spends less than a minute on his movies). More unusual are DiCaprio and Scorsese's appearance on an OCD panel, and a half-hour interview segment DiCaprio did with Alan Alda. —David Horiuchi

The Personalities of The Aviator

Click the links to explore more movies by these stars.

Leonardo DiCaprio as Howard Hughes 

"Sometimes I truly fear that I... am losing my mind. And if I did it... it would be like flying blind."

Cate Blanchett as Katharine Hepburn 

Howard Hughes: "You're the tallest woman I have ever met." 

Katharine Hepburn: "And all sharp elbows and knees. Beware."

Kate Beckinsale as Ava Gardner 

Howard Hughes: "Does that look clean to you?" 

Ava Gardner: "Nothing's clean, Howard. But we do our best, right?"

Gwen Stefani as Jean Harlow 

Jean Harlow in Hell's Angels: "Would you be shocked if I put on something more comfortable?"

Jude Law as Errol Flynn 

Errol Flynn in Captain Blood: "Up the riggings, you monkeys! Break out those sails and watch them fill with the wind that's carrying us all to freedom!"

Director Martin Scorsese

"You get a sense of Howard Hughes being Icarus with the wax wings. Those wings were great for a while, but he flies too close to the sun." —Martin Scorsese

Other Movies by The Aviator's Oscar® Winners

Production Designer Dante Ferretti
Film Editor Thelma Schoonmaker
Costume Designer Sandy Powell
Cinematographer Robert Richardson
See all the Oscar® winners at Oscar Central 

The Aviatorat Amazon.com

The Aviatorsoundtrack

The Screenplay

Howard Hughes: The Real Aviator

Howard Hughes movies

Great movies of the 1930s

The films of Martin Scorsese

Alejandro González Iñárritu Brilliantly conceived, superbly directed, and beautifully acted, Babelis inarguably one of the best films of 2006. Director Alejandro González Iñárritu and his co-writer, Guillermo Arriaga (the two also collaborated on Amores Perrosand 21 Grams) weave together the disparate strands of their story into a finely hewn fabric by focusing on what appear to be several equally incongruent characters: an American (Brad Pitt) touring Morocco with his wife (Cate Blanchett) become the focus of an international incident also involving a hardscrabble Moroccan farmer (Mustapha Rachidi) struggling to keep his two young sons in line and his family together. A San Diego nanny (Adriana Barraza), her employers absent, makes the disastrous decision to take their kids with her to a wedding in Mexico. And a deaf-mute Japanese teen (the extraordinary Rinko Kikuchi) deals with a relationship with her father (Koji Yakusho) and the world in general that's been upended by the death of her mother. It is perhaps not surprising, or particularly original, that a gun is the device that ties these people together. Yet Babelisn't merely about violence and its tragic consequences. It's about communication, and especially the lack of it—both intercultural, raising issues like terrorism and immigration, and intracultural, as basic as husbands talking to their wives and parents understanding their children. Iñárritu's command of his medium, sound and visual alike, is extraordinary; the camera work is by turns kinetic and restrained, the music always well matched to the scenes, the editing deft but not confusing, and the film (which clocks in at a lengthy 143 minutes) is filled with indelible moments. Many of those moments are also pretty stark and grim, and no will claim that all of this leads to a "happy" ending, but there is a sense of reconciliation, perhaps even resolution. "If You Want to be Understood... Listen," goes the tagline. And if you want a movie that will leave you thinking, Babelis it. —Sam Graham

Beyond Babel

Other Interweaving Storylines on DVD

Other DVDs by Director Alejandro González Iñárritu

Why We Love Cate Blanchett

Stills from Babel(click for larger image)

Robert Zemeckis Dr. Emmett Brown: Then tell me, "future boy," who is president in the United States in 1985?

Marty McFly: Ronald Reagan.

Dr. Brown: Ronald Reagan? The actor?! Who's vice president? Jerry Lewis?

Filmmaker Robert Zemeckis topped his breakaway hit Romancing the Stone with this joyous comedy with a dazzling hook: what would it be like to meet your parents in their youth? Billed as a special-effects comedy, the imaginative film (the top box-office smash of 1985) has staying power because of the heart behind Zemeckis and Bob Gale's script. High schooler Marty McFly (Michael J. Fox, during the height of his TV success) is catapulted back to the '50s where he sees his parents in their teens, and accidentally changes the history of how Mom and Dad met. Filled with the humorous ideology of the '50s, filtered through the knowledge of the '80s (actor Ronald Reagan is president, ha!), the film comes off as a Twilight Zone episode written by Preston Sturges. Filled with memorable effects and two wonderfully off-key, perfectly cast performances: Christopher Lloyd as the crazy scientist who builds the time machine (a DeLorean luxury car) and Crispin Glover as Marty's geeky dad. Followed by two sequels. —Doug Thomas

Robert Zemeckis Critics and audiences didn't seem too happy with this inventive, perhaps too clever sequel to the popular 1985 comedy about a high school kid (Michael J. Fox) who travels into the past and has to bring his parents together (or lose his own existence). Director Robert Zemeckis and cast bent over backwards to add layers of time-travel complication to this follow-up, and while it surely exercises the brain it isn't necessarily funny in the same way that its predecessor was. It's well worth a visit, though, just to appreciate the imagination that went into it, particularly in a finale that has Fox's character watching his own actions from the first film. —Tom Keogh

Robert Zemeckis Shot back-to-back with Back to the Future II, this final chapter in the series is less hectic than that film and has the same sweet spirit of the first, albeit in a whole new setting. This time, Michael J. Fox's character ends up in the Old West of 1885, trying to prevent the death of mad scientist Christopher Lloyd at the hands of a gunman. Director Robert Zemeckis successfully blends exciting special effects with the traditions of a Western, and comes up with something original and fun. —Tom Keogh

Pedro Almodovar Academy Award winning filmmaker Pedro Almodóvar takes a look at his own adolescence as well as confronting the issue of sexual misconduct in the Catholic Church in this stylish thriller, which was chosen to open the 2004 Cannes Film Festival. Bad Education narrates the reunion of two young men in early 80s Madrid, as the city starts to breathe a new air of freedom. Fifteen years earlier, in the darkness of a Catholic school, the two young men had discovered sensuality and a common hatred of the priests from whom they received their bad education. Now, in the new and liberated Madrid, both men a film-maker and an aspiring actor revisit their early years together. As they try to uncover the truth about themselves, each other and the other characters in their story, they realise that things and people are not as they first seem.

Terry Zwigoff Instantly qualifying as a perennial cult favorite, Bad Santa is as nasty as it wants to be, and there's something to be said for comedy without compromise. The Coen brothers conceived the basic idea and served as executive producers, but it's director Terry Zwigoff (Crumb, Ghost World) who brings his unique affinity for losers and outcasts to the twisted tale of Willie T. Stokes (Billy Bob Thornton), a hard-drinking, chain-smoking, foul-mouthed sexaholic safe-cracker who targets a different department store every holiday season, playing Santa while he cases the joint with his dwarf elf-partner Marcus (Tony Cox). With comedic support from Bernie Mac, Lauren Graham, Cloris Leachman, and John Ritter in his final film, Thornton milks the lowbrow laughs with a slovenly lack of sentiment, warming Bad Santa's pickled heart just enough to please a chubby misfit (Brett Kelly, hilariously deadpan) who may or may not be mentally challenged. As dry as an arid martini and blacker than morning-after coffee, Bad Santa is an instant cure for yuletide schmaltz, and if you think this appropriately R-rated comedy is suitable for kids, your parenting skills are no better than Willie's. —Jeff Shannon

Akira Kurosawa The Bad Sleep Well tells the story of corruption at the highest levels of Japanese business and its tragic consequences. Though flawed by a tedious introductory sequence and by an ending that seems out of sync with the story, it is a fascinating movie and the middle part is especially exciting.

Japanese legend Toshiro Mifune plays Koichi Nishi, the seemingly stoic bridegroom who is trying to get ahead by marrying the boss's daughter, Kieko (Kyoko Kagawa), who was crippled as a girl. The bride's brother, in a shocking display, exposes the groom's motives during his wedding toast and threatens his new brother-in-law with death if he disappoints his sister. But Nishi is not who we think. He was born the illegitimate son of the man who Kieko's father, Iwabuchi (Maysayuki Mori), manipulated into suicide. Now Nishi wants revenge for his father's death. As Nishi slowly destroys Iwabuchi's life, he makes the fatal error of falling in love with his wife, who already loves him. Their unconsummated marriage stands between these two like a palpable pillar of stone. But just when we think the stone has been tossed aside by love, Iwabuchi finds out who his son-in-law really is.

Shot in black and white, this film falls just short of being brilliant. Mifune is amazing in his portrayal of this complex man who lets his father's past destroy his own future, and Maysayuki Mori's performance as the evil Iwabuchi is understated but nonetheless chilling. —Luanne Brown

Woody Allen Woody Allen's second film as a director was a wild, unpredictable, and unlikely comedy about a product-tester named Fielding Mellish (Allen), who can't quite connect with the woman of his dreams (Louise Lasser, Allen's ex-wife). He accidentally winds up in South America as a freedom fighter for a guerrilla leader who looks like Castro. Once he assumes power, the new dictator quickly goes insane—which leaves Fielding in charge to negotiate with the U.S. The film is chockfull of wonderfully bizarre gags, such as the dreams Fielding recounts to his shrink about dueling crucified messiahs, vying for a parking place near Wall Street. Look for an unknown Sylvester Stallone in a tiny role—but watch this film for Allen's surprisingly physical (and always verbally dexterous) humor. —Marshall Fine

David Frankel, Tom Hanks Based on the bestseller by Stephen E. Ambrose, the epic 10-part miniseries Band of Brothers tells the story of Easy Company, 506th Regiment of the 101st Airborne Division, U.S. Army. Drawn from interviews with survivors of Easy Company, as well as soldiers' journals and letters, Band of Brothers chronicles the experiences of these men who knew extraordinary bravery and extraordinary fear. They were an elete rifle company parachuting into France early on D-Day morning, fighting in the Battle of the Bulge and capturing Hitler's Eagle's Nest at Berchtesgaden. They were also a unit that suffered 150 percent casualties, and whose lives became legend. 

HBO's impressive miniseries may have the most handsome DVD packaging to date: a tin container enclosing the accordion sleeves holding six discs. The extras on the set are just as classy. Besides the rudimentary 30-minute making-of, there's an hour's worth of video diaries by actor Ron Livingston (who portrays Lewis Nixon) detailing the tough "actors' boot camp." The first-person recollections of the real Easy Company soldiers that begin each episode are expanded in the 80-minute documentary We Stand Alone Together. The real footage and heartfelt recollections complement the series, but viewers may want more interaction between the lifelong friends. The documentary is better in the final minutes, when the veterans are not talking about the specific incidents depicted in the film. Another big help in this set is the "field guide," a dossier of maps, glossary, definitions of ranks, a timeline, and a who's who for each episode. —Doug Thomas

Bruce Brown The grandfather of surf movies, Bruce Brown introduces his third film by showing off the microphone he would use onstage while narrating Barefoot Adventure when he would show it in the early 1960s in auditoriums around southern California. He notes that a tape recording of his original narration couldn't be found in his attic, so he and his son have written a new narration for the film. That seems unfortunate at first, but the necessity of coming up with new commentary allows Brown to speak wistfully of surfing days gone by. Most of the film was shot in Hawaii in 1960, when the islands were already a magnet for tourists, but visitors were mostly content to take hula lessons and lounge around their hotels. Fanatics seeking the perfect waves of Hawaii were still a relative rarity, and Brown reminisces about traveling the islands, seeking out incredible new surfing spots in rattletrap cars that could be purchased for $45. The film shot by Brown, who would encase his camera in a watertight Plexiglas box, is often gorgeous, though the footage does show some scratches and other minor flaws that speak to its authenticity. While the camera never strays too far from showing surfers riding spectacular waves, there are some quirky comedic bits, generally playing on the dangers of going barefoot or the problems surfers faced living with virtually no money. This is a beautiful document of the earliest days of the surfing craze. —Robert J. McNamara

Studio: Warner Home Video Release Date: 12/09/2008 Run time: 151 minutes Rating: Pg13

Christopher Nolan Batman Begins explores the origins of the Batman legend and the Dark Knight's emergence as a force for good in Gotham. In the wake of his parents' murder disillusioned industrial heir Bruce Wayne (Christian Bale) travels the world seeking the means to fight injustice and turn fear against those who prey on the fearful. He returns to Gotham and unveils his alter-ego: Batman a masked crusader who uses his strength intellect and an array of high tech deceptions to fight the sinister forces that threaten the city.Running Time: 140 min.System Requirements: Running Time 140 MinFormat: DVD MOVIE Genre: ACTION/ADVENTURE Rating: PG-13 UPC: 012569594142

Danny Boyle Leonardo DiCaprio sought to distance himself from the purity of his character in Titanic, and his role in The Beach is in many ways a polar opposite. As Richard, a young American seeking to "suck in the experience" of freestyle travel in Thailand, he's a chronic liar, a pot-smoking hedonist, an amoral lover, and ultimately an unstable snake in a doomed Garden of Eden. This crazy descent might be expected from the filmmakers of Trainspotting, but The Beach is a movie without a rudder, venturing into fascinating territory, promising a stimulating adventure, and then careening out of control.

After receiving a not-so-secret map to a secluded island from a stoned-out loony (Robert Carlyle, full of dark portent and spittle), Richard sets out to find the hidden paradise with a young French couple (Virginie Ledoyen, Guillaume Canet). What they find is a tropical commune existing in delicate balance with Thai pot farmers, and before long—as always—there—there's trouble in paradise. There's trouble in the movie, too, as DiCaprio is reduced to histrionics when the plot turns into a muddled mix of Lord of the Flies and Apocalypse Now, with shark attacks tossed in for shallow tension. Director Danny Boyle attempts perfunctory romance and a few audacious moves (notably DiCaprio's vision of life as a violent video game), but what's the point? Tilda Swinton registers strongly as the commune's charismatic leader, but her character—and the entire film—remains largely undeveloped, and pretty scenery is no guarantee of a laudable film. —Jeff Shannon

Mel Smith Translating Rowan Atkinson's Mr. Bean character from British television to the big screen takes a bit of a toll, but there are some hilarious sequences in this popular comedy. Bean, a boy-man twit with a knack for getting into difficult binds (and then making them worse and worse and worse), is a London museum guard who is sent to Los Angeles in the company of the famous painting Whistler's Mother. He's mistaken as an art expert by the well-meaning curator (Peter MacNicol) of an L.A. museum, but Bean's famously eccentric behavior soon causes the poor guy to almost lose his family and job. The insularity of Bean's TV world is sacrificed in this film, and that change diminishes some of the character's appeal. But Atkinson is a man naturally full of comedy, and he doesn't let his fans down. —Tom Keogh

The thrilling and inspiring story of a brilliant and charismatic man ensnared by a mysterious conspiracy which takes his life and mind to places he never imagined. Studio: Uni Dist Corp. (mca) Release Date: 01/22/2008 Starring: Russell Crowe Jennifer Connelly Run time: 136 minutes Rating: Pg13 Director: Ron Howard

While too many movies suffer the fate of creative bankruptcy, Being John Malkovich is a refreshing study in contrast, so bracingly original that you'll want to send director Spike Jonze and screenwriter Charlie Kaufman a thank-you note for restoring your faith in the enchantment of film. Even if it ultimately serves little purpose beyond the thrill of comedic invention, this demented romance is gloriously entertaining, spilling over with ideas that tickle the brain and even touch the heart. That's to be expected in a movie that dares to ponder the existential dilemma of a forlorn puppeteer (John Cusack) who discovers a metaphysical portal into the brain of actor John Malkovich.

The puppeteer's working as a file clerk on the seventh-and-a-half floor of a Manhattan office building; this idea alone might serve as the comedic basis for an entire film, but Jonze and Kaufman are just getting started. Add a devious coworker (Catherine Keener), Cusack's dowdy wife (a barely recognizable Cameron Diaz), and a business scheme to capitalize on the thrill of being John Malkovich, and you've got a movie that just gets crazier as it plays by its own outrageous rules. Malkovich himself is the film's pièce de résistance, riffing on his own persona with obvious delight and—when he enters his own brain via the portal—appearing with multiple versions of himself in a tour-de-force use of digital trickery. Does it add up to much? Not really. But for 112 liberating minutes, Being John Malkovich is a wild place to visit. —Jeff Shannon

Alejandro Monteverde Life is a complicated journey in which right and wrong are sometimes indistinct and where the things that really matter are often unclear. Bella is a powerful, leisurely-paced film in which Jose (Eduardo Verastegui) and Nina (Tammy Blanchard) struggle to do what's right while seeking meaning in their lives. A quiet, brooding man with a dark past, Jose works as a chef in his brother Manny's (Manny Perez) restaurant where he mostly keeps to himself until young waitress Nina is fired. Touched by Manny's unfair treatment of Nina, Jose impulsively leaves work to follow Nina and spends a day with her where he discovers that she is pregnant and alone. The two become incredibly close in the space of a day, sharing their pasts, feelings, and fears, and a lasting friendship is born. As Nina struggles with her pregnancy options and Jose comes to terms with a horrific incident from his past, the pair's newfound friendship aids in growth and healing. In the end, Jose and Nina's lives become permanently intertwined in a most beautiful and unexpected way. Bella is a moving, introspective film that will inspire serious personal reflection. —Tami Horiuchi

Benny Hill John Robins Benny Hill Complete and Unadulterated catches the boyish, British comedian just after he ended a long association with the BBC (where he was a busy star) and leaped to the commercial Thames Television in 1969, where he enjoyed creative control and successful syndication in America for 20 years. The premiere episode of The Benny Hill Show made television history as one of Thames' first color broadcasts, though a mid-season strike by technicians forced the show to revert to black-and-white, resulting in several "lost" episodes that have reemerged in this boxed set. (They offer some of the best material in this batch.)

Hill is an interesting, internationally popular figure in British comedy, his act more rooted in vaudeville and smooth, lowbrow innuendo than the surreal or topical. He gets a lot of mileage out of a mere roll of his eyes or knowing grin, but he is never short of energy during elaborate sketches or his trademark chases at the end of each episode. The Benny Hill Show, with its emphasis on scantily clad women and endless jokes about getting/not getting sex, never pushes the comic envelope, exactly, but Complete and Unadulterated demonstrates that Hill, who died in 1992, had more ingenuity and diverse originality than his reputation might reflect. Hill is just as comfortable gracing the opening of every show with a silly, risque ditty ("She wouldn't let me marry Jean / She said it was because she thought I was Effeminate / And compared to her, I was") as mocking television itself (in a clever, "Top of the Pops" send-up), skewering suburban swingers ("Henry and Alice and Bob and Mary"), or mounting a Cold War farce (in which an East-West border, running through a honeymoon suite, causes havoc for a newlywed couple). Luckily, this set allows one to select individual sketches or songs (Kiki Dee turns up for a go at "You've Made Me So Very Happy") within all 11 episodes, and to access each episode without having to go back to the disc's main menu. A repeat viewer can easily glide around the full season and cobble together the perfect, best-of program. There's certainly plenty of good material to go around; check out the lengthy "European Song Contest" for a true classic. —Tom Keogh

Benny Hill John Robins Benny Hill Complete and Unadulterated: The Naughty Early Years, Set Two (1972-1974), a sequel to the delightful Set One (1969-1971), continues opening the vaults on Hill's burlesque and satiric legacy at the Thames Television network. After enjoying stardom on the BBC, Hill made the leap to Thames at the end of the '60s, where he enjoyed creative freedom and the deluxe benefits of a color broadcast. Set Tworeveals no slowing down of Hill's prolific imagination, mastery of sketch comedy, or cheeky wit with that old Brit favorite, the sex farce. It does suggest that Hill was willing to gently bite the hand that fed him, however, as several sketches skewer the wisdom of Thames management.

Set Twoincludes 10 original episodes, never before seen in the U.S. in their complete form. As always, Hill kicks off every show with a "Benny Quickie," or blackout gag, followed by a silly song. ("Oh, Zandoona," a ballad about a willowy young miss, finds Hill—accompanied by house vocal group the Ladybirds—confessing, "Luckily she was blessed with two warts on her chest / Or she'd have no figure at all.") One of the most inspired sketches is an interview with "avant-garde French film director" Pierre de Tierre (Hill), who dismisses heady critical praise from a fawning interviewer. (Calling Pierre a genius for shifting from color to black and white in one of his features, the host is flattened by the filmmaker's response: "No, no. I ran out of color.") Other good things include Hill's impression of singer Shirley Bassey (in a deep-plunging, backless dress, no less), a short film about married thieves (to the tune of Noel Coward's "Little Things"), a lecherous ballet set in a park, and an interview with Hill's crusading, Fleet Steet scandal-monger, Mervyn Cruddy. Another interview, with Hill's slightly dotty Fred Scuttle, is laced with light sarcasm about the state of British TV and, of course, includes much naughty schoolboy humor. (Asked what he would program on a proposed new Thames channel, Fred suggests "A Sale of Two—er, A Tale of Two Cities.") Incorrigible. —Tom Keogh

Includes the entire movie "Triple-C" as a bonus!! FREE KILLER SOUNDTRACK CD INSIDE! In a day when a bottle of water costs more than gas and school kids fear for their lives, it`s nice to know a surfer can jump out into the big blue ocean and slip away from it all. Today, the same technology used by those who want to end the world, surfers are using to explore it. Come with us on a narrated surfing journey and see just how the top pro`s and freesurfers express themselves on the playground called earth. Included epic footage from the 1999 Gotcha Tahiti Pro. Starring: Kalani Robb, Bruce Irons, Cory Lopez, Shane Dorian, Shane Beschen, Andy Irons, Chris Ward, Sunny Garcia, Ross Williams, Gavin Beschen, Rob Machado, Adam Repogle, Luke Egan, Shea Lopez, Todd Morcom and Kelly Slater Shot on location: South Africa, Portugal, Tahiti, France, California, Australia, Indonesia and Hawaii . Soundtrack: Shootyz Groov, Static-X, Citizen King, Dial-7, Soul Coughing Thor-El, Built to Spill, Sensefield, Cibo Matto and a few more.

Lawrence Kasdan Lawrence Kasdan's 1983 big-budget variation on John Sayles's The Return of the Secaucus Seven finds a cluster of old college radicals—who have since gone on to sundry professions and various degrees of materialism—reuniting over the death of a friend. Both playful and thoughtful, the film represents Kasdan (Body Heat) at his most astute. The attractive cast meshes perfectly into a group of characters for which a former closeness is out of synch with their current lives, yet their warmth is enviable and inviting. The script may be a bit too glib, with many one-liners, but it is still a perfectly designed story with telling irony and no little passion. —Tom Keogh

Tim Burton After a string of mediocre movies, director Tim Burton regains his footing as he shifts from macabre fairy tales to Southern tall tales. Big Fish twines in and out of the oversized stories of Edward Bloom, played as a young man by Ewan McGregor (Moulin Rouge, Down with Love) and as a dying father by Albert Finney (Tom Jones). Edward's son Will (Billy Crudup, Almost Famous) sits by his father's bedside but has little patience with the old man's fables, because he feels these stories have kept him from knowing who his father really is. Burton dives into Bloom's imagination with zest, sending the determined young man into haunted woods, an idealized Southern town, a traveling circus, and much more. The result is sweet but—thanks to the director's dark and clever sensibility—never saccharine. Also featuring Jessica Lange, Alison Lohman, Helena Bonham Carter, Danny DeVito, and Steve Buscemi. —Bret Fetzer

Ethan Coen, Joel Coen After the tight plotting and quirky intensity of Fargo, this casually amusing follow-up from the prolifically inventive Coen (Ethan and Joel) brothers seems like a bit of a lark, and the result was a box-office disappointment. The good news is, The Big Lebowski is every bit a Coen movie, and its lazy plot is part of its laidback charm. After all, how many movies can claim as their hero a pot-bellied, pot-smoking loser named Jeff "The Dude" Lebowski (Jeff Bridges) who spends most of his time bowling and getting stoned? And where else could you find a hairnetted Latino bowler named Jesus (John Turturro) who sports dazzling purple footgear, or an erotic artist (Julianne Moore) whose creativity consists of covering her naked body in paint, flying through the air in a leather harness, and splatting herself against a giant canvas? Who else but the Coens would think of showing you a camera view from inside the holes of a bowling ball, or an elaborate Busby Berkely-styled musical dream sequence involving a Viking goddess and giant bowling pins? The plot—which finds Lebowski involved in a kidnapping scheme after he's mistaken for a rich guy with the same name—is almost beside the point. What counts here is a steady cascade of hilarious dialogue, great work from Coen regulars John Goodman and Steve Buscemi, and the kind of cinematic ingenuity that puts the Coens in a class all their own. Be sure to watch with snacks in hand, because The Big Lebowski might give you a giddy case of the munchies. —Jeff Shannon

Alan Poul, Alan Taylor, Charles McDougall, Julian Farino, Mary Harron Big Love, HBO's newest buzzworthy series, recalls Groucho Marx's blithe proposal to two women in Animal Crackers. "Why, that's bigamy," one of the women exclaims. Groucho responds, "Yes, and it's big of me, too." But Bill Henrickson's (Bill Paxton) situation is hardly a laughing matter. Bill is a modern-day polygamist who lives in suburban Salt Lake City with his seven children and three "sister-wives": Barbara (Jeanne Tripplehorn, never better), the more mature anchor of the household; Nicki (Chloe Sevigny), who spitefully refers to her as "Boss Lady"; and recent addition Margene (charming Ginnifer Goodwin), insecure and childlike. A series that puts a human face on polygamy is brimming with prurient possibilities. Big Love's first two episodes are veritable commercials for Viagra, as Bill struggles to keep up with the demands of his spouses, with whom the sleeping arrangements are strictly scheduled. But once this more sensational aspect of "plural marriage" is dealt with, Big Love moves on to focus on the emotional, spiritual and financial pressures that beset Bill and his families. As the dreamlike opening credit sequence (scored to the Beach Boys' ethereal "God Only Knows") illustrates, Bill is a man on thin ice. He is carrying mortgages on three adjoining homes. A home-improvement store entrepreneur, he has just cut the ribbon on his second store and is planning a third. His wives, not immune to jealousies, vie for dominant position. And then there's Roman (Harry Dean Stanton; and any series that puts this venerable character actor and hipster saint in our homes on a weekly basis deserves our big love), the sinister leader of an outlaw fundamentalist compound, who has an escalating disagreement with Bill over the repayment of his loan that helped Bill build his fledgling empire ("There's man's law," he states ominously, "and there's God's law").

There are further complications that make Big Love so compelling. Bill suspects that his raw-nerved mother (Grace Zabriskie) may be poisoning his father (Bruce Dern). Nicki is a shopaholic accruing nearly $60,000 in credit-card debt. Overtures by new neighbors threaten to expose Bill's unorthodox and illicit living arrangements. The polygamy factor puts a subversive spin on traditional matrimonial melodrama. When Nicki plans her son's disastrous birthday party, her list of "immediate family" tops 150. When Roman, who is Nicki's father, arrives, Bill proclaims he is not welcome in his "homes." As with Rome, Big Love may require a little patience. But this fascinating portrayal of a shadowy subculture, the intelligent writing, and the estimable ensemble will soon make you feel like part of the families. —Donald Liebenson

John Milius John Milius charts a decade of social change as three surfing buddies use the sport as a personal touchstone for their lives while growing up in the turbulent 1960s. Irresponsible hot-dogging legend Matt (Jan-Michael Vincent), serious and stable Jack (William Katt), and mad misfit Leroy, a.k.a. "Masochist" (Gary Busey), are teenage surf bums in 1963, living at the beach in a perpetual summer under the sway of surfboard-maker Bear (Sam Melville), guru, mentor, and keeper of the lore. But the times they are a changin' and boys grow up in the shadow of Vietnam while adulthood pushes them into hard decisions. John Milius mixes the nostalgia of American Graffiti with the reverence of a John Ford cavalry drama. Surfing becomes a kind of spiritual quest spoken of in awed mythic tones and photographed with the epic grandeur of a rite of passage. Milius's heavy-handed direction and reverent attitude slows the films and will turn off some viewers, but Milius fans will appreciate his macho stylings and philosophical musings, and surfing fans will love the spectacular surfing footage, including the dazzling stylings of world champion Gerry Lopez (who Milius later cast in Conan the Barbarian). Lee Purcell costars as Matt's supportive wife, with Patti D'Arbanville, Barbara Hale, and Robert Englund in supporting roles. Look for Ford stock player Hank Worden in a small role and Milius himself in a cameo selling marijuana in Tijuana. —Sean Axmaker

Philip Boston Studio: Warner Home Video Release Date: 04/26/2005 Run time: 92 minutes Rating: Pg

Stephen Daldry Foursquare in the gritty-but-heartwarming tradition of Brassed Off and The Full Monty comes Billy Elliot, the first film from noted British theatrical director Stephen Daldry. The setting is County Durham in 1984, and things "up north" are even grimmer than usual: the miners' strike is in full rancorous swing, and 11-year-old Billy's dad and older brother, miners both, are on the picket lines. Billy's got problems of his own. His dad has scraped together the fees to send him to boxing lessons, but Billy has discovered a different aptitude: a genius for ballet dancing. Since admitting to such an activity is tantamount, in this fiercely macho culture, to holding up a sign reading "I Am Gay," Billy keeps it quiet. But his teacher, Mrs. Wilkinson (Julie Walters, wearily undaunted), thinks he should audition for ballet school in London. Family ructions are inevitable.

Daldry's film sidesteps some of the politics, both sexual and otherwise, but scores with its laconic dialogue (credit to screenwriter Lee Hall) and a cracking performance from newcomer Jamie Bell as Billy. His powerhouse dance routines, more Gene Kelly than Nureyev, carry an irresistible sense of exhilaration and self-discovery. Among a flawless supporting cast, Stuart Wells stands out as Billy's sweet gay friend Michael. And if the miners' strike serves largely as background color, the brief episode when visored and truncheon-wielding cops rampage through neat little terraced houses captures one of the most spiteful episodes in recent British history. —Philip Kemp

Studio: Warner Home Video Release Date: 07/24/2007

Roger Ordish Studio: Warner Home Video Release Date: 07/24/2007 Rating: Nr

Studio: Warner Home Video Release Date: 07/24/2007

Vic Vine, Roger Ordish Only a handful of creative works succeed in capturing the totality of human existence from birth to death through love transfiguration and redemption. "A Bit of Fry and Laurie" the BBC television series co-starring Stephen Fry and Hugh Laurie has been said on two occasions to be among this group. Over 40 sketches in two programs of fun and frivolity.Format: DVD MOVIE Genre: COMEDY UPC: 794051264824 Manufacturer No: E2648

Stephen Norrington The recipe for Blade is quite simple; you take one part Batman, one part horror flick, and two parts kung fu and frost it all over with some truly campy acting. What do you get? An action flick that will reaffirm your belief that the superhero action genre did not die in the fluorescent hands of Joel Schumacher. Blade is the story of a ruthless and supreme vampire slayer (Wesley Snipes) who makes other contemporary slayers (Buffy et al.) look like amateurs. Armed with a samurai sword made of silver and guns that shoot silver bullets, he lives to hunt and kill "Sucker Heads." Pitted against our hero is a cast of villains led by Deacon Frost (Stephen Dorff), a crafty and charismatic vampire who believes that his people should be ruling the world, and that the human race is merely the food source they prey on. Born half-human and half-vampire after his mother had been attacked by a blood-sucker, Blade is brought to life by a very buff-looking Snipes in his best action performance to date. Apparent throughout the film is the fluid grace and admirable skill that Snipes brings to the many breathtaking action sequences that lift this movie into a league of its own. The influence of Hong Kong action cinema is clear, and you may even notice vague impressions of Japanese anime sprinkled innovatively throughout. Dorff holds his own against Snipes as the menacing nemesis Frost, and the grizzly Kris Kristofferson brings a tough, cynical edge to his role as Whistler, Blade's mentor and friend. Ample credit should also go to director Stephen Norrington and screenwriter David S. Goyer, who prove it is possible to adapt comic book characters to the big screen without making them look absurd. Indeed, quite the reverse happens here: Blade comes vividly to life from the moment you first see him, in an outstanding opening sequence that sets the tone for the action-packed film that follows. From that moment onward you are pulled into the world of Blade and his perpetual battle against the vampire race. —Jeremy Storey

Guillermo del Toro Aptly described by critic Roger Ebert as "a vomitorium of viscera," Blade II takes the express route to sequel success. So if you enjoyed Blade, you'll probably drool over this monster mash, which is anything but boring. Set (and filmed) in Prague, the plot finds a new crop of "Reaper" vampires threatening to implement a viral breeding program, and they're nearly impervious to attacks by Blade (Wesley Snipes), his now-revived mentor Whistler (Kris Kristofferson), and a small army of "normal" vampires who routinely combust in a constant conflagration of spectacular special effects. It's up to Blade to conquer the über-vamps, and both Snipes and director Guillermo del Toro (Mimic) serve up a nonstop smorgasbord of intensely choreographed action, creepy makeup, and graphic ultraviolence. It's sadistic, juvenile, numbing, and—for those who dig this kind of thing—undeniably impressive. With the ever-imposing Ron Perlman as a vampire villain. —Jeff Shannon

Wilder, Gene Mel Brooks scored his first commercial hit with this raucous Western spoof starring the late Cleavon Little as the newly hired (and conspicuously black) sheriff of Rock Ridge. Sheriff Bart teams up with deputy Jim (Gene Wilder) to foil the railroad-building scheme of the nefarious Hedley Lamarr (Harvey Korman). The simple plot is just an excuse for a steady stream of gags, many of them unabashedly tasteless, that Brooks and his wacky cast pull off with side-splitting success. The humor is so juvenile and crude that you just have to surrender to it; highlights abound, from the lunkheaded Alex Karras as the ox-riding Mongo to Madeline Kahn's uproarious send-up of Marlene Dietrich as saloon songstress Lili Von Shtupp. Adding to the comedic excess is the infamous campfire scene involving a bunch of hungry cowboys, heaping servings of baked beans and, well, you get the idea. —Jeff Shannon

Edward Zwick Leonardo DiCaprio puts a handsome face on an ugly industry: In parts of Africa, diamond mining fuels civil warfare, killing thousands of innocents and drafting preteen children as vicious soldiers. DiCaprio (The Departed) plays Danny Archer, a white African soldier-turned-diamond-smuggler who gets wind of a large raw jewel found by Solomon Vandy, a native fisherman (Djimon Hounsou, In America) recently escaped from enslavement by a brutal rebel leader. Archer offers a deal: He'll help Vandy find his war-scattered family if Vandy will share the diamond with him. Drawn into this web of exploitation is journalist Maddy Bowen (Jennifer Connelly, Little Children), who agrees to help if Archer will tell her the details of how conflict diamonds make their way into the hands of the corporations who sell them to the Western world. DiCaprio is compelling because he never flinches from Archer's utter ruthlessness; Archer ends up doing the morally justifiable thing, but only because his desperate greed has led him to it. Hounsou and Connelly, though saddled with all the moral and political speeches, rise above the cant and keep the movie's treacherously formulaic plot rooted in human characters. But in the end, the story won't stick with you as much as the dead stillness in the child soldiers' eyes; the horror of African civil strife refuses to be contained by Blood Diamond's uplifting message—and the movie is all the more potent as a result. —Bret Fetzer

Joel Coen Ethan Coen The debut film of director Joel Coen and his brother-producer Ethan Coen, 1983's Blood Simple is grisly comic noir that marries the feverish toughness of pulp thrillers with the ghoulishness of even pulpier horror. (Imagine the novels of Jim Thompson somehow fused with the comic tabloid Weird Tales, and you get the idea.) The story concerns a Texas bar owner (Dan Hedaya) who hires a seedy private detective (M. Emmett Walsh) to follow his cheating wife (Frances McDormand in her first film appearance), and then kill her and her lover (John Getz). The gumshoe turns the tables on his client, and suddenly a bad situation gets much, much worse, with some violent goings-on that are as elemental as they are shocking. (A scene in which a character who has been buried alive suddenly emerges from his own grave instantly becomes an archetypal nightmare.) Shot by Barry Sonnenfeld before he became an A-list director in Hollywood, Blood Simple established the hyperreal look and feel of the Coens' productions (undoubtedly inspired a bit by filmmaker Sam Raimi, whose The Evil Dead had just been coedited by Joel). Sections of the film have proved to be an endurance test for art-house movie fans, particularly an extended climax that involves one shock after another but ends with a laugh at the absurdity of criminal ambition. This is definitely one of the triumphs of the 1980s and the American independent film scene in general. —Tom Keogh

Ted Demme A briskly paced hybrid of Boogie Nights and Goodfellas, Blow chronicles the three-decade rise and fall of George Jung (Johnny Depp), a normal American kid who makes a personal vow against poverty, builds a marijuana empire in the '60s, multiplies his fortune with the Colombian Medellín cocaine cartel, and blows it all with a series of police busts culminating in one final, long-term jail sentence. "Your dad's a loser," says this absentee father to his estranged but beloved daughter, and he's right: Blow is the story of a nice guy who made wrong choices all his life, almost single-handedly created the American cocaine trade, and got exactly what he deserved. As directed by Ted Demme, the film is vibrantly entertaining, painstakingly authentic... and utterly aimless in terms of overall purpose.

We can't sympathize with Jung's meteoric rise to wealth and the wild life, and Demme isn't suggesting that we should idolize a drug dealer. So what, exactly, is the point of Blow? Simply, it seems, to present Jung's story as the epitome of the coke-driven glory days, and to suggest, ever so subtly, that Jung isn't such a bad guy, after all. Anyone curious about his lifestyle will find this film amazing, and there's plenty of humor mixed with the constant threat of violence and paranoid anxiety. Demme has also populated the film with a fantastic supporting cast (although Penélope Cruz grows tiresome as Jung's hedonistic wife), and this is certainly a compelling look at the other side of Traffic. Still, one wishes that Blow had a more viable reason for being; like a wild party, it leaves you with a hangover and a vague feeling of regret. —Jeff Shannon

Marshall Lewy Studio: Tcfhe/mgm Release Date: 09/23/2008 Run time: 99 minutes Rating: R

Phillip Noyce Released in late 1999, The Bone Collectorwas originally promoted as a thriller in the tradition of The Silence of the Lambsand Seven, suggesting that it would earn a place among those earlier, better films. Nice try, but no cigar. The Bone Collectorsettles instead for mere competence and the modest rewards of a well-handled formula. With a terrific cast at his service, director Phillip Noyce (Dead Calm, Patriot Games) turns the pulpy indulgence of Jeffery Deaver's novel into a slick potboiler that is grisly fun only if you don't pick it apart.

Noyce expertly builds palpable tension around a series of gruesome murders that lead us into the darkest nooks of New York City. Now a bedridden quadriplegic prone to life-threatening seizures and suicidal depression, forensics detective Lincoln Rhyme (Denzel Washington) gets a new lease on life with a sharp young beat cop (Angelina Jolie) who's a wizard at analyzing crime scenes. She does field work while he deciphers clues from his high-tech Manhattan loft, and as they narrow the search their lives are increasingly endangered. As this formulaic plot grows moldy, Noyce resorts to narrative shortcuts, using perfunctory scenes to manipulate the viewer and taking morbid pleasure in his revelation of the murder scenes. And yet it all works, to a point, and the cast (including Queen Latifah and Luiz Guzmán) is much better than the material. If you're looking for a few good thrills, The Bone Collectoris a pretty safe bet. —Jeff Shannon

Larry Charles It takes a certain kind of comic genius to create a character who is, to quote the classic Sondheim lyric, appealing and appalling. But be forewarned: Boratis not "something for everyone." It arrives as advertised as one of the most outrageous, most offensive, and funniest films in years. Kazakhstan journalist Borat Sagdiyev (Sacha Baron Cohen reprising the popular character from his Da Ali G Show), leaves his humble village to come to "U.S. and A" to film a documentary. After catching an episode of Baywatchin his New York hotel room, he impulsively scuttles his plans and, accompanied by his fat,

hirsute producer (Hardy to his Laurel), proceeds to California to pursue the object of his obsession, Pamela Anderson. Boratis not about how he finds America; it's about how America finds him in a series of increasingly cringe-worthy scenes. Borat, with his '70s mustache, well-worn grey suit, and outrageously backwards attitudes (especially where Jews are concerned) interacts with a cross-section of the populace, catching them, a la Alan Funt on Candid Camera, in the act of being themselves. Early on, an unwitting humor coach advises Borat about various types of jokes. Borat asks if his brother's retardation is a ripe subject for comedy. The coach patiently replies, "That would not be funny in America." NOT! Borat is subversively, bracingly funny. When it comes to exploring uncharted territory of what is and is not appropriate or politically correct, Borat knows no boundaries, as when he brings a fancy dinner with the southern gentry to a halt after returning from the bathroom with a bag of his feces ("The cultural differences are vast," his hostess graciously/patronizingly offers), or turns cheers to boos at a rodeo when he calls for bloodlust against the Iraqis and mangles "The Star Spangled Banner."

Success, John F. Kennedy once said, has a thousand fathers. A paternity test on Boratmight reveal traces of Bill Dana's Jose Jimenez, Andy Kaufman, Michael Moore, The Jamie Kennedy Xperiment, and Jackass. Some scenes seem to have been staged (a game Anderson, whom Borat confronts at a book signing, was reportedly in on the setup), but others, as the growing litany of lawsuits attests, were not. All too real is Borat's encounter with loutish Southern frat boys who reveal their sexism and racism, and the disturbing moment when he asks a gun store owner what gun he would recommend to "kill a Jew" (a Glock automatic is the matter-of-fact reply). Comedy is not pretty, and in Boratit can get downright ugly, as when Borat and his producer get jiggly with it during a nude fight that spills out from their hotel room into the hallway, elevator, lobby and finally, a mortgage brokers association banquet. High-five! —Donald Liebenson

On the DVD

"Global Visitings" captures Borat-mania in all its hype and glory, as Sacha Baron Cohen, never breaking character, promotes his film around the world. On the itinerary is Late Night with Conan O'Brienand the Toronto Film Festival, a now-legendary screening aborted after a projector malfunction. A mixed bag of deleted scenes finds Borat trying to bait more unsuspecting citizens, including an animal-control worker who refuses Borat a dog after he asks, "How do you recommend I cook this?" and a doctor who is nonplussed by Borat's obscene medical history. A supermarket visit offers the most maddening fromage-inspired looniness since Monty Python's "Cheese Shop" sketch. Also good for a few chuckles are a faux soundtrack commercial and Baywatch parody ("Sexydangerwatch"). —Donald Liebenson

Beyond Borat

All things Sacha Baron Cohen

BoratApparel

BoratSoundtrack

Stills from Borat (click for larger image)

Doug Liman Freely adapted from Robert Ludlum's 1980 bestseller, The Bourne Identity starts fast and never slows down. The twisting plot revs up in Zurich, where amnesiac CIA assassin Jason Bourne (Matt Damon), with no memory of his name, profession, or recent activities, recruits a penniless German traveler (Run Lola Run's Franka Potente) to assist in solving the puzzle of his missing identity. While his CIA superior (Chris Cooper) dispatches assassins to kill Bourne and thus cover up his failed mission, Bourne exercises his lethal training to leave a trail of bodies from Switzerland to Paris. Director Doug Liman (Go) infuses Ludlum's intricate plotting with a maverick's eye for character detail, matching breathtaking action with the humorous, thrill-seeking chemistry of Damon and Potente. Previously made as a 1988 TV movie starring Richard Chamberlain, The Bourne Identity benefits from the sharp talent of rising stars, offering intelligent, crowd-pleasing excitement from start to finish. —Jeff Shannon

Paul Greengrass Good enough to suggest long-term franchise potential, The Bourne Supremacy is a thriller fans will appreciate for its well-crafted suspense, and for its triumph of competence over logic (or lack thereof). Picking up where The Bourne Identity left off, the action begins when CIA assassin and partial amnesiac Jason Bourne (a role reprised with efficient intensity by Matt Damon) is framed for a murder in Berlin, setting off a chain reaction of pursuits involving CIA handlers (led by Joan Allen and the duplicitous Brian Cox, with Julia Stiles returning from the previous film) and a shadowy Russian oil magnate. The fast-paced action hurtles from India to Berlin, Moscow, and Italy, and as he did with the critically acclaimed Bloody Sunday, director Paul Greengrass puts you right in the thick of it with split-second editing (too much of it, actually) and a knack for well-sustained tension. It doesn't all make sense, and bears little resemblance to Robert Ludlum's novel, but with Damon proving to be an appealingly unconventional action hero, there's plenty to look forward to. —Jeff Shannon

Christopher Rouse, Paul Greengrass Studio: Uni Dist Corp. (mca) Release Date: 07/29/2008 Run time: 116 minutes Rating: Pg13

Michael Moore (II) Michael Moore's superb documentary (following in the footsteps of Roger & Me and The Big One) tackles a meaty subject: gun control. Moore skillfully lays out arguments surrounding the issue and short-circuits them all, leaving one impossible question: why do Americans kill each other more often than people in any other democratic nation? Moore focuses his quest around the shootings at Columbine High School and the shooting of one 6-year-old by another near his own hometown of Flint, Michigan. By approaching the headquarters of K-Mart (where the Columbine shooters bought their ammo) and going to Charlton Heston's own home, Moore demands accountability from the forces that support unrestricted gun sales in the U.S. His arguments are conducted with the humor and empathy that have made Moore more than just a gadfly; he's become a genuine voice of reason in a world driven by fear and greed. —Bret Fetzer

Mel Gibson Mel Gibson's Oscar-winning 1995 Braveheart is an impassioned epic about William Wallace, the 13th-century Scottish leader of a popular revolt against England's tyrannical Edward I (Patrick McGoohan). Gibson cannily plays Wallace as a man trying to stay out of history's way until events force his hand, an attribute that instantly resonates with several of the actor's best-known roles, especially Mad Max. The subsequent camaraderie and courage Wallace shares in the field with fellow warriors is pure enough and inspiring enough to bring envy to a viewer, and even as things go wrong for Wallace in the second half, the film does not easily cave in to a somber tone. One of the most impressive elements is the originality with which Gibson films battle scenes, featuring hundreds of extras wielding medieval weapons. After Eisenstein's Alexander Nevsky, Orson Welles's Chimes at Midnight, and even Kenneth Branagh's Henry V, you might think there is little new that could be done in creating scenes of ancient combat; yet Gibson does it. —Tom Keogh

John Hughes John Hughes's popular 1985 teen drama finds a diverse group of high school students—a jock (Emilio Estevez), a metalhead (Judd Nelson), a weirdo (Ally Sheedy), a princess (Molly Ringwald), and a nerd (Anthony Michael Hall)—sharing a Saturday in detention at their high school for one minor infraction or another. Over the course of a day, they talk through the social barriers that ordinarily keep them apart, and new alliances are born, though not without a lot of pain first. Hughes (Sixteen Candles), who wrote and directed, is heavy on dialogue but he also thoughtfully refreshes the look of the film every few minutes with different settings and original viewpoints on action. The movie deals with such fundamentals as the human tendency toward bias and hurting the weak, and because the characters are caught somewhere between childhood and adulthood, it's easy to get emotionally involved in hope for their redemption. Preteen and teenage kids love this film, incidentally. The DVD release includes production notes, cast and crew bios, widescreen presentation, Dolby sound, closed captioning, optional French and Spanish soundtracks, and optional Spanish subtitles. —Tom Keogh

Joel Silberg Breakin' is so Hollywood it's set in Los Angeles, with only a few good dance performances thrown in to save it. The plot is PG fluff revolving around a young White female jazz dancer (Lucinda Dickey as Kelly) who learns about "street dancing" and then claims it as her own. Her teachers, real-life stars Adolfo "Shabba Doo" Quinones and Michael "Boogaloo Shrimp" Chambers, are indeed talented dancers, but in the West Coast styles known as poppin' and lockin', not breakin'. These three characters form a crew in which they do very little break-dancing, suggesting that the title was a cheap marketing ploy to capitalize on the popularity of real b-boys.

The dialogue is cheesy and written for children (absolutely no swearing or sex), with a sugar-sweet message about working hard and showing the rich dance snobs what you've got. Although Kelly refers to their moves as "street dancing", she sees very little actual street, unless you count a clean, peaceful Venice Beach boardwalk. The only rap music in the entire movie is during two scenes at the Radiotron Club, which strangely feature future-Gangsta Ice-T with feel-good lyrics about achieving your dreams.

Their goals realized, the new crew stars in their own Broadway show, "Street Jazz". This performance, like much of the rest of the movie, is choreographed jazz and modern dance with wack costumes by someone who has probably never been to the Bronx. It too exploits hip hop, and in the process gets it all wrong. Finally, the movie ends with no resolution of the love triangle that has been a major focus of the plot, but promises that Breakin' 2 is coming soon.

Sam Firstenberg "B2" tells the story of Turbo ("Boogaloo Shrimp"), Ozone ("Shabba-Doo") and their street-lingo challenged friend, Kelly. When they find out that Miracles (the local youth center) is about to be shut down by evil businessmen, they decide to take matters into their own hands... and heads... and backs... and can't-stop-till-you've-had-enough beat-shuffling feet.

The talent of the dancers in this movie is undeniable, and they will go to any lenght to save Miracles...yes, even break dancing to prevent bulldozers from knocking down your neighborhood youth center.

Fill a bowl with alpine strawberries, break out the Château Lafite (1899, of course), and bask in this benchmark 1981 British miniseries based on Evelyn Waugh's classic novel. Adapted for the screen by John Mortimer (Rumpole of the Bailey), this impeccable, nearly 11-hour production mesmerized American viewers during the course of its PBS run in 1982. In his breakthrough role, Jeremy Irons stars as Charles Ryder, a disillusioned Army captain who is moved to reflect on his "languid days" in the "enchanted castle" that was Brideshead, home of the aristocratic Marchmain family, whose acquaintance Charles made in the company of an Oxford classmate, the charming wild child Sebastian. Anthony Andrews costars as the doomed Sebastian, whose beauty is "arresting" and "whose eccentricities and behavior seemed to know no bounds." The "entitled and enchanted" Sebastian takes Charles under his wing ("Charles, what a lot you have to learn"), but vows early on that he is "not going to let [Charles] get mixed up with [his] family." But mixed up Charles gets. He becomes a friend and confidante, not to mention a lover, to Sebastian's sister Julia (Diana Quick). Meanwhile, the self-destructive Sebastian's life spirals out of control. Brideshead Revisited boasts a distinguished ensemble, including Laurence Olivier in his Emmy Award-winning role as the exiled Lord Marchmain, Claire Bloom as Lady Marchmain, and the magnificent John Gielgud as Charles's estranged father. Grand locations and a haunting musical score make this a memorable revisit of an irretrievable bygone era. For those who scheduled their weeks around the original Monday-night broadcasts or those visiting Brideshead for the first time, this boxed set release will be, as Charles rhapsodizes at one point while strolling the castle grounds, "very near to heaven."—Donald Liebenson

Sharon Maguire Featuring a blowzy, winningly inept size-12 heroine, Bridget Jones's Diary is a fetching adaptation of Helen Fielding's runaway bestseller, grittier than Ally McBeal but sweeter than Sex and the City. The normally sylphlike Renée Zellweger (Nurse Betty, Me, Myself and Irene) wolfed pasta to gain poundage to play "singleton" Bridget, a London-based publicist who divides her free time between binge eating in front of the TV, downing Chardonnay with her friends, and updating the diary in which she records her negligible weight fluctuations and romantic misadventures of the year. Things start off badly at Christmas when her mother tries to set her up with seemingly standoffish lawyer Mark Darcy (Colin Firth), whom Bridget accidentally overhears dissing her. Instead she embarks on a disastrous liaison with her raffish boss, Daniel Cleaver (Hugh Grant, infinitely more likeable when he's playing a baddie instead of his patented tongue-tied fops). Eventually, Bridget comes to wonder if she's let her pride prejudice her against the surprisingly attractive Mr. Darcy.

If the plot sounds familiar, that's because Fielding's novel was itself a retelling of Jane Austen's Pride and Prejudice, whose romantic male lead is also named Mr. Darcy. An extra ironic poke in the ribs is added by the casting of Firth, who played Austen's haughty hero in the acclaimed BBC adaptation of Austen's novel. First-time director Sharon Maguire directs with confident comic zest, while Zellweger twinkles charmingly, fearlessly baring her cellulite and pulling off a spot-on English accent. Like Four Weddings and a Funeral and Notting Hill (both of which were written by this film's coscreenwriter, Richard Curtis), Bridget Jones's stock-in-trade is a very English self-deprecating sense of humor, a mild suspicion of Americans (especially if they're thin and successful), and a subtly expressed analysis of thirtysomething fears about growing up and becoming a "smug married." The whole is, as Bridget would say, v. good. —Leslie Felperin

David Lean To many, Brief Encounter may seem like a relic of more proper times—or, specifically, more properly British times—when the pressures of marital decorum and fidelity were perhaps more keenly felt. In truth, David Lean's fourth film remains a timeless study of true love (or, rather, the promise of it), and the aching desire for intimate connection that is often subdued by the obligations of marriage. And so it is that ordinary Londoners Alec (Trevor Howard), a married doctor, and contented housewife Laura (Celia Johnson) meet by chance one day in a train station, when he volunteers to remove a fleck of ash from her eye (a romantic gesture that, perhaps, inspired Robert Towne's "flaw in the iris" scene in Chinatown).

It so happens that their schedules coincide at the train station every Thursday, and their casual attraction grows, through quiet conversation and longing expressions, into the desperate recognition of mutual love. From this point forward, Lean turns this utterly precise, 85-minute film into a bracing study of romantic suspense, leading inevitably, and with the paranoid, furtive glances of a spy thriller, to the moment when this brief encounter must be consummated or abandoned altogether. Decades later, the outcome of this affair—both agonizing and rapturous—is subtle and yet powerful enough to draw tears from the numbest of souls, and spark debate regarding the tragedy or virtue of the choices made. A truly universal film, with meticulously controlled emotions revealed through the flawless performances of Howard and Johnson, and an enduring masterpiece that continued Lean on his course to cinematic greatness. —Jeff Shannon

Woody Allen Often overlooked, Broadway Danny Rose has developed a cult following among select Woody Allen fans; Chris Rock, of all people, says it's one of his favorite films. Allen plays a devoted talent agent for acts whose talent is, shall we say, marginal. But one of his clients, a faded singer named Lou Canova (Nick Apollo Forte), suddenly has a chance to perform for a record executive. Nervous, Canova insists that Rose bring his girlfriend to the show—unfortunately, his girlfriend is Tina Vitale (Mia Farrow), the wife of a big-time mobster. (Farrow's performance is superb and unlike anything else in her career: loud, brassy, and comically obnoxious.) Part caper, part-show biz satire, Broadway Danny Rose would make an excellent companion to Paper Moon; both are a delightful combination of nostalgia and cutting observations about human nature. —Bret Fetzer

Ang Lee This sweeping epic that explores the lives of two young men a ranch-hand & a rodeo cowboy who meet in the summer of 1963 & unexpectedly forge a lifelong connection. The complications joys & heartbreak they experience provide a testament to the endurance & power of love. Studio: Uni Dist Corp. (mca) Release Date: 01/22/2008 Starring: Heath Ledger Michelle Williams Run time: 135 minutes Rating: R

Folklore collectors & con artists jake & will grimm travel from village to village pretending to protect townsfolk from enchanted creatures & performing exorcisms. They are put to the test when they encounter a real magical curse in a haunted forest with real magical beings requiring genuine courage. Studio: Buena Vista Home Video Release Date: 03/28/2008 Starring: Matt Damon Jonathan Pryce Run time: 119 minutes Rating: Pg13

Tom Shadyac Bestowing Jim Carrey with godlike powers is a ripe recipe for comedy, and Bruce Almighty delivers the laughs that Carrey's mainstream fans prefer. The high-concept premise finds Carrey playing Bruce Nolan, a frustrated Buffalo TV reporter, stuck doing puff-pieces while a lesser colleague (the hilarious Steven Carell) gets the anchor job he covets. Bruce demands an explanation from God, who pays him a visit (in the serene form of Morgan Freeman) and lets Bruce take over while he takes a brief vacation. What does a petty, angry guy do when he's God? That's where Carrey has a field day, reuniting with his Ace Ventura and Liar, Liar director, Tom Shadyac, while Jennifer Aniston gamely keeps pace as Bruce's put-upon fiancée. Carrey's actually funnier before he becomes Him, and the movie delivers a sappy, safely diluted notion of faith that lacks the sincerity of the 1977 hit Oh, God! Still, we can be thankful that Carrey took the high road and left Little Nicky to Adam Sandler. —Jeff Shannon

Enter the Dragon (1973)

This is the film that introduced martial arts, and indeed Lee himself, to a Western audience. With a large budget, high production values, and a semi-American cast and crew, the studio must have believed that America was ready to receive Lee, and how right they were. Lee stars as, well, Lee, a martial arts master turned secret agent, who is sent to infiltrate the private island, complete with secret underground lair, of the criminal mastermind, Han. The plot seems to be straight out of a Bond movie, and it effectively is, as the writer ‘borrowed’ quite heavily from the plot of Dr. No.

He arrives at the island with the excuse of wanting to take part in the martial arts tournament that is being held there, but actually intending to investigate the island. Soon enough, he finds out everything, and continues to compete in the tournament. The climax of the film, a fight with Han in a hall of mirrors was truly an exceptional idea, but is partially ruined by the over-the-top, almost pantomime, nature of the villain, who takes off his prosthetic hand and swaps it for a variety of feline-esque claws. Overall, Enter the Dragon is the most professional of Lee’s movies, but still retains his raw energy, and the complex storyline (relative to his other films at least) is not at the expense of good fight scenes.

Fist of Fury (1972)

Often regarded as Lee’s best movie, and not only one of the best martial arts films, but also one of the best films to come out of Hong Kong, it is clear why so many people enjoy Fist of Fury.

Lee plays Chen Zhen, a loyal member of his dojo, and seemingly reserved martial artist. However, when his master dies, he is so full of grief that he literally tries to dig up his master’s grave as the others are trying to bury him. Eventually it takes a fellow member of the dojo to strike him over the head with a shovel to restrain him. The scene is a little comic due to its over-the-top nature, but it does convey how much Chen respected and liked his master. So when the rival Japanese school come to taunt Chen and his friends at their master’s funeral, presenting them with a sign that translates to “The Sick Man of Asia” it’s obvious he’s not going to take it too well. Lee’s acting is nothing short of outstanding, and without a doubt one of the most intense performances committed to film. You can practically see the fire in his eyes when the Japanese are disrespecting him, but Chen’s friends manage to convince him to stay calm, as their master would not have wanted him to fight.

Nevertheless, only a few minutes later and Chen is strolling into the Japanese school, ready to teach them all a lesson. What begins as a one on one fight with a Japanese volunteer soon develops into an all out brawl, with Chen easily managing to take on all of them by himself. After showcasing his roundhouse kicks and sheer strength (at one point taking two of the Japanese, one in each hand, and throwing them across the dojo) he takes out what would later become an iconic symbol, his nunchaku, and proceeds to inflict pain upon all those still standing. This scene would later be referenced in Kill Bill Volume 1, when Uma uses her katana to slice the legs of several of the Crazy 88 in a capoeira style ‘dance’. Then on the way out Chen literally makes two of the Japanese eat their words, forcing the derogatory sign that they had previously presented down their throats. The other fights are equally good, Lee’s performance astoundingly good, and Nora Miao is the best love interest of all Lee’s films, with restrained but touching acting, and good chemistry with Lee.

Game of Death (1978)

Often the subject of debate regarding whether to consider this a true “Bruce Lee movie”, Game of Death marks Lee’s last cinematic work, as he died during the production, in mysterious circumstances that have become the subject of many a documentary. He plays Billy Lo, a film star who refuses to be forced into joining an international syndicate. As a result, he is shot during filming (eerily, the same would happen to Lee’s son Brandon just 15 years later on the set of The Crow). Lo uses this opportunity to pretend that the shot was fatal, setting up a public funeral, whilst he pursues the syndicate.

As a result of dying before filming could be finished, Lee is replaced by a different actor for the scenes that he was unable to film (thankfully he finished all the action scenes, leaving just the majority of the dramatic scenes for the other actor). In an attempt to try and make it as unapparent as possible, the filmmakers make the other actor wear large dark sunglasses (even in dark scenes), and try and cover his face in shade as often as possible. It’s a great pity that Lee was unable to finish this film, as it could easily have been his best. This is most apparent towards the end, when Billy Lo fights his way up a pagoda to find the boss of the syndicate, facing a different opponent on each floor, including the 7-foot tall Kareem Abdul-Jabbar, in what will go down as one of the greatest fights ever filmed. Lee’s fight with Danny Inasanto is also worthy of praise, with both men using nunchaku, yet not getting them tangled up once.

Tower of Death (a.k.a. Game of Death 2) (1981)

Calling Game of Death a Bruce Lee film is one thing, calling Tower of Death that is really pushing it. Stock footage of Bruce Lee is used, including deleted scenes from Enter the Dragon, however, as you can imagine, the filmmakers have lots of difficulty splicing and editing the clips together in a coherent form. What we are left with are a few scenes of Bruce Lee fighting at the beginning, then for the remainder of the film it is down to Tung Lung, who plays Lee’s younger brother, to entertain viewers.

Despite sounding quite awful, as long as you are not expecting this to be a Bruce Lee movie, and instead look at it as a straightforward kung fu film, then it really is quite enjoyable. The fights come thick and fast, with martial arts marvel Yuen Biao responsible for the energetic stunts. Whilst it might not belong in this collection, Tower of Death is as enjoyable as cheesy 80s kung fu movies come.

The extras are all placed conveniently on a separate disc. First up, are the Bruce Lee Photo Galleries & Trailers, split up into still photos, an automated slideshow of those stills, and both an original and new trailer for each of the six films. The trailers are fairly entertaining, and it’s interesting to see the contrast between the old and the new ones, the former using instantly recognisable classical music and minimal editing, the latter using quick cuts and CGI transition effects.

Next up are Celebrity Interviews, including discussions with many A-list Hong Kong actors and directors, including Sammo Hung (friend of Bruce, actor in Enter the Dragon, and responsible for making sure the legend of the Little Dragon lives on, with films such as Enter the Fat Dragon), actor Simon Yam (Fulltime Killer, PTU), actor Paul Pui (Lost in Time), director Wong Jing (City Hunter) and many more. Running in at just over 9 minutes, it’s one of the more interesting extras on offer, although it’s definitely a little short.

The next selectable extra is 11 minutes worth of Unseen Footage, although some of it is far from unseen. It isn’t nearly as entertaining as it could have been, as it is just set to music, without any commentary explaining what is going on, or giving anecdotes about the filming.

The Bruce Lee NG Shots are more of the same, but infinitely more amusing. It shows Bruce Lee filming his infamous nunchaku scene from Game of Death and it really does justice to how hard it must have been. It’s nice to see Lee laughing after he messes up a few times, as it’s a side to him so rarely shown in the films. After about a minute of outtakes from his fight with Inasanto, there’s a further two minutes of outtakes, all from Game of Death. We see Lee laughing several more times, which is very refreshing.

Finally, there’s the 3 minute long Enter the Dragon Alternate Opening Credits. The name really says it all, not very exciting at all, even purists won’t find it particularly fascinating.

The Big Boss (1971)

Lee’s first movie is rarely regarded as his best, but it is by all means a wonderful indication of what is to come. Lee plays Cheng Chao-An, a young man who moves from the rural countryside to Thailand in order to live with his relatives. He soon finds work in an ice-production factory, but shortly after he starts work there, his cousins, who are also employed there, inadvertently find cocaine hidden in one of the ice blocks. After going to talk to the boss about it, they go missing, thus leading to Cheng to do some investigating of his own.

This is undeniably the most unbalanced of all Lee’s films. Cheng swears that he will not fight anyone, and so for just under the first half of the film, he takes abuse, and insults, without retaliating. This obvious attempt to build tension does not entirely succeed. Although it is indeed extremely satisfying once Lee finally snaps and starts fighting, it would have been equally as good if it had happened a quarter of an hour earlier. The fight scenes are good, if not quite at the standard of Lee’s later films, but are occasionally unnecessarily violent; despite sympathising with Cheng, one can’t help but think he goes a little too far in a couple of scenes. There is also a very awkward erotic scene, which accomplishes virtually nothing in regard to the plot, is not particularly enjoyable, and just seems very out of place in regards to the rest of the film.

Way of the Dragon (1972)

Way of the Dragon is Lee’s directorial debut (as well as being the only film to be fully directed by Lee), and it’s immediately clear that it’s a labour of love. The fight scenes are more realistic, showing off Lee’s own form of martial arts, Jeet Kune Do, at its best, and avoiding flashy jumping kicks that would presumably be little use in a proper fight. That said, there’s a scene where Lee wields a nunchaku in each hand, using them both simultaneously, so don’t presume that the fight scenes lack any punch (if you’ll excuse the dismal pun).

Bruce plays Tang Lung, who, when he hears gangsters are trying to take over his relatives’ restaurant, travels to Rome to help them out. Lee must have had a lot of fun making this, and it shows. The fight scenes are top-notch, the humour is endearing, despite markedly losing a little in the translation, and Bruce’s acting is perfect for the role. However it is the finale that viewers will remember this film for, with Lee taking on Chuck Norris (in his first major role) in the Roman Colosseum. It sounds more than a little overdramatic, but it works – the fight is a joy to watch, and Norris’ character, Colt, is shown to be human (unlike the villains in Lee’s other films), and so gives the fight extra depth.

Tinto Brass Bob Guccione Caligula may very well be the most controversial film in history. Only one movie dares to show the perversion behind Imperial Rome, and that movie is "Caligula," the epic story of Rome's mad emperor. All the details of his cruel, bizarre reign are revealed right here: his unholy sexual passion for his sister, his marriage to Rome's most infamous prostitute, his fiendishly inventive means of disposing of those who would oppose him, and more. The combined talents of cinematic giants Malcolm McDowell, Peter O'Toole, John Gielgud and Shakespearean actress Helen Mirren, along with an acclaimed international cast and a bevy of beautiful Penthouse Pets, make this unique historical drama a masterwork of the screen. Not for the squeamish, not for the prudish, "Caligula" will shock and arouse you as it reveals the deviance and decadence beneath the surface of the grandeur that once was Rome.

Bennett Miller This follows truman capote on his odyssey to create the landmark bestseller in cold blood. With signature style & mordant wit - capote attempts to charm the locals & work his way into the story behind the murders. Hes soon shocked to find himself forming a friendship with one of the killers perry smith. Studio: Sony Pictures Home Ent Release Date: 11/27/2007 Starring: Phillip Seymour Hoffman Chris Cooper Run time: 114 minutes Rating: R

Brian De Palma Al Pacino cuts a noble figure in this very enjoyable drama by director Brian De Palma (Scarface), based on a pair of books by Edwin Torres. Pacino plays a Puerto Rican ex-con trying hard to go straight, but his loyalty to his lowlife attorney (a virtually unrecognizable Sean Penn) and enemies on the street make that choice difficult. Penelope Ann Miller plays, somewhat unlikely, a stripper who has a romance with Pacino's character. The film finds De Palma tempering his more outlandish moves (think of Body Double or Snake Eyes) just as he did with the popular Untouchables and Mission: Impossible. But while Carlito's Way was not commercially successful and never rises to the level of greatness, it is a genuinely compelling movie graced with a fine performance by Pacino and a surprising one from Penn. —Tom Keogh

Episode List: Wolf Wolf;The Talking Magpies;Treasure Island; The Trojan Horse; Jungle Jitters; A Mutt in a Rut; A Waifs Welcome; Billy Mouse Akwakade; Much Ado About Mutton & Cheese Burglar. Only one Mighty Mouse episode. Only one magpie episode, probably pre-Heckle and Jeckle. All the rest were obscure old classic style cartoons. I was on the hunt for Mighty Mouse. I expect they used Mighty Mouse in the title as a marketing gimic. The quality of the transfers was very good in most cases. The toons themselves were ok. There was a common wolf theme that kinda runs intermingled through the set. It sorta ties the beginning to the end. Similar in flavor to The Three Little Bops, trumpet jazz. Not sure how the timeline compares, if these were before, or after — and thus inspired by

Michael Curtiz A truly perfect movie, the 1942 Casablanca still wows viewers today, and for good reason. Its unique story of a love triangle set against terribly high stakes in the war against a monster is sophisticated instead of outlandish, intriguing instead of garish. Humphrey Bogart plays the allegedly apolitical club owner in unoccupied French territory that is nevertheless crawling with Nazis; Ingrid Bergman is the lover who mysteriously deserted him in Paris; and Paul Heinreid is her heroic, slightly bewildered husband. Claude Rains, Sydney Greenstreet, Peter Lorre, and Conrad Veidt are among what may be the best supporting cast in the history of Hollywood films. This is certainly among the most spirited and ennobling movies ever made. —Tom Keogh

Peter Sellers John Huston was only one of five directors on this expensive, all-star 1967 spoof of Ian Fleming's 007 lore. David Niven is the aging Sir James Bond, called out of retirement to take on the organized threat of SMERSH and pass on the secret-agent mantle to his idiot son (Woody Allen). An amazing cast (Orson Welles, Peter Sellers, Deborah Kerr, etc.) is wonderful to look at, but the film is not as funny as it should be, and the romping starts to look mannered after awhile. The musical score by Burt Bacharach, however, is a keeper. —Tom Keogh

Robert Zemeckis 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

Recorded just past his commercial zenith and about a year and a half before he quit the music business for good, this concert recording from Cat Stevens's mid-'70s Majikattour (filmed in Williamsburg, Virginia) lay unused in the vaults for the better part of three decades, and its 2004 release is a reminder of just how successful and talented he was. Playing acoustic guitar and piano and performing solo, with minimal backing, and with a full band (not to mention a trio of magicians and an impressive stage set), Stevens runs through some 20 songs, drawing from his entire catalog, with particular emphasis on Tea for the Tillerman. The remastered digital sound is excellent, and there are plenty of extra features, including a lengthy and informative contemporary interview with Stevens (now known as Yusuf Islam), six additional songs from the archives (one of which, "Moonshadow," is presented in animation), and a reproduction of the original tour program. Even if this weren't the only available visual evidence from Stevens's career, Majikat (Earth Tour 1976)would be a worthy and valuable record of one of the most popular artists of his time. —Sam Graham

Steven Spielberg 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

Andre Allen (II) Bill Berner Todd Broder Rusty Cundieff Bob Goldthwait Peter Lauer Scott Vincent The 2003 debut of Chappelle's Showon Comedy Central marked a high point for the cable channel, and now the entire, wildly creative first season can be seen, with hundreds of bleeps removed. That's not to say Chappelle's Showis perfect entertainment: there are too many moments among the 12 episodes here that descend into pointless scatology and booty fever. But for the most part, Chappelle, a talented comic slowly growing into greatness, is trying to push the sketch-humor envelope and succeeds at surprising us with original concepts and merciless execution.

The merely clever material includes "National Geography's Third World Girls Gone Wild," basically an update on those topless-native-women gags of yore, and Chappelle's "Educated Guess Line," in which the sage comic eschews psychic powers to logically deduce racial insights from his callers' questions. Far more wicked is an in-your-face satire on such autobiographical film fare as Antwone Fisherand 8 Mile, in which Chappelle plays himself ascending from street hustler to rapper-comedian to bona fide savior of America. The best thing here, however, is a parallel-universe version of The Real World, in which the usual racial proportions on MTV's workhorse series are reversed, thrusting a token white guy into a Hoboken houseful of crazy African Americans. There are also laughs in "Ask a Gay Guy with Mario Cantoned," as well as a sketch about an "inner-thoughts cam" and a nasty piece about Chappelle's Make-a-Wish visit to a dying child, which decays into a cruel video game competition. Overlooking the series' weaker material, this is outstanding television comedy. —Tom Keogh

Andre Allen (II) Bill Berner Todd Broder Rusty Cundieff Bob Goldthwait Peter Lauer Scott Vincent Dave Chappelle's shrewd parodies, stinging satires, and boldly imaginative fantasias simply pour from the second season of his Comedy Central show, in every respect as funny as his well-received debut year. The structure is the same: a relaxed Chappelle introduces each sketch to an enthusiastic, studio audience (some of these introductions amount to stand-up routines), and then the madness begins. Among the many highlights from the 13 episodes on this boxed set's three discs is a mock ad for Samuel L. Jackson beer, featuring Chappelle's hilarious impression of Jackson's stern, overbearing persona from Pulp Fiction, and a dozen other features. Chappelle, considering a career in politics, floats a couple of trial campaign commercials, including one that promises to solve America's health care crisis by giving every citizen a fake Canadian I.D. Chappelle also suggests an effective program for teaching sexual abstinence to high school students: Forcing them to watch their principals have sex with the oldest female teachers on staff.

There's a good bit, too, about black soothsayer Negrodamus, whose ability to foresee events is limited to the fortunes of celebrities. Coming under fire (amusingly) are those McDonald's commercials suggesting that burger-flipping employment for African Americans can overhaul inner city communities. But, as with season 1, there are several masterpieces in this collection as well, such as Chappelle's vision of what the Internet would look like if it was a place you could actually, physically visit (with the equivalents of pop-up ads, porn sites, etc.). Equally inspired is a sketch in which a freeloading Chappelle, having impregnated the ultra-rich Oprah Winfrey, indulges his every whim. Best of all is Chappelle's take on what President Bush's administration would look like if the Chief Executive were, in fact, a black man. —Tom Keogh

Todd Broder Bob Goldthwait Bill Berner Scott Vincent Neal Brennan Peter Lauer Rusty Cundieff Andre Allen (II) Outrageous, intelligent and provocative, Chappelle's Show - The Lost Episodes proves that Dave Chappelle is now and forever one of the funniest, most boundary-pushing comedians to ever appear on television.

Hugh Hudson The come-from-behind winner of the 1981 Oscar for best picture, Chariots of Fire either strikes you as either a cold exercise in mechanical manipulation or as a tale of true determination and inspiration. The heroes are an unlikely pair of young athletes who ran for Great Britain in the 1924 Paris Olympics: devout Protestant Eric Liddell (Ian Charleson), a divinity student whose running makes him feel closer to God, and Jewish Harold Abrahams (Ben Cross), a highly competitive Cambridge student who has to surmount the institutional hurdles of class prejudice and anti-Semitism. There's delicious support from Ian Holm (as Abrahams's coach) and John Gielgud and Lindsay Anderson as a couple of Cambridge fogies. Vangelis's soaring synthesized score, which seemed to be everywhere in the early 1980s, also won an Oscar. Chariots of Fire was the debut film of British television commercial director Hugh Hudson (Greystoke) and was produced by David Puttnam. —Jim Emerson

Malcolm Needs Luke Goss teams up with Steven Berkoff to tell the real life story of Charlie Richardson, the head of the notorious ‘torture gang’.

In the 1960s, London was owned and ruled by two families, north of the river the Krays, to the south the Richardsons. Now for the first time in his own words Charlie reveals what really happened.

London, 30 July 1966, England win the World Cup, a fabled day in English history. But also on that day Charlie Richardson's life was about to change forever. He was arrested and tried in what became known as the ‘torture trial’, a trial of gravest importance to British society. The case was so significant that even today the files remain sealed. 104 jurors were finally whittled down to 12 , each of whom was given a personal bodyguard. At a time when The Beatles ruled the world and young Americans were fighting in Vietnam, for ten weeks the British public was glued to the events at the Old Bailey, where Charlie Richardson was sentenced to 25 years in prison. 

A businessman. A gentleman. An animal. Opinions are mixed about real-life 60s gangster Charlie Richardson (Luke Goss) in this uneven biopic about the man who led London's notorious "Torture Gang". While the Krays ruled North London, Richardson and his gang stayed south of the river building an empire based on bribes, intimidation, and some claret-spurting violence. Revelling in the nastiness, writer-director Malcolm Needs stokes controversy, turning this dapper villain into a tragic hero. Straight up? Not on your nelly, me old china.

Based around the court case that sent the gangster down for a 25-year stretch, Charlie follows in the filmic footsteps of The Krays, stylishly recreating the criminal underworld of 60s London while charting the life and times of one of its nastiest members.

Tim Burton Mixed reviews and creepy comparisons to Michael Jackson notwithstanding, Tim Burton's splendidly imaginative adaptation of Charlie and the Chocolate Factorywould 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 Charliefrom 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

Kevin Smith 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.

Chasing Amy is the third installment in the "New Jersey Trilogy" from award-winning writer-director Kevin Smith (Clerks, Mallrats, Dogma). Cult comic-book artist Holden (Ben Affleck) falls in love with fellow artist Alyssa (Joey Lauren Adams), only to be thwarted by her sexuality, the disdain of his best friend Banky (Jason Lee), and his own misgivings about himself. Filled with Smith's unique ear for dialogue and insight into relationships, Chasing Amy offers a thoughtful, funny look at how perceptions alter lives, and how obsession and self-doubt skew reality.

Peter Lord Nick Park Made by Aardman Animations, which produced the Oscar-winning Wallace & Gromit shorts, this is a dazzling stop-motion animation film that is both deftly funny and surprisingly touching. The concept is simple: The Great Escape—with chickens. But directors Peter Lord and Nick Park take it much further than that (and remember: there's a whole generation out there that has no idea who Steve McQueen is). Julia Sawalha voices Ginger, a plucky English hen who has been trying to escape from Tweedy's chicken farm, where the vicious Mrs. Tweedy (Miranda Richardson) fries up any chicken who doesn't produce enough eggs. When egg profits slump, Mrs. Tweedy decides to turn her farm into a chicken-pie factory, giving new urgency to Ginger's plan. Enter Rocky the Flying Rooster (Mel Gibson), a brash American who has escaped from a circus and promises to teach the chickens to fly to safety. The film is filled with innumerable visual touches and the animation has a tactile quality that makes you want to reach out and touch these funny fowl. Above all, it's played with intelligence, wit, and heart—a rare combination in any film. While Chicken Run is being marketed to a youth audience, it truly is a family film that operates on both a child and an adult level. It would be a shame if grownups skipped it because they thought it was strictly for kids. —Marshall Fine

Jack nicholson stars as a private eye who follows socialite faye dunaway into a hotbed of scandal corruption and murder in 1930s los angeles. Studio: Paramount Home Video Release Date: 08/23/2005 Starring: Jack Nicholson John Huston Run time: 131 minutes Rating: R Director: Roman Polanski

Comedian Chris Rock makes a raucous return to his stand-up roots in this HBO special filmed at Harlem's legendary Apollo Theater. Despite his manic and profane delivery, Rock's comedy is often rooted in traditional subjects for comedians: family relationships, misunderstandings between men and women, and observations on how childhood has changed. But he takes his material right to the edge, proving himself to be a sharp-eyed satirist. Serious and timely issues, such as school shootings or children being neglected by partying parents, are tackled by Rock, who's not afraid to slip in a serious point while being hysterically funny. His defense of President Clinton against his accusers is a good example of how Rock's material is almost always bound to offend someone: he slices through the self-righteous rhetoric of the impeachment spectacle, but even the behavior he defends comes in for ridicule with jokes that are extremely funny as well as extremely coarse. The pace of this one-hour show is uneven, and some viewers will no doubt find Rock's penchant for using profanity as punctuation tiresome. But those who like intelligent comedy with a hard edge will find much to laugh at in Chris Rock: Bigger and Blacker. — Robert J. McNamara

Keith Truesdell

One of the brighter lights to shine from the late-'90s Saturday Night Live cast permutation, Chris Rock successfully made the jump to his own HBO series and snagged a couple of Emmy Awards along the way. Part Saturday Night Live and part Arsenio Hall-style show (with a raucous studio audience), this best-of video shows that Rock has definitely grown into his own style and matured as a comedian. The segments from Rock's early shows tend to suffer from that Saturday Night Live malady in which a one-joke skit is stretched out for an excruciating period of time (see: Mike Myers). Rock's penchant for beating a dead horse is most apparent in his parodies of Fox-style reality-based shows ("When Animals Attack in High Speed Chases II"), which are genuinely clever but run on a little too long. However, when Rock sticks to live-action comedy, he proves he's one of the funniest (and most satirical) comedians around, playing with issues of politics, race, and gender mercilessly. Hands down the most hilarious segment is a CNN-style "panel" on the Clinton-Lewinsky scandal, hosted by Rock and featuring "Black Guy,""White Dude" and "Sista." Most attempts at lampooning this Presidential faux pas have fallen flat on their faces, but Rock and his cast take no prisoners as they skewer the players, the media, and the "man-on-the-street" mentality surrounding the hype. Other highlights include a male version of "The Rules" as interpreted by Ike Turner, continuing coverage of the rising career of rapper Pootie-Tang and his unique brand of urban slang, and Rock's petition to rename a street in Howard Beach after Tupac Shakur (one of the few pre-filmed segments that keeps its momentum going). Rock definitely proves he's one SNL alumnus who won't be wearing out his welcome anytime soon. —Mark Englehart

Giuseppe Tornatore Studio: Genius Products Inc Release Date: 11/07/2006 Run time: 299 minutes Rating: R

Giuseppe Tornatore Giuseppe Tornatore's beautiful 1988 film about a little boy's love affair with the movies deservedly won an Oscar for Best Foreign Film and a Special Jury Prize at Cannes. Philippe Noiret plays a grizzled old projectionist who takes pride in his presentation of screen dreams for a town still recovering from World War II. When a child (Jacques Perrin) demonstrates fascination not only for movies but also for the process of showing them to an audience, a lifelong friendship is struck. This isn't just one of those films for people who are already in love with the cinema. But if you are one of those folks, the emotional resonance between the action in Tornatore's world and the images on Noiret's screen will seem all the greater—and the finale all the more powerful. —Tom Keogh

Fernando Meirelles Kátia Lund A photographer named buscape narrates short stories of his youth growing up in one of the most crime ridden areas of rio de janeiro. The film introduces many characters including a boyhood friend on a path to becoming a drug dealer in one of the worlds most dangerous areas from the late 60s to the early 80s. Studio: Buena Vista Home Video Release Date: 09/01/2006 Run time: 130 minutes Rating: R

Kevin Smith 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

Steve Loter Chris Bailey Writer-director Kevin Smith revives the characters of his indie classic film Clerks for this animated series created for network television. Though it aired for just two episodes on TV, the two-disc set has all six episodes plus a bevy of special features.

The episodes feature store clerks Dante and Randal and their ongoing adventures among the shelves of your local corner store. Never far from the epicenter of these adventures are the irreverent Jay and Silent Bob. Whether it's getting trapped in the walk-in cooler, attending their high school reunion, or fighting rival Leonardo Leonardo (who wants to dominate the local Quick Mart market), Clerks spoofs TV and movies with mocking pop-culture jokes and cameos by a number of celebrities. Ultimately, though, Clerks: The Animated Series suffers at the hands of network censors, lacking the obnoxious punch that made Clerks the film so offbeat and amusing.

Smith doesn't disappoint, however, with the inclusion of a number of special features on the DVD set, most notably the ever-insightful director's commentary with guests Jason Mewes (Jay), Brian O'Halloran (Dante), and Jeff Anderson (Randal). So while the series itself may be ill-fated, featurette on the making of the animated series—including storyboards and information on character development and the comic book influence on the drawing style—make this a robust offering for Kevin Smith completists. —Adam Medros

Mike Nichols Four extremely beautiful people do extremely horrible things to one another in Closer, Mike Nichols' pungent adaptation of Patrick Marber's play that easily marks the Oscar-winning director's best work in years. Anna (Julia Roberts) is a photographer who specializes in portraits of strangers; Dan (Jude Law) is an obituary writer struggling to become a novelist; Alice (Natalie Portman) is an American stripper freshly arrived in London after a bad relationship; and Larry (Clive Owen) is a dermatologist who finds love under the most unlikely of circumstances. When their paths cross it's a dizzying supernova of emotions, as Nichols and Marber adroitly construct various scenes out of their lives that pair them again and again in various permutations of passion, heartbreak, anger, sadness, vengeance, pleading, deception, and most importantly, brutal honesty. It's only until you're more than halfway through the movie that you'll have to ask yourself exactly why you are watching such a beautifully tragic tale, as Closeris basically the ickiest, grossest, most dysfunctional parts of all your past relationships strung together into one movie. Ultimately, it falls to the four actors to draw you deeper into the story; all succeed relatively, but it's Law and Owen whose characters will cut you to the quick. Law proves that yet again he's most adept at playing charming, amoral bastards with manipulative streaks, and Owen is nothing short of brilliant as the character most turned on by the energy inherent in destructive relationships—whether he's on the giving or receiving end. —Mark Englehart

Studio: Paramount Home Video Release Date: 11/19/2008

Terry Hughes Not as well- known as Fawlty Towers or The Rutles, Michael Palin and Terry Jones's Ripping Yarns is poised for discovery as among the best of the post-Python projects. The release of the complete series on DVD is ripping good news. Palin essays a gallery of colorful (or colorless, as in the case of one of the series' best episodes, "The Testing of Eric Olthwaite"), archetypal characters drawn from the storybook adventures that thrilled English schoolboys back in the day.
Read our interview with Michael Palin. Palin and Jones take a Python-esque delight in turning genre convention on its head. In "Tomkinson's Schooldays," a series benchmark, woeful students must endure such corporeal punishment as being nailed to the school walls, and it is the enviable position of school bully where the real authority resides. "Murder at Moorstones Manor" presents a baffling mystery with a large body count and a rash of self-proclaimed murderers. "Whinfrey's Last Case" and "Escape From Stalag Luft 112B" are tales of wartime espionage and (attempted) derring-do. Ripping Yarns is an excellent showcase for Palin, who is at his funniest portraying characters either obsessed (a soccer fanatic in "Golden Gordon," an ill-fated car buff in "Manor," and an amateur amphibian-enthusiast in "Across the Andes by Frog") or dreadfully dull (Eric Olthwaite, who is so tedious and boring that his own father speaks French just so he won't have to communicate with him). Jones makes a brief appearance in "Schooldays," and John Cleese fleetingly cameos in "Golden Gordon" as a pedestrian. Beloved British comic actor and Richard Lester veteran Roy Kinnear (Help!, The Three Musketeers) costars in "Escape." As with Monty Python, Ripping Yarns has a tendency to get silly (in a couple of episodes, Palin hilariously strains for credibility as a hapless, caped host), but the lavishly produced yarns themselves are played to their best advantage without a nudge-nudge, wink-wink. Choose the preferred option to view these episodes without the intrusive laugh-track. —Donald Liebenson

Stills from Ripping Yarns (click for larger image)

John Milius Conan the Barbarian, the movie that turned Arnold Schwarzenegger into a global superstar, is a prime example of a match made in heaven. It's the movie that macho maverick writer-director John Milius was born to make, and Arnold was genetically engineered for his role as the muscle-bound, angst-ridden hero created in Robert E. Howard's pulp novels. Oliver Stone contributed to Milius's screenplay, and the production design by comic artist Ron Cobb represents a perfect cinematic realization of Howard's fantasy world. To avenge the murder of his parents, Conan tracks down the evil Thulsa Doom (James Earl Jones) with the help of Queen Valeria (played by buff B-movie vixen Sandahl Bergman) and Subotai the Mongol (Gerry Lopez). Aptly described by critic Roger Ebert as "the perfect fantasy for the alienated pre-adolescent," this blockbuster is just as enjoyable for adults who haven't lost their youthful imagination. —Jeff Shannon

Richard Fleischer Arnold is back for the further adventures of conan the warrior king. This time hes joined by grace jones and wilt chamberlain to help a beautiful princess and find a treasure. Studio: Uni Dist Corp. (mca) Release Date: 07/24/2007 Starring: Arnold Schwarzenegger Run time: 101 minutes Rating: Pg

George Clooney The outrageous life and careers of television producer and game show host, Chuck Barris.
Genre: Feature Film-Action/Adventure
Rating: R
Release Date: 3-MAY-2005
Media Type: DVD

Jimmy Walter and ReOpen911.org “Confronting the Evidence: A Call to Reopen the 9/11 Investigation,” a new DVD exposing critical evidence about the 9/11 attacks. “Confronting the Evidence” includes footage of a “town hall meeting” held on September 11, 2004 in New York City. Hosted by actor and activist Ed Begley Jr., the groundbreaking event featured David Ray Griffin, David vonKleist, Barry Zwicker, Webster Tarpley, Kristina Borjesson, Karl Schwartz, Jeff King, Paul Thompson, Jenna Orkin, Christopher Scheer, Dr Robert Bowman, Christopher Bollyn, and John

Prados.

The DVD also includes special selections from Eric Hufschmid's DVD on 9/11, Painful Deceptions."

Frank Pierson On January 20, 1942, with the tide of war turning in favor of the Allies, a small group of SS officers, government ministers, and Nazi officials met near Berlin to decide the fate of Europe's Jews. Based on the only surviving record of that meeting, Conspiracyis a powerful combination of historical reconstruction and speculation that attempts to offer new insights into a pivotal moment in history.

The cast does a marvelous job of fleshing out the documentary evidence to create convincing characters. Kenneth Branagh is especially chilling as SS Chief of Security Reinhard Heydrich, who uses a combination of charm and ruthless power-mongering to gain support for his plans. Colin Firth is fascinating as Wilhelm Stuckart, a lawyer who sees the brutal tactics of the SS as a threat to his own intellectualized anti-Semitism, and Stanley Tucci gives a wonderfully understated performance as Adolf Eichmann.

Conspiracyis a carefully crafted, completely unsensational film that offers ample proof of the banality of evil. There are no histrionics and no comic-book Nazi villains, just a small group of politicians and war-weary soldiers arguing about the meaning of words and the logistics of extermination, calmly preparing to unleash an unimaginable horror on the world. —Simon Leake

Fernando Meirelles

Jennifer Abbott, Mark Achbar An epic in length and breadth, this documentary aims at nothing less than a full-scale portrait of the most dominant institution on the planet Earth in our lifetime—a phenomenon all the more remarkable, if not downright frightening, when you consider that the corporation as we know it has been around for only about 150 years. It used to be that corporations were, by definition, short-lived and finite in agenda. If a town needed a bridge built, a corporation was set up to finance and complete the project; when the bridge was an accomplished fact, the corporation ceased to be. Then came the 19th-century robber barons, and the courts were prevailed upon to define corporations not as get-the-job-done mechanisms but as persons under the 14th Amendment with full civil rights to life, liberty, and the pursuit of happiness (i.e., power and profit)—ad infinitum.

The Corporation defines this endlessly mutating life-form in exhaustive detail, measuring the many ways it has not only come to dominate but to deform our reality. The movie performs a running psychoanalysis of this entity with the characteristics of a prototypical psychopath: a callous unconcern for the feelings and safety of others, an incapacity to experience guilt, an ingrained habit of lying for profit, etc. We are swept away on a demented odyssey through an altered cosmos, in which artificial chemicals are created for profit and incidentally contribute to a cancer epidemic; in which the folks who brought us Agent Orange devise a milk-increasing drug for a world in which there is already a glut of milk; in which an American computer company leased its systems to the Nazis—and serviced them on a monthly basis—so that the Holocaust could go forward as an orderly process.

The movie goes on too long, circles too many points obsessively and redundantly, and risks preaching-to-the-choir reductiveness by calling on the usual talking-head suspects—Noam Chomsky, Howard Zinn, Michael Moore. And except for an endlessly receding tracking shot in an infinite patents archive, there's scarcely an image worth recalling. Still, it maps the new reality. This is our world—welcome to it. —Richard T. Jameson

Paul Haggis 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 Crasheven 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 Nashvilleand Short Cuts. A knockout. —Bret Fetzer

Stills from Crash (click for larger image)

William Bullen, Martyn Atkins In may 2005 cream returned to londons royal albert hall - to the same stage where they had done what was thought to be their final performance in 1968. Also included are alternate performances & nterviews with ginger jack & eric. Studio: Wea-des Moines Video Release Date: 10/04/2005

Nick Park

Carlos Carrera A recently ordained priest is caught between the divine and the carnal when he finds himself in a passionate affair with a beautiful young woman. Studio: Sony Pictures Home Ent Release Date: 12/21/2004 Run time: 119 minutes Rating: R Director: Carlos Carrera

Woody Allen Some critics and filmgoers have hailed this 1989 comedy-drama as Woody Allen's best film, and while that's certainly open for debate, a good case can be made that it's the most ambitious and morally complex of Allen's films. It's the kind of movie that provokes heated philosophical debate about the role of God in our lives, the nature of guilt, and the circumstances that would allow a seemingly good, law-abiding family man and successful professional (Martin Landau) to commit a murder with no risk of being caught. Could you live with yourself under those conditions? Allen explores this complicated issue in the context of an extramarital affair that Landau's mistress (Anjelica Huston) threatens to expose, while developing a second story about a documentary filmmaker (Allen) who reluctantly makes a film about his brother-in-law (Alan Alda), a TV sitcom producer whose vanity is seemingly unlimited. From serious crimes to misdemeanors of personal behavior, Allen ties these stories together to create a provocative and unsettling study of divergent moralities and the price we're willing to pay to preserve our personal comfort and happiness. It's a sobering film, but a fascinating and funny one as well, unfolding like a thriller in which the question is not whodunit but rather, would you do it if you knew you could get away with it? —Jeff Shannon

Ang Lee Hong Kong wuxiafilms, or martial arts fantasies, traditionally squeeze poor acting, slapstick humor, and silly story lines between elaborate fight scenes in which characters can literally fly. Crouching Tiger, Hidden Dragonhas no shortage of breathtaking battles, but it also has the dramatic soul of a Greek tragedy and the sweep of an epic romance. This is the work of director Ang Lee, who fell in love with movies while watching wuxiafilms as a youngster and made Crouching Tigeras a tribute to the form. To elevate the genre above its B-movie roots and broaden its appeal, Lee did two important things. First, he assembled an all-star lineup of talent, joining the famous Asian actors Chow Yun-fat and Michelle Yeoh with the striking, charismatic newcomer Zhang Ziyi. Behind the scenes, Lee called upon cinematographer Peter Pau (The Killer, The Bride with White Hair) and legendary fight choreographer Yuen Wo-ping, best known outside Asia for his work on The Matrix. Second, in adapting the story from a Chinese pulp-fiction novel written by Wang Du Lu, Lee focused not on the pursuit of a legendary sword known as "The Green Destiny," but instead on the struggles of his female leads against social obligation. In his hands, the requisite fight scenes become another means of expressing the individual spirits of his characters and their conflicts with society and each other.

The filming required an immense effort from all involved. Chow and Yeoh had to learn to speak Mandarin, which Lee insisted on using instead of Cantonese to achieve a more classic, lyrical feel. The astonishing battles between Jen (Zhang) and Yu Shu Lien (Yeoh) on the rooftops and Jen and Li Mu Bai (Chow) atop the branches of bamboo trees required weeks of excruciating wire and harness work (which in turn required meticulous "digital wire removal"). But the result is a seamless blend of action, romance, and social commentary in a populist film that, like its young star Zhang, soars with balletic grace and dignity. —Eugene Wei

pick your spot pilates targets the 3 most common trouble spots with 3 gentle yet effective 10 minute pilates workouts to create sleek abs leaner legs & a bikini butt. Studio: Starz/sphe Release Date: 11/11/2008 Run time: 45 minutes Rating: Nr

Alan Ereira David Wallace (II)

Robert B. Weide 1st season. Hes got it all a loving wife good friends and a successful career and a good home what could go wrong for larry david? Studio: Hbo Home Video Release Date: 09/21/2004 Starring: Larry David Rating: Nr Director: Larry David

Jeff Garlin Robert B. Weide Bryan Gordon David Steinberg Dean Parisot Larry Charles Andy Ackerman Keith Truesdell Studio: Hbo Home Video Release Date: 09/21/2004 Run time: 300 minutes Rating: Nr

Robert B. Weide Bryan Gordon David Steinberg Dean Parisot Larry Charles Andy Ackerman Keith Truesdell (HBO Comedy Series) Larry David has a charmed life—success famous friends a patient wife a dedicated manager and a trendy new restaurant...so what's his problem? See Larry spike some brownies recommend a deranged nanny thwart an Alanis Morissette concert rob a grave and get a kid drunk. Along the way he encounters Martin Scorsese Cheri Oteri Richard Lewis Krazee-Eyez Killa and the Holy Family...and manages to piss them all off.Running Time: 300 min.Format: DVD MOVIE Genre: COMEDY UPC: 026359114922 Manufacturer No: 91149

Larry Charles, Robert B. Weide, Barry Gordon He never learns. In the fourth season of his award-winning HBO comedy series, the quasi-fictional character of Larry David continues to say—and do—whatever he wants whenever he wants. In the first episode alone ("Mel's Offer"), in which Mel Brooks offers him the role of Max Bialystock in The Producers, David offends a doctor, a lesbian couple, a wheelchair user, and Ben Stiller (by not shaking his hand after he sneezes). Then, in the second ("Ben's Birthday Party"), he offends a blind man—by telling him his girlfriend's not as hot as she claims—and pokes Stiller in the eye with a skewer while attempting to show agent Jeff Greene (Jeff Garlin) his new golf move.

Larry continues to offend Stiller until he drops out of The Producers and, in the fifth episode ("The 5 Wood"), David Schwimmer steps in. The following episode ("The Car Pool Lane"), in which David attends a Dodgers game—with a prostitute, so he can use the carpool lane—made history when it set an innocent man free. Unused footage from the show, entered into evidence by the defense attorney, confirmed his client's alibi that he couldn't have committed a murder because he was at the game (alas, the Braves still trounced the Dodgers). Other guests include Ted Danson ("The Weatherman"), Russell Means ("Wandering Bear"), and Gina Gershon ("The Survivor") as a Hasidic hottie. In addition, the hour-long season finale ("Opening Night") boasts a bevy of stars, including David's old colleague Jerry Seinfeld, Nathan Lane (Broadway's original Bialystock), and fellow Tony Award winner Anne Bancroft. As they've done since the early days, Cheryl Hines (Cheryl David), Susie Essman (Susie Greene), and Richard Lewis and Wanda Sykes (as themselves) do what they can to keep one-man demolition derby David in check. —Kathleen C. Fennessy, Amazon.com

Bryan Gordon, David Steinberg, Larry Charles, Robert B. Weide See larry play bingo with the elderly treat some new friends to a ski trip invite a stranger to seder donate money to a korean chum visit a sick man in the hospital take an interest in other faiths & discover his family roots. Is this the dawn of a new larry daivd..Or is it just the end? Studio: Hbo Home Video Release Date: 08/01/2006 Rating: Nr

Throughout Curb Your Enthusiasm's fifth season, HBO's master of passive-aggression went in search of his roots. In the sixth, Larry returns to his old tricks—to the relief of fans who felt the show was losing its way. As usual, most scenarios revolve around problems unique to neurotic millionaires. Larry's voice of reason, wife Cheryl (Cheryl Hines), continues to save him from himself (when she can). This time, the 10-episode arc turns to Roots when the Davids take in the Blacks, a family of African-American hurricane evacuees, including Loretta (Vivica A. Fox) and her brother, Leon (an uproariously profane J.B. Smoove). Naturally, "L.D." offends other groups along the way, like an Asian gentleman ("The Anonymous Donor"), a chemotherapy patient ("The Lefty Call"), a deaf woman ("The Rat Dog"), and tennis-player-turned-comedian John McEnroe, a group unto himself ("The Freak Book"). During the year, Larry also tangles with an X-rated dessert, an unsympathetic senator (Rep. Barbara Boxer as herself), an inebriated chauffeur (Toby Huss), the infinite superiority of Ted Danson, and the usual games of one-upmanship with Jeff Greene (Jeff Garlin), Richard Lewis (himself) and Marty Funkhouser (Bob "Super Dave" Einstein, brother of director Albert Brooks).

Since Curb Your Enthusiasm takes its inspiration from David's real life, the big news arrives when Cheryl, a character based on environmental activist Laurie David, walks out on him. Then their friends pick sides. Thereafter, things really start to go downhill, resulting in some of Larry's funniest faux pas ever—until R&B vocalist John Legend steps in to save the day. Not literally, but his soulful singing sets the scene for the surprisingly sweet finale. Extra features include a live conversation between David and Susie Essman, a sixth year featurette ("On the Set"), and a gag reel. —Kathleen C. Fennessy

The "code" referred to in the History Channel's Da Vinci and the Code He Lived By has nothing to do with theories about the High Renaissance master's involvement with secret societies (as explored in Dan Brown's bestselling novel The Da Vinci Code). Instead, it refers to Da Vinci's implacable work ethic, his insatiable curiosity and the talent and discipline required to keep his busy mind satisfied. Da Vinci reminds us that the great engineer, inventor, and painter was born illegitimate and was not entitled to use his father's name, let alone the latter's financial resources or reputation within Florence. A long stint as student in a respected studio earned Da Vinci his first renown during a treacherous time in Florence. He was denounced as a sodomist by an unknown enemy; fortunately, the charges were dropped. Da Vinci went on to find patronage for his art, if not for the engineering marvels and weapons designs that (few know today) so preoccupied him. This History Channel documentary explores every major chapter in Da Vinci's life, including his patronage by the bloodthirsty Cesare Borgia, his passion for studying human anatomy (and the legacy his research left to scientists), and his certainty that one day human beings would fly. As for the Mona Lisa and The Last Supper, sure: Such masterpieces are discussed at length. But they're not dissected for hidden meanings. —Tom Keogh

Dan Brown The definitive documentary exploration of dan browns thrilling novel the da vinci code answers the questions everyone is asking! Studio: Wea-des Moines Video Release Date: 10/26/2004 Run time: 180 minutes Rating: Nr

•Explore the world of the astonishing bestseller. 

•An instant collection of top-flight biblical programming. 

•Includes six complete programs from A&E and The History Channel. 

The Da Vinci Codehas captivated millions of readers worldwide with its masterful blend of history, speculation and mystery. For those who would like to know more about the legends and lore the book explores, this double-DVD collection is a Godsend.

With six complete programs from A&E and THE HISTORY CHANNEL, THE DA VINCI CODE: THE TOTAL STORY is a fascinating look at the early church, its institutions, and its legacy. The shows included in this collection are: 

• Beyond the Da Vinci Code—Explore myths and misconceptions behind the blockbuster bestseller. 

• The Templar Code—Both parts of the eye-opening look at the fabled guardians of the Holy Grail. 

• Digging for the Truth: Da Vinci Code Bloodlines—DNA evidence and archeological sleuthing share the spotlight as we look for the rumored descendants of Christ. 

• Decoding the Past: Opus Dei Unveiled—Learn the truth behind this secretive sect. 

• BIOGRAPHY®: Mary Magdalene—Pages that never made it into the scriptures shed new light on this captivating and controversial figure. 

• In Search of History: The Holy Grail—Go on the trail of the most famous cup on earth.

Ron Howard Critics and controversy aside, The Da Vinci Codeis a verifiable blockbuster. Combine the film's huge worldwide box-office take with over 100 million copies of Dan Brown's book sold, and The Da Vinci Codehas clearly made the leap from pop-culture hit to a certifiable franchise. The leap for any story making the move from book to big screen, however, is always more perilous. In the case of The Da Vinci Code, the plot is concocted of such a preposterous formula of elements that you wouldn't envy screenwriter Akiva Goldsman, the man tasked with making this story filmable. The script follows Dan Brown's book as closely as possible while incorporating a few needed changes, including a better ending. And if you're like most of the world, by now you've read the book and know how it goes: while lecturing in Paris, noted Harvard Professor of Symbology Robert Langdon (Tom Hanks) is summoned to the Louvre by French police to help decipher a bizarre series of clues left at the scene of the murder of the chief curator. Enter Sophie Neveu (Audrey Tautou), gifted cryptologist. Neveu and Langdon team up to solve the mystery, and from there the story is propelled across Europe, ballooning into a modern-day mini-quest for the Holy Grail, where secret societies are discovered, codes are broken, and murderous albino monks are thwarted… oh, and alternative theories about the life of Christ and the beginnings of Christianity are presented too, of course. It's not the typical formula for a stock Hollywood thriller. In fact, taken solely as a mystery, the movie almost works—despite some gaping holes—mostly just because it keeps moving. Brown's greatest trick was to have the entire story take place in one day, so the action is forced to keep moving, despite some necessary pauses for exposition. As a screen couple, Hanks and Tautou are just fine together but not exactly memorable; meanwhile Sir Ian McKellen's scenery-chewing as pivotal character Sir Leigh Teabing is just what the film needed to keep it from taking itself too seriously. The whole thing is like a good roller-coaster ride: try not to think too much about it—just sit back and enjoy the trip. —Daniel Vancini

Visit The Da Vinci Code Store

On The DVD
The DVD extras on a film as popular as The Da Vinci Codeshould be plentiful, and this version doesn't skimp. With over 90 minutes of special features, including ten behind-the-scenes featurettes, there's a lot here to explore beyond the film itself. The question is, is there anything new here that we haven't heard before, in all the hype, pseudo-documentaries, and controversy surrounding the movie, to make it worthwhile? For most viewers, the answer will be "yes." Essentially, if you like the movie, if you enjoyed the book, you will get a lot out of them.

Just as the movie is intended to make the book come to life, the DVD extras should make the film come to life by pointing the audience into the world of the filmmakers, connecting the dots between print and film, and for the most part they do just that. The extras here range from the typical look behind-the-scenes to more in-depth features on the supporting characters, the locations, and the Mona Lisaherself. "First Day on the Set with Ron Howard" features the director gushing about the opportunity to film in the Louvre and work with Tom Hanks again (the two worked together before on Splashand Apollo 13). It's a short piece that doesn't reveal much beyond making an attempt to share Howard's excitement (with the "Gee, I really loved working with him/her on this project" that you hear in every such featurette), but viewers might enjoy seeing how the stage was set up in the famous museum, down to the spike tape on the floor showing actors where to hit their marks. The Filmmaking Experience, Parts 1 and 2further explores the creative and technical aspects of the filmmaking process. A Conversation with Dan Brownstarts out feeling like a puff-piece (the man who wrote this book got started at age 5 with a story called The Giraffe, The Pig, and the Pants on Fire. "It was a thriller," he says.) and unfortunately it doesn't go very deep into much of anything of interest. But on the other hand, this isn't 60 Minuteshere; it's intended to give viewers a better sense of the man behind the franchise, which it does. Much of the footage from this interview is sprinkled throughout some of the other featurettes. Meanwhile, the character behind the franchise, Robert Langdon, is examined in his own featurette, as is Sophie Neveu. The cool thing here is getting under the skin of the actors to see how they approached the characters, knowing that most of the movie-going public already has formed their own ideas about the characters from the book.

The most interesting extras are the featurettes that focus on the history behind the mystery. Or is it the mystery behind the history? Either way, the first one on the Mona Lisa, and the second featurette on the many codes and symbols that are hidden throughout the movie balance out the remainder of the extras nicely by demonstrating the sense of intrigue, mystery, and game-playing adventure that made The Da Vinci Codeso popular in the first place. —Daniel Vancini

Beyond The Da Vinci Code

The Films of Tom Hanks

The Films of Ron Howard

The Da Vinci DVDs: Decoding "The Da Vinci Code"

More About The Artist

Stills from The Da Vinci Code(click for larger image)

Allen Coulter, Daniel Attias, Edward Bianchi, Greg Yaitanes, Guy Ferland Studio: Sony Pictures Home Ent Release Date: 01/29/2008 Run time: 579 minutes

Roland Emmerich Supreme silliness doesn't stop The Day After Tomorrowfrom being lots of fun for connoisseurs of epic-scale disaster flicks. After the blockbuster profits of Independence Dayand Godzilla, you can't blame director Roland Emmerich for using global warming as a politically correct excuse for destroying most of the northern hemisphere. Like most of Emmerich's films, this one emphasizes special effects over such lesser priorities as well-drawn characters and plausible plotting, and his dialogue (cowritten by Jeffrey Nachmanoff) is so laughably trite that it could be entirely eliminated without harming the movie. It's the spectacle that's important here, not the lame, recycled plot about father and son (Dennis Quaid, Jake Gyllenhaal) who endure an end-of-the-world scenario caused by the effects of global warming. So sit back, relax, and enjoy the awesome visions of tornado-ravaged Los Angeles, blizzards in New Delhi, Japan pummeled by grapefruit-sized hailstones, and Manhattan flooded by swelling oceans and then frozen by the onset of a modern ice age. It's all wildly impressive, and Emmerich obviously doesn't care if the science is flimsy, so why should you? —Jeff Shannon

Timur Bekmambetov Studio: Tcfhe Release Date: 09/09/2008 Run time: 145 minutes Rating: Ur

Quentin Tarantino Loud, fast, and proudly out of control, Grindhouse is a tribute to the low-budget exploitation movies that lurked at drive-ins and inner city theaters in the '60s and early '70s. Writers/directors Quentin Tarantino (Kill Bill) and Robert Rodriguez (Sin City) cooked up this three-hour double feature as a way to pay homage to these films, and the end result manages to evoke the down-and-dirty vibe of the original films for an audience that may be too young to remember them. Tarantino's Death Proof is the mellower of the two, relatively speaking; it's wordier (as to be expected) and rife with pulp/comic book posturing and eminently quotable dialogue. It also features a terrific lead performance by Kurt Russell as a homicidal stunt man whose weapon of choice is a souped-up car. Tarantino's affection for his own dialogue slows down the action at times, but he does provide showy roles for a host of likable actresses, including Rosario Dawson, Mary Elizabeth Winstead, Rose McGowan, Sydney Poitier, and newcomer Zoe Bell, who was Uma Thurman's stunt double in Kill Bill. Detractors may decry the rampant violence and latch onto a sexist undertone in Tarantino's feature, but for those viewers who grew up watching these types of films in either theaters or on VHS, such elements will be probably be more of a virtue than a detrimental factor. — Paul Gaita

Sidney Lumet Man (Christopher Reeve) writes play. Older washed-up hack (the blissfully hammy Michael Caine) covets play. A meeting is arranged in a remote cabin festooned with various sharp objects. To reveal anything more would serve to ruin one of the most wondrously convoluted plots of the '80s and '90s. It's a cerebrum-bending romp from start to finish, with marvelously airtight plotting that simultaneously parodies and honors its genre, and two vibrant, continuously morphing lead performances (pity poor Dyan Cannon's weak-link wife, though, who gets stuck with the shrillest character and worst dialogue of the lot). Based on Ira Levin's long-running play, this adaptation's rhythm is thrown off a bit by director Sidney Lumet's somewhat misguided attempts to open it up for the screen, but the script and performers are so playfully adept that, as one of the characters says, "even a gifted director (which Lumet most certainly is, based on evidence such as Dog Day Afternoonand Network) couldn't hurt it." Delirious, nasty fun that's twistier than a corkscrew and loaded with enough red herrings to keep Flipper fed for a year. —Andrew Wright

Martin Scorsese Richard Schickel Leonardo DiCaprio, Matt Damon, Jack Nicholson and Mark Wahlberg star in Martin Scorsese's new crime drama "The Departed.""The Departed" is set in South Boston where the state police force is waging an all-out war to take down the city

Alvaro Velarde Recalling early films by Pedro Almodovar, Alvaro Velarde's campy spoof of telenovelas tells the story of Ana, a bored, wealthy housewife who lends her home for the shooting of a soap opera only to find herself caught up in the action.

Adam Rifkin It's hard to call Detroit Rock Citya "coming of age" movie—since it's hard to argue that any of the characters do any genuine growing up. But even though it's about four young metalheads trying to get to a KISS concert, the movie actually has more in common with sincere portraits of adolescence than it does with raucous teen comedies. The four heroes are members of a teen metal band called Mystery (the sis written in the same font as the letters of KISS, lest anyone mistake their source of inspiration). After the drummer's religiously zealous mother burns their tickets to a long-awaited concert in nearby Detroit, the boys go anyway and try to get tickets through theft, skullduggery, and entering a male stripper contest. The jokes are broad and the movie culminates in an orgy of male adolescent wish-fulfillment, but here and there some loving attention is paid to the details of 1970s teenage life—the haircuts, clothes, and toys the filmmakers probably had when they were kids. Edward Furlong, as the band's singer, is his usual scruffy self and exudes his particular lopsided charm; the rest of the cast play their parts with similar high spirits. Though Detroit Rock Citywas probably meant to be a no-holds-barred comedy in the vein of American Pie, the end result is curiously wistful; no one's going to mistake it for The Last Picture Show, but something sincere and elegiac lurks in those bang-covered eyes. —Bret Fetzer

David Frankel This clever, funny big-screen adaptation of Lauren Weisberger's best-seller takes some of the snarky bite out of the chick lit book, but smoothes out the characters' boxy edges to make a more satisfying movie. There's no doubt The Devil Wears Prada belongs to Meryl Streep, who turns in an Oscar-worthy (seriously!) strut as the monster editor-in-chief of Runway, an elite fashion magazine full of size-0, impossibly well-dressed plebes. This makes new second-assistant Andrea (Anne Hathaway), who's smart but an unacceptable size 6, stick out like a sore thumb. Streep has a ball sending her new slave on any whimsical errand, whether it's finding the seventh (unpublished) Harry Potter book or knowing what type she means when she wants "skirts." Though Andrea thumbs her nose at the shallow world of fashion (she's only doing the job to open doors to a position at The New Yorker someday), she finds herself dually disgusted yet seduced by the perks of the fast life. The film sends a basic message: Make work your priority, and you'll be rich and powerful... and lonely. Any other actress would have turned Miranda into a scenery-chewing Cruella, but Streep's underplayed, brilliant comic timing make her a fascinating, unapologetic character. Adding frills to the movie's fun are Stanley Tucci as Streep's second-in-command, Emily Blunt (My Summer of Love) as the overworked first assistant, Simon Baker as a sexy writer, and breathtaking couture designs any reader of Vogue would salivate over. — Ellen A. Kim

Beyond The Devil Wears Prada
The Devil Wears Prada: A Novel
The Devil Wears Prada Soundtrack
Prada Handbags Stills from The Devil Wears Prada (click for larger image)

Recorded at London's Brixton Academy in 2004, Dido Livedraws on material from 1999 debut No Angeland 2003 follow-up Life for Rent. As she notes early in the show, "It's very nice to be in a place where I've seen hundreds and thousands of gigs." Dido and five-piece band—including two percussionists—proceed to execute a tight 14-song set, touching on favorites like "Thank You" (famously sampled by Eminem for "Stan") and "White Flag," followed by a three-song encore. In David Barnard’s soft focus film, the singer/songwriter mostly swings and sways to the music, joining in on keyboards for "Do You Have a Little Time" and acoustic guitar for "Mary's in India" and "See the Sun." Highlights include the driving "See You When You're 40" and trip-hop rave-up "Honestly OK." The DVD is packaged with a CD featuring 12 tracks from the same three-night engagement (in slightly altered sequence). —Kathleen C. Fennessy

Guy Ferland

Rawson Marshall Thurber How's this for impressive trivia: Dodgeballfaced off against The Terminalin opening-weekend competition, and 29-year-old writer-director Rawson Marshall Thurber aced Steven Spielberg by a score of $30 to $18.7 in box-office millions. That's no mean feat for a newcomer, but Thurber's lowbrow script and rapid-fire direction—along with a sublime cast of screen comedians—proved to be just what moviegoers were ravenous for: a consistently hilarious, patently formulaic romp in which the underdog owner of Average Joe's Gym (Vince Vaughan) faces foreclosure unless he can raise $50,000 in 30 days. The solution: A dodgeball tournament offering $50K to the winners, in which Vaughan and his nerdy clientele team up against the preening, abhorrently narcissistic owner (Ben Stiller) of Globo Gym, who's threatening a buy-out. That's it for story; any 5-year-old could follow it with brainpower to spare. But Thurber, Vaughan, Stiller, and their well-cast costars (including Stiller's off-screen wife, Christine Taylor) keep the big laughs coming for 96 nonsensical minutes. With spot-on cameos by champion bicyclist Lance Armstrong, David Hasselhoff, Hank Azaria, Chuck Norris, and William Shatner, and a crudely amusing coda for those who watch past the credits, Dodgeballis no masterpiece, but you can bet Spielberg was unexpectedly humbled by its popular appeal. —Jeff Shannon

Kevin Smith

Stacy Peralta In the early 1970s, a group of young surfers from a tough neighborhood south of Santa Monica took up skateboards and offhandedly changed the world. At least it appears so after watching Dogtown and Z-Boys, a documentary about how twelve "Z-Boys" (including one girl) resuscitated a dead sport and created a lifestyle that spread infectiously to become a worldwide counterculture phenomenon, namely high-flying "vert" (i.e. vertical) skateboarding and punk rock abandon. Director Stacy Peralta, one of the original Z-Boys, and Craig Steyck, the photographer whose publicity first made them famous, would have you believe that with empty pools as their springboard, the clan single-handedly carved a niche that grew into what is now referred to as "extreme sports" (snowboarding seems particularly implicated). Degrees of accuracy aside, the hoard of original footage Peralta and Steyck have access to makes for an engaging portrait of "accidental revolutionaries" whose mythology as expressed by themselves (all but one of the original crew give extensive interviews) and those they influenced (including Henry Rollins, Jeff Ament of Pearl Jam, and Sean Penn, who narrates) is far more entertaining than any evenhanded version could ever hope to be. —Fionn Meade

Oliver Hirschbiegel The riveting subject of Downfallis nothing less than the disintegration of Adolf Hitler in mind, body, and soul. A 2005 Academy Award nominee for best foreign language film, this German historical drama stars Bruno Ganz (Wings of Desire) as Hitler, whose psychic meltdown is depicted in sobering detail, suggesting a fallen, pathetic dictator on the verge on insanity, resorting to suicide (along with Eva Braun and Joseph and Magda Goebbels) as his Nazi empire burns amidst chaos in mid-1945. While staging most of the film in the claustrophobic bunker where Hitler spent his final days, director Oliver Hirschbiegel (Das Experiment) dares to show the gentler human side of der Fuehrer, as opposed to the pure embodiment of evil so familiar from many other Nazi-era dramas. This balanced portrayal does not inspire sympathy, however: We simply see the complexity of Hitler's character in the greater context of his inevitable downfall, and a more realistic (and therefore more horrifying) biographical portrait of madness on both epic and intimate scales. By ending with a chilling clip from the 2002 documentary Blind Spot: Hitler's Secretary, this unforgettable film gains another dimension of sobering authenticity. —Jeff Shannon

Paul Seed Kevin Whately (Inspector Morse, Peak Practice) stars as David Bruce, a newly prosperous gas Inspector who moves to London with his new wife and their infant daughter. Their new station in life affords them the luxury of a live-in maid named Jane.

Ben Washam Chuck Jones This all-time classic now has Horton Hears a Who!on the same video for a great double bill.

How the Grinch Stole Christmas

To heck with the kids—this is one of the best holiday presents you can give yourself. Adapted from the children's book by Dr. Seuss, this charming story is one to watch every holiday season. It is just edgy enough to help you forget the more cloying aspects of Christmas, yet it is also sweet enough to remind you of the reason for all that holiday cheer. Animation genius Chuck Jones directed this 1966 television production featuring the voice of Boris Karloff as the mean greenie. Bitter and selfish, the Grinch decides to steal Christmas away from the Whos, the sweet little folk who live at the bottom of his mountain home. When little Cindy Loo Who returns his hateful act with kindness, she melts the old miser's heart. There are many reasons to watch this: inventive wordplay, Karloff's impressive narration, and a very memorable soundtrack. —Rochelle O'Gorman

Horton Hears a Who!

Chuck Jones was chief animator on this lively adaptation of the famous book by Dr. Seuss. The story of a friendly elephant named Horton who discovers—deep inside a daisy—a tiny city called Whoville with tiny, intelligent residents—this film (fleshed out a bit from the source) is strong on character and has striking, appealing visuals. The little folks of Whoville, with their natural air of aristocracy, are a kick, and when they come to see Horton as a hero for his democratic view of all life big and small, the effect is quite touching. This should be a real treat for kids already familiar with the book, and just might inspire those who haven't read it to pick it up. —Tom Keogh

Bo Welch The Cat in the Hat is a marketing ploy disguised as a wildly designed movie for hyperactive kids, and it could use a dose of Ritalin. It hardly matters, though, because kids will surely enjoy the rampant romp that occurs when the top-hatted feline convinces young Sally (Dakota Fanning) and Conrad (Spencer Breslin) to wreak havoc in the home their mother (Kelly Preston) has neatly prepared for an upcoming party. It's all in the name of fun, and while Seuss's classic rhymes are relegated to voice-over narration, director Bo Welch capitalizes on his background as one of Hollywood's most gifted production designers (with credits including Edward Scissorhands and Men in Black), turning the Seussian town of "Anville" into a playful pastiche of pastels. As played by Mike Myers under layers of fur and latex, Dr. Seuss's mischievous Cat is mayhem personified, and the movie suffers from his anything-goes approach to getting a laugh. And though Myers delivers a few laughs while channeling voices from his own comedic repertoire (including "Coffee Talk" maven Linda Richman), a little of this Cat goes a long way, and he nearly wears out his welcome. —Jeff Shannon

Bernardo Bertolucci A love letter to movies (and the French new wave of the 1960s in particular), Bernardo Bertolucci's The Dreamers starts with a 1968 riot outside of a Parisian movie palace then burrows into an insular love triangle. Matthew (Michael Pitt, Hedwig and the Angry Inch), an expatriate American student, bonds with a twin brother and sister, Isabelle (Eva Green) and Theo (Louis Garrel), over their mutual love of film—they not only quote lines of dialogue, they act out small bits and challenge each other to name the cinematic source. Matthew suspects the twins of incest, but that doesn't stop him from falling into his own intimacies with Isabelle. As the threesome becomes threatened, Paris succumbs to student riots. The Dreamers aspires to be kinky, but the results are more decorative than decadent; nonetheless, the movie's lively energy recalls the careless and vital exuberance of Godard and Truffaut. —Bret Fetzer

Beth McCarthy-Miller The long-defunct, Southern California band regrouped for an album, an expensive tour (expensive for ticket buyers, that is), and this televised special, which features the Eagles in performance. Laid-back but sharp and even stirring during a longish acoustic set, the guys quickly get past the nostalgia element and sound truly viable. They even make it look easy: the sight of Joe Walsh wearing glasses and sitting in almost perfect repose as he effortlessly colors old hits "Tequila Sunrise" and new material such as "Learn to Be Still" may make you wonder why you ever stashed that guitar in the attic. But the band eventually gets off their stools and rocks out on "Hotel California" and other Eagles standards. All in all, it's an enjoyable and mellowing show. —Tom Keogh

Peter Richardson British comedian Eddie Izzard wears makeup, platform heels, and a shimmering magenta suit in Glorious, a video of his standup act filmed in England. Izzard takes a little bit of Robin Williams, a little bit of Jerry Seinfeld, even a little bit of Bob Newhart, but the final mix is absolutely his own and dizzily funny. It's not so much the subjects of his humor—though not many comics make jokes about classical mythology or evil giraffes—as it is the way he fluidly skips from thing to thing in a madcap free-associative whirl. He lulls you by seeming casual and almost sloppy, but when he needs to be precise his gestures and mimicry are razor sharp. There have been a million tired jokes made about trying to get a shower to stay at the right temperature, but Izzard manages to make even thatfunny. He's even funnier when he's imitating Sean Connery as Noah, trying to convince God that a speedboat would make a much better photo opportunity than an ark, or playing a beekeeper flirting with someone passing on the street. Much of the giddiness comes from his astounding sense of spontaneity. Half the show seems to have been made up on the spot, and if it wasn't, you boggle wondering how he could have possibly written something so ridiculous and yet appropriate. Though he uses a number of four-letter words, his humor is surprisingly clean, and even the most frank vulgarities seems like a bit of impish innocence coming out his mouth. Glorious indeed. —Bret Fetzer

Robert Townsend The audacious concert film Eddie Murphy Rawrubbed some people the wrong way upon its release in 1987, but there's no denying that between Murphy's more insensitive bits about women and gay men is some of his most inspired material. While the young comedian indulges an unattractive homophobia and rants about the sexual manipulativeness of all females, he makes up for it with an amazing story about being chided by Bill Cosby for obscene humor and does a great impression of Mr. T falling under the spell of a Jedi mind trick. The best stuff comes deep into the show, particularly a long tale of being pressured into a fight at a club, resulting in a phone call to Murphy's drunk father, the latter in the middle of a verbal attack on his wife. The scene is genuinely horrifying and funny, testament to Murphy's early reputation as heir to Richard Pryor's mercilessly autobiographical brilliance. —Tom Keogh

David Lynch You could only see his eyes behind the layers of makeup, but those expressive orbs earned John Hurt a well-deserved Oscar nomination for his moving portrayal of John Merrick, the grotesquely deformed Victorian-era man better known as The Elephant Man. Inarticulate and abused, Merrick is the virtual slave of a carnival barker (Freddie Jones) until dedicated London doctor Frederick Treves (Anthony Hopkins in a powerfully understated performance) rescues him from the life and offers him an existence with dignity. Anne Bancroft costars as the actress whose visit to Merrick makes him a social curiosity, with John Gielgud and Wendy Hiller as dubious hospital staffers won over by Merrick. David Lynch earned his only Oscar nominations as director and cowriter of this somber drama, which he shot in a rich black-and-white palette, a sometimes stark, sometimes dreamy visual style that at times recalls the offbeat expressionism of his first film, Eraserhead. It remains a perfect marriage between traditional Hollywood historical drama and Lynch's unique cinematic eye, a compassionate human tale delivered in a gothic vein. The film earned eight Oscar nominations in all, and though it left the Oscar race empty-handed, its dramatic power and handsome yet haunting imagery remain just as strong today. —Sean Axmaker

Jon Favreau

Jim Fields Michael Gramaglia In 1974 the New York City music scene was shocked into consiousness by a band of misfits from Queens called the Ramones. Playing in seedy Bowery bar to a small group of fellow struggling musicians, the band struck a chord of disharmony that rocked the foundation of the '70s music scene. Tracing the history of the band, from its unlikely origins through its star-crossed career, bitter demise and the sad fates of Joey and Dee Dee, End of the Century is a vibrant, candid document of one of the most influential groups in the history of rock.

Bruce Brown

Bruce Brown

Bruce Brown

Jean-Jacques Annaud

Pedro Almodovar

Agnieszka Holland This wonderful film by Polish director Agnieszka Holland (Total Eclipse), based on an autobiography by Solomon Perel, concerns a Jewish-German boy who manages to conceal his identity from the Nazis and ends up a member of their Youth Party. An admirably full experience, the film is both black comedy and horror show, with the central character taking the full measure of everyone's perspective on the war and Nazi crimes. —Tom Keogh

Woody Allen A collection of vignettes, loosely based on the book by Dr. David Rueben, written and directed by Woody Allen, Everythingcontains some very funny moments. It's easy to forget that the cerebral Allen excelled at the type of broad, Catskill, dirty jokes and visual gags that run amok here. It's also remarkable how dirty this 1972 movie really was—bestiality, exposure, perversion, and S&M get their moments to shine. The Woody Allen here, who appears in many of the sketches, is a portent of the seedy old Allen of Deconstructing Harry. Although the final bit, which takes place inside a man's body during a very hot date, is hilarious, most of Everythingfeels like the screen adaptation of a '70s bathroom joke book. Still, a must for Allen fans. —Keith Simanton

Simcha Jacobovici Complex yet utterly compelling, The Exodus Decodedis presented by movie director James Cameron (Titanic) but is the passion of Jewish-Canadian filmmaker Simcha Jacobovici. Jacobovici has extensively researched evidence that the Biblical account of the Exodus was real, and concludes that it actually took place in 1500 BCE (during the reign of pharaoh Ahmos I), historically known as the Hyksos Expulsion. The Hyksos people were a Semitic race about whom little is known. But their departure from Egypt, following a long enslavement, along with early writings and other physical evidence, make a strong case that they are the Hebrews of lore. Jacobovici suggests the Exodus is also connected to the catastrophic eruption of the Santorini volcano, which ended the Minoan civilization and triggered a limnic eruption (a surge of carbon dioxide) in the Nile river delta. The latter would have killed the river's fish but likely chased out all the frogs, a phenomenon that could have been considered one of the famous plagues in the Exodus story. (Jacobovici makes a case for the other so-called plagues also being a consequence of the eruption.) Whatever one's opinion of The Exodus Decodedas a historical documentary, it is engrossing viewing, shot in some truly exotic locations, often under the highly suspicious eye of Egyptian authorities. Several moments—such as the revelation of a Hyksos slave's rock carving, pleading with God to be rescued—are astonishing. —Tom Keogh

Meet Andy Millman, Actor. Never forgets his lines because he never gets any. Andy (Ricky Gervais) is a desperate man. He's been an actor for five years but thanks to his useless agent (Stephen Merchant), he?s never done any real acting. Instead, he?s a lowly film extra, making his mark in the background while the stars do their work. His partner in arms is the pitiable Maggie, a fellow extra and a hopeless romantic. Andy may be an extra, but he?s a star in his own right. Too bad nobody else agrees.

DVD Features:
Deleted Scenes:Never-before-seen deleted scenes featuring Kate Winslet, Samuel L. Jackson and Patrick Stewart. Over 20 minutes of exclusive outtakes.
Other:"The Difficult Second Album" behind-the-scenes featurette. "Finding Leo" — Ricky Gervais and Stephen Merchant?s desperate attempt to secure a guest appearance by one of Hollywood?s top celebrity?s.
Deleted Scenes
Featurette:The Difficult Second Album- Behind the scenes of EXTRAS Finding Leo- featurette
Outtakes

Studio: Hbo Home Video Release Date: 01/06/2009 Run time: 300 minutes

Michael Moore (II)

Andy Kelleher, Carol Reed The Fallen Idol was the first of three collaborations between director Carol Reed and writer Graham Greene who would later team up on the legendary The Third Man and is a small masterpiece itself. An elegant thrilling balancing act of suspense and farce this tale of the fraught relationship between a boy and his beloved butler whom the child eventually believes might be guilty of murder is a visually and verbally dazzling knockout with enough tricks up its sleeve to stand with the best of early Hitchcock. Special Features: New restored high-definition digital transfer"A Sense of Carol Reed" a 2006 documentaryOriginal press bookNew essays by critic Geoffrey O'Brien author David Lodge and Nicholas WapshottIllustrated Reed filmographySystem Requirements:Running Time: 95 minutesFormat: DVD MOVIE Genre: DRAMA Rating: NR UPC: 715515020527 Manufacturer No: CC1655DDVD

Joel Schumacher

Harold McKenzie, Karyn Finley Thompson To the ranks of shows too brilliant and outrageous for prime time (The Ben Stiller Show, Andy Richter Controls the Universe), add Seth McFarlane's Family Guy. This animated series, which debuted after the 1999 Super Bowl, simply sparked too much controversy and offended too many sensibilities to survive (Entertainment Weekly dubbed it "the Awful Show They Just Keep Putting on the Air"). That the Fox network also played hackysack with its schedule, ensuring viewers would not be able to find it, sealed its fate (it was cancelled in 2002). This boxed set containing all 28 episodes from the first two seasons is payback for the show's devoted cult following, who may be moved to echo the words of infant Stewie Griffin, the megalomaniacal 1-year-old bent on matricide and world domination: "Victory is mine!"

The dysfunctional Griffins of Quahog, Rhode Island, invite comparisons to The Simpsons. The testicular-chinned father, Peter Griffin, is a clueless oaf in the Homer mold. "Peter, what did you promise me last night?" asks his long-suffering wife Lois in one episode. "That I wouldn't drink at the stag party," he replies. "And what did you do?" she asks. "Drank at the stag part—oh ho ho, I almost walked into that one," he cackles. Other family members include teenage daughter Meg, a desperate high school social pariah; 13-year-old son Chris, a chip off his father's blockhead; and Brian, the family's sarcastic talking dog. But this series' true inspiration is football-pated Stewie (voiced by McFarlane, who earned an Emmy), who was born to be a Bond villain once he escaped his mother's "ovarian bastille." Family Guy recklessly ventured where The Simpsons feared to tread. In one episode, Meg's one and only friend turns out to be the member of a suicidal cult. In another, Death (voiced by Norm McDonald) becomes an unwanted houseguest. Each episode plays fast and furious with surreal flashes (in one episode, Peter turns his house into a puppet) and pop-culture references and TV, movie, and commercial parodies that invite repeated viewings. Freed from its own family-hour bastille and the whims of dim network executives, Family Guy can be appreciated at last on its own profane, sacrilegious, and irreverent terms. Welcome to the DVD family, Griffins. —Donald Liebenson

Studio: Tcfhe Release Date: 08/05/2008 Run time: 379 minutes Rating: Nr

Brian Iles, Chris Robertson, Cyndi Tang-Loveland, Dan Povenmire, Dominic Polcino Studio: Tcfhe Release Date: 10/21/2008 Run time: 374 minutes Rating: Nr

Todd Haynes A seductive story of one seemingly perfect family & the forbidden desires that threaten to tear them apart. Studio: Uni Dist Corp. (mca) Release Date: 08/24/2004 Starring: Julianne Moore Dennis Haysbert Run time: 108 minutes Rating: Pg13 Director: Todd Haynes

Kaige Chen The panorama of 20th-century Chinese history swirls past two men, celebrated actors with their own decidedly specialized view of things. We first observe their lives as children at the Peking Opera training school, a brutal and demanding arena for future actors. While still in training, the effeminate Douzi is chosen to play the transvestite role and the masculine Shitou is chosen to play the royal role in a ritualized play about a king and a concubine. The actors are so good at this performance that they become identified with these roles for their entire careers; through World War II, through the takeover by the Communists, through the insanity of the Cultural Revolution, they are known for their famous parts. Leslie Cheung and Zhang Fengyi are powerful as the two men, and Gong Li (the beautiful leading lady of Raise the Red Lantern) plays the wife of the latter. The movie may be stronger on good old-fashioned melodrama than on profound conclusions, but boy, does it fill up the eyes. The director is Chen Kaige, one of the most talented members of China's "Fifth Generation" of filmmakers, whose daring subject matter (and sometimes bald international ambitions) have often irked the Chinese government. Indeed, though Farewell My Concubine shared the top prize at the 1993 Cannes Film Festival and snagged two Oscar nominations, it had difficulty gaining official approval from China. —Robert Horton

Mark Samels Stephen Ives Rocky Collins Andrea Kalin Matthew Collins (III) Ben Loeterman Tracy Heather Strain Mark Zwonitzer Jacqueline Shearer For most Americans, Fidel Castro is just an aging dictator with a beard who smokes a lot of cigars. But this superb documentary, from PBS's American Experience series, gives a broad and vivid look at the Cuban leader's remarkable life. Though his childhood friends described Castro as crazy and reckless, they also recognized his charisma and ambition. His political aspirations were cut short when he was thrown in prison by then-President Batista, but Batista might have preferred Castro the congressman—instead, Batista's actions turned Castro into a populist revolutionary whose guerrilla tactics overthrew the loathed despot. Castro's reign began with a 600 mile drive across Cuba with his small army; the scruffy leader was greeted with cheering throngs all along the way, for genuine change seemed not only possible but almost within reach. Using a wealth of film and television footage and interviews with writers, former political prisoners, and political analysts from Cuba and the U.S., Fidel Castro depicts this shrewd politician's career with an even hand. The documentary appreciates Castro's accomplishments and admires his sheer political skill (he's been in power longer than any other contemporary leader besides Queen Elizabeth), yet doesn't shy away from the horrific means Castro has routinely used when confronted with trouble (shocking scenes of military executions may disturb some viewers). Few political lives have been this eventful, touching on everything from the Bay of Pigs to the Iran/Contra scandal. Even those who oppose Castro are astonished by how Castro turned this small island into an international force. Fidel Castro is both a revelatory history lesson and an engrossing personal story of brutality and resilience. —Bret Fetzer

Luc Besson Ancient curses, all-powerful monsters, shape-changing assassins, scantily-clad stewardesses, laser battles, huge explosions, a perfect woman, a malcontent hero—what more can you ask of a big-budget science fiction movie? Luc Besson's high-octane film incorporates presidents, rock stars, and cab drivers into its peculiar plot, traversing worlds and encountering some pretty wild aliens. Bruce Willis stars as a down-and-out cabbie who must win the love of Leeloo (Milla Jovovich) to save Earth from destruction by Jean-Baptiste Emmanuel Zorg (Gary Oldman) and a dark, unearthly force that makes Darth Vader look like an Ewok.

David Fincher All films take a certain suspension of disbelief. Fight Clubtakes 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

Lee Unkrich Andrew Stanton

Marc Forster Sweetness that doesn't turn saccharine is hard to find these days;Finding Neverlandhits the mark. Much credit is due to the actors: Johnny Depp applies his genius for sly whimsy in his portrayal of playwright J. M. Barrie, who finds inspiration for his greatest creation from four lively boys, the sons of widow Sylvia Llewelyn Davies (Kate Winslet, who miraculously fuses romantic yearning with common sense). Though the friendship threatens his already dwindling marriage, Barrie spends endless hours with the boys, pretending to be pirates or Indians—and gradually the elements of Peter Pantake shape in his mind. The relationship between Barrie and the Llewelyn Davies family sparks both an imagined world and a quiet rebellion against the stuffy forces of respectability, given physical form by Barrie's resentful wife (Radha Mitchell, High Art) and Sylvia's mother (Julie Christie, McCabe and Mrs. Miller). This gentle silliness could have turned to treacle, but Depp and Winslet—along with newcomer Freddie Highmore as one of the boys—keep their feet on the earth while their eyes gaze into their dreams. Also featuring a comically crusty turn from Dustin Hoffman (who appeared in another Peter Pan-themed movie, Hook) as a long-suffering theater producer. —Bret Fetzer

Sergio Leone A Fistful of Dollarslaunched the spaghetti Western and catapulted Clint Eastwood to stardom. Based on Akira Kurosawa's 1961 samurai picture Yojimbo, it scored a resounding success (in Italy in 1964 and the U.S. in 1967), as did its sequels, For a Few Dollars Moreand The Good, the Bad and the Ugly. The advertising campaign promoted Eastwood's character—laconic, amoral, dangerous—as the Man with No Name (though in the film he's clearly referred to as Joe), and audiences loved the movie's refreshing new take on the Western genre. Gone are the pieties about making the streets safe for women and children. Instead it's every man for himself. Striking, too, was a new emphasis on violence, with stylized, almost balletic gunfights and baroque touches such as Eastwood's armored breastplate. The Dollarsfilms had a marked influence on the Hollywood Western—for example, Sam Peckinpah's The Wild Bunch—but their most enduring legacy is Clint Eastwood himself. —Edward Buscombe

Live in Boston, a deluxe three-hour, two-DVD/one-CD package, offers a video view of the entire concert culled from two nights in September 2003. In addition, there is a CD edited from its best audio moments. This is an energetic and ragged but right set from one of the most enduring acts in rock. The quartet version of Fleetwood Mac is stronger than any of its recent incarnations. The interplay and cooperation between Stevie Nicks and Lindsey Buckingham are wonderfully articulated in this show, and there are moments of complete magic. As for the duffers, John McVie and Mick Fleetwood, all that can be said is they are one of the great rock rhythm sections in history, and the symbiotic communication between them is evident on video. Musically, the rawer, more immediate sound breathes great life into this old material. Buckingham's guitar is in overdrive most of the evening, and Nicks' voice rises to the challenge of the Mac's louder and prouder arrangements. Highlights on the audio CD include the blowout performance of "Rhiannon," the burning "Big Love," with a great vocal by Buckingham, and of course the finale, "Go Your Own Way." The reliance on tracks like "Dreams,""Landslide," and "Silver Springs" suggests the softer side of the Mac, but on the CD that balance is nearly perfect. On the DVDs, the rockers outnumber the ballads, and that is as it should be. This packaging orgy is hardly new and different, and certainly not revolutionary, but then would fans want it to be? Thoroughly enjoyable. —Thom Jurek, All Music Guide

Pedro Almodóvar Pedro Alomodóvar made this misfired, rambling comedy about a romance novelist (Marisa Paredes) whose crumbling marriage has left her depressed and unable to work. At a low point, she writes a scathing indictment of her own books (which are penned under another name), with no one realizing critic and author are one and the same. Almodóvar (Law of Desire) has the start of a great idea here, and for once, he's direct about his sympathy for a character. But nothing else about The Flower of My Secretis so clear. Despite its unusual allegiance to the straightforward "women's films" of the 1950s, this movie blows it by becoming needlessly complicated over extraneous junk, forcing one to grope in the dark for Almodóvar's point. —Tom Keogh

Errol Morris The Fog of War, the movie that finally won Errol Morris the best documentary Oscar, is a spellbinder. Morris interviews Robert McNamara, Secretary of Defense in the Kennedy and Johnson administrations, and finds a uniquely unsettling viewpoint on much of 20th-century American history. Employing a ton of archival material, including LBJ's fascinating taped conversations from the Oval Office, Morris probes the reasons behind the U.S. commitment to the Vietnam War—and finds a depressingly inconsistent policy. McNamara himself emerges as—well, not exactly apologetic, but clearly haunted by the what-ifs of Vietnam. He also mulls the bombing of Japan in World War II and the Cuban Missile Crisis, raising more questions than he answers. The Fog of Warhas the usual inexorable Morris momentum, aided by an uneasy Philip Glass score. This movie provides a glimpse inside government. It also encourages skepticism about same. —Robert Horton

Guy Hamilton

Gregory Hoblit Studio: New Line Home Video Release Date: 08/19/2008 Rating: R

James Whale "It's alive! Alive!" shouts Colin Clive's triumphant Dr. Frankenstein as electricity buzzes over the hulking body of a revived corpse. "In the name of God now I know what it's like to be God!" For years unheard, this line has been restored, along with the legendary scene of the childlike monster tossing a little girl into a lake, in James Whale's Frankenstein, one of the most famous and influential horror movies ever made. Coming off the tremendous success of Dracula, Universal assigned sophomore director Whale to helm an adaptation of Mary Shelley's famous novel with Bela Lugosi as the monster. When Lugosi declined the role, Whale cast the largely unknown character actor Boris Karloff and together with makeup designer Jack Pierce they created the most memorable monster in movie history: a towering, lumbering creature with sunken eyes, a flat head, and a jagged scar running down his forehead. Whale and Karloff made this mute, misunderstood brute, who has the brain of a madman (the most obvious of the many liberties taken with Shelley's story), the most pitiable freak of nature to stumble across the screen. Clive's Dr. Frankenstein is intense and twitchy and Dwight Frye set the standard for mad-scientist sidekicks as the wild-eyed hunchback assistant. Whale's later films, notably the spooky spoof The Old Dark Houseand the deliriously stylized sequel The Bride of Frankenstein, display a surer cinematic hand than seen here and add a subversive twist of black comedy, but given the restraints of early sound films, Whale breaks the film free from static stillness and adorns it with striking design and expressionist flourishes. —Sean Axmaker

Tod Browning Tod Browning, who directed Bela Lugosi in the original Dracula, stepped into even eerier territory with this 1932 story of betrayal and retribution in the circus. Evil trapeze artist Olga Baclanova seduces and marries a midget in the circus sideshow, hoping to inherit his wealth. But in doing so, she has crossed the wrong folks: the tightly knit group of nature's aberrations, who stick together like family—and who set out to avenge their little pal. Browning brought in some of the most famous sideshow attractions of the era, include Siamese twins Daisy and Violet Hilton and Johnny Eck the Legless Boy, as well as Zip and Pip, microcephalics whose appearance in this film inspired cartoonist Bill Griffith to create his comic strip, "Zippy the Pinhead." So disturbing that it was banned for 30 years in Great Britain. —Marshall Fine

Jon Holland, Ewan Bowman and Jason Hernandez From Transworld Skateboarding 2003-Special Features- Bonus footage (raw video parts including deleted tricks and alternate angles.)"Everybody does their own thing, that's what makes the world go round."

Stanley Kubrick's 1987, penultimate film seemed to a lot of people to be contrived and out of touch with the '80s vogue for such intensely realistic portrayals of the Vietnam War as Platoonand The Deer Hunter. Certainly, Kubrick gave audiences plenty of reason to wonder why he made the film at all: essentially a two-part drama that begins on a Parris Island boot camp for rookie Marines and abruptly switches to Vietnam (actually shot on sound stages and locations near London), Full Metal Jacketcomes across as a series of self-contained chapters in a story whose logical and thematic development is oblique at best. Then again, much the same was said about Kubrick's 2001: A Space Odyssey, a masterwork both enthralled with and satiric about the future's role in the unfinished business of human evolution. In a way, Full Metal Jacketis the wholly grim counterpart of 2001. While the latter is a truly 1960s film, both wide-eyed and wary, about the intertwining of progress and isolation (ending in our redemption, finally, by death), Full Metal Jacketis a cynical, Reagan-era view of the 1960s' hunger for experience and consciousness that fulfilled itself in violence. Lee Ermey made film history as the Marine drill instructor whose ritualized debasement of men in the name of tribal uniformity creates its darkest angel in a murderous half-wit (Vincent D'Onofrio). Matthew Modine gives a smart and savvy performance as Private Joker, the clowning, military journalist who yearns to get away from the propaganda machine and know firsthand the horrific revelation of the front line. In Full Metal Jacket, depravity and fulfillment go hand in hand, and it's no wonder Kubrick kept his steely distance from the material to make the point. —Tom Keogh

FutureWeapons is an exciting new series that takes the viewer into the macabre and secret world of weapons development. Ex- Navy SEAL Richard Machowicz "Mack" takes us on a wild ride in his search to find the ultimate weapon. It's a journey that will take us around the globe as Mack tracks down the most lethal and the most sinister weapons yet devised. The series will explore the science and technology that goes into making the latest weapons - and we'll meet bizarre characters who spend their lives inventing new ways to obliterate the enemy. Mack gets 'hands on' with the weapons and tries them out for himself: firing anything from smart missiles to futuristic lasers. "FutureWeapons" has already lined up a series of world scoops - revealing test firings that have never before been tried or seen. The series is formatted into six compelling themes: "Stealth", "Smart Weapons", "No Place to Hide", "Maximum Impact", "Future Shock", and "The Power of Fear". Each program will leave the viewer gripped, fascinated and perhaps even shocked!

This product is manufactured on demand using DVD-R recordable media. Amazon.com's standard return policy will apply.

Luke Greenfield While it suffered a nearly unanimous beating from critics, The Girl Next Doorattracted more than a few loyal defenders during its brief box-office lifespan. It pales when compared to its teen-comedy role model (the 1983 classic Risky Business), but you've got to admit that anymovie about a teenager whose new next-door neighbor is a 19-year-old former porn star has bona fide cult-movie potential. To its credit, this rather schizoid blend of sleaze and comedy boasts an engaging pair of costars in Emile Hirsch (as the smitten, voyeuristic virgin) and 24's Elisha Cuthbert (as his sexy new house-sitting neighbor). And there are some good laughs in a script that takes unexpected turns when we learn that Cuthbert's character is trying to leave her porn-star past behind, to the chagrin of her pimp-like producer (Timothy Olyphant, in a scene-stealing role). Faring somewhat better than he did with the Rob Schneider non-comedy The Animal, director Luke Greenfield clearly recalls the turbulence that goes hand-in-hand with being young, horny, and confused. There's honesty and even (dare we say it?) maturity to be found in this raging-hormone fantasy, even if it's partially buried in a convoluted plot that's appalling or appealing, depending on your tolerance for good-natured prurience. —Jeff Shannon

Peter Webber

Ridley Scott A big-budget summer epic with money to burn and a scale worthy of its golden Hollywood predecessors, Ridley Scott's Gladiatoris a rousing, grisly, action-packed epic that takes moviemaking back to the Roman Empire via computer-generated visual effects. While not as fluid as the computer work done for, say, Titanic, it's an impressive achievement that will leave you marveling at the glory that was Rome, when you're not marveling at the glory that is Russell Crowe. Starring as the heroic general Maximus, Crowe firmly cements his star status both in terms of screen presence and acting chops, carrying the film on his decidedly non-computer-generated shoulders as he goes from brave general to wounded fugitive to stoic slave to gladiator hero. Gladiator's plot is a whirlwind of faux-Shakespearean machinations of death, betrayal, power plays, and secret identities (with lots of faux-Shakespearean dialogue ladled on to keep the proceedings appropriately "classical"), but it's all briskly shot, edited, and paced with a contemporary sensibility. Even the action scenes, somewhat muted but graphic in terms of implied violence and liberal bloodletting, are shot with a veracity that brings to mind—believe it or not—Saving Private Ryan, even if everyone is wearing a toga. As Crowe's nemesis, the evil emperor Commodus, Joaquin Phoenix chews scenery with authority, whether he's damning Maximus's popularity with the Roman mobs or lusting after his sister Lucilla (beautiful but distant Connie Nielsen); Oliver Reed, in his last role, hits the perfect notes of camp and gravitasas the slave owner who rescues Maximus from death and turns him into a coliseum star. Director Scott's visual flair is abundantly in evidence, with breathtaking shots and beautiful (albeit digital) landscapes, but it's Crowe's star power that will keep you in thrall—he—he's a true gladiator, worthy of his legendary status. Hail the conquering hero! —Mark Englehart

Francis Ford Coppola

Francis Ford Coppola

Francis Ford Coppola

Ben Affleck Studio: Buena Vista Home Video Release Date: 08/15/2008 Run time: 114 minutes Rating: R

Martin Scorsese

John Sturges

Robert Kirk, Scott Paddor No walls could hold them. No punishment could scare them. No enemy could stop them. In this unforgettable collection, former POW's, resistance fighters, soldiers and guards tell hte encredible stories of their thrilling adventures. Through dramatic re-creations, rare photographs and film, you'll race for the last train out of Paris, risk certain death in Europe's underground railroad, and crawl through the tunnels of the real-life breakout now known as The Great Escape.

The Great Escape- This fascinating program tells the complete account of the legendary escape, from the designs of "tunnel king" Wally Floody to the actual flight of 76 men in 1944.

Escape From Arizona- The story of the largest escape from a U.S. WWII POW camp - a 25-man breakout lead by a resourceful German U-boat commander.

Escape From Dunkirk- Trapped on the coast by the German Army, an overwhelmed British force manages to escape destruction by crossing the English Channel.

Escape from the Oklahoma- Pearl Harbor survivors recall their 36 hour ordeal trapped in the sunken battleship Oklahoma, where 404 men drowned or suffocated.

Great Escapes of World War II

No walls could hold them. No punishment could scare them. No enemy could stop them. In this unforgettable program, former POWs, resistance fighters, soldiers and guards tell the incredible stories of their thrilling adventures. Through dramatic recreations, rare photographs and films, The Great Escapes of World War II explores some of the most daring escapes of the war. The Great Escapes of World War II would be useful for classes on American History, European History, American Culture, Military History and Geography. It is appropriate for middle school and high school.

Part 1

Part 1 tells the complete account of the breakout from Germany’s Stalag Luft III, the escape immortalized by Steve McQueen in the movie The Great Escape. Rare photographs and interviews with surviving escapees recall the complexity of the operation and “tunnel king” Wally Floody’s designs, which took 600 men more than a year to execute. Leading historians reveal the shocking details of the Nazis’ ultimate response to the break.

Vocabulary

• Gestapo
• apprehension
• chivalry
• claustrophobic
• confidante
• culmination
• decimated
• dehumanize
• elaborate
• excruciating
• implement
• infamous
• ingenious
• objective
• obsessed
• qualms

Discussion Questions

1. World War II was a global war that included the world’s greatest powers in the mid-twentieth century. What were some of the causes of World War II? Why was the war on a global scale? What was the outcome of the war? How did the outcome influence history?

2. Discuss the global divisions and alliances of the Axis and the Allies in World War II.

3. Human beings exhibit a wide array of emotions and reactions. Each may respond to the same situation differently. Discuss the different responses of the men who were imprisoned at Stalag Luft III.

4. Why did the Germans consider Stalag Luft III “escape proof?”

5. Discuss the Great Escape and its surprising success. How was an operation that involved over 600 men kept secret? How was Stalag Luft II the perfect environment for an escape operation?

6. What are some of the problems and conditions faced by people who are imprisoned?

7. What were the conditions faced by the Allied soldiers in Stalag Luft III?

8. What did the prisoners of Stalag Luft II do for recreation? How did they fill their days? How did they employ their recreation pastimes for the escape?

9. How did the X Organization overcome the logistic problems of tunneling under Stalag Luft III?

10. What were the consequences for some of the escapees? How did some of them manage to escape Hitler’s wrath?

Extended Activities

1. View the movie The Great Escape and compare the Hollywood version with the actual event. What are the differences? What compromises were made to bring the story to the screen? How much “literary license” was used in the production of the film?

2. John Cordwell kept a visual diary and remembrance of his days in captivity. Create a visual diary for an important event in your life.

Part 2

Part 2 focuses on the escape efforts of Allied airmen with the assistance of the French Resistance and on the escape attempt of German POWs. German POWs led by U-boat commander Jurgen Wattenburg executed once of the largest and most spectacular escapes from a US camp.

Vocabulary

• accelerate
• cassock
• clandestine
• collaborator
• cordon
• extract
• horrific
• illusions
• interrogate
• momentous
• notorious
• operatives
• proliferate
• sabotage
• solidarity
• specter
• vanquished
• vicarage

Discussion Questions

1. The French Resistance provided Allied airmen with food and assistance when they were shot down behind enemy lines. But who were the French Resistance? Who made up the membership?

2. How did the French Resistance operate?

3. What was the contribution of the Resistance to an Allied victory in Europe?

4. Winston Churchill, Prime Minister of England, authorized the assembly of a special operations unit, the 161 Flight Squadron. What was the job of this squadron? How did this squadron enable Allied airmen to help the Resistance held their downed brothers?

5. Why was there such secrecy among Resistance fighters?

6. Discuss how the Nazis tried to gain control of the Resistance. Why were the Nazis generally unsuccessful at this?

7. Members of the Resistance differ in their opinions on the contribution of the Resistance to the Allied victory. Why do they have different opinions? Compare some of the opinions expressed by former Resistance members.

8. The United States Army transported German POWs across the Atlantic to the United States. Why did the United States bring German POWs to the US? Why didn’t they establish camps for them in Allied occupied territory in Europe? How did the US treat its prisoners?

9. If German POWs were treated relatively well, why did they attempt to escape? 10. How did the American guards and American Army capture the escaped POWs?

Extended Activities

1. Imagine that you a Resistance fighter during World War II. Keep a diary or a journal of your clandestine activities and explain how your activities helped the war effort.

2. Design a monument to the French Resistance that effectively conveys the courage and sacrifice of those brave men and women.

Max & Dave Fleischer The story depicts Lemuel Gulliver washing up on shore at Lilliput, after being shipwrecked by a storm at sea. Lillip, of course, is best know for its thumb-sized population, who find the "giant-sized" sleeping Gulliver and immediately tie him up, fearing his enormous size.

8 Full-Length Episodes, Digitally Remastered and Sound Enhanced: Spend some quality time catching up with an old friend. Everybody's favorite felexible green Gumby is back! Gumby is joined by pals Pokey, Goo and Prickle in a series of action-packed adventures.

Franco Zeffirelli Franco Zeffirelli's stripped-down, two-hour version of Shakespeare's play stars Mel Gibson as a rather robust version of the ambivalent Danish prince. Gibson is much better in the part than many critics have admitted, his powers of clarity doing much to make this particular Hamletmore accessible than several other filmed versions. The supporting cast is outstanding, including Glenn Close as Gertrude, Alan Bates as Claudius, Ian Holm as Polonius, and Helena Bonham Carter as Ophelia. Zeffirelli's vigorous direction employs a lively camera style that nicely alters the viewer's preconceptions about the way Hamletshould look. —Tom Keogh

Woody Allen Considered by many to be Woody Allen's best film, even over Annie Hall. Hannah and Her Sistersfollows a multitude of characters: Hannah (Mia Farrow), who plays den mother to her extended family; her sister Lee (Barbara Hershey), emotional and a bit of a flake, who's involved with a much older artist (Max Von Sydow), who treats her like a child; and Hannah's other sister, Holly (Dianne Wiest), a neurotic who feels incapable of managing her life. Hannah's husband Elliot (Michael Caine) falls in love with Lee, which sets off a series of upheavals. Allen gives one of his best performances as Hannah's ex-husband Mickey, who—much like Allen himself—is obsessed with death and unhappiness. But a simple summary doesn't begin to capture the warmth and intimacy of this movie; though the story follows a capsizing family, the outcome is surprising, joyous, and richly human. —Bret Fetzer

Don Roos "It's a comedy, sort of," a title card announces at the start of Happy Endings—just after Mamie (Lisa Kudrow) has been hit by a car. So it is, but talk about an unhappy beginning! Never fear, writer/director Don Roos will fulfill the promise of that title in several unexpected ways. The story then flashes back to 1983 for Mamie's life-altering encounter with her stepbrother. Mamie and Charley (Steve Coogan) will struggle with its consequences for the rest of the film. Does her teen pregnancy explain the fact that she became an abortion counselor or that he came out of the closet? Roos doesn't say, but nor does he judge. He loves his characters—foibles and all—in his ambitious, Altman-esque follow-up to the acerbic, yet heartfelt The Opposite of Sex. As before, Kudrow is the center around which the other plotlines revolve (and her uptight, yet likable Mamie couldn't resemble TV's Phoebe less). In the end, though, Maggie Gyllenhaal's seductive Jude and Tom Arnold's sensitive Frank are Roos' most inspired creations. Their relationship is one of contemporary cinema's oddest and most touching. The happy ending for one will be real, the other imaginary, but everyone will earn the one they get. —Kathleen C. Fennessy

George Miller (II) For anyone who thought the Oscar-winning documentary March of the Penguinswas the most marvelous cinematic moment for these nomads of the south, you haven't seen nothing yet. Here's an animated wonder about a penguin named Mumble who can't sing, but can dance up a storm. George Miller, the driving force behind the Babe(and Mad Max) movies, takes another creative step in family entertainment with this big, beautiful, music-fueled film that will have kids and their parents dancing in the streets. From his first moment alive, Mumble (voiced Elijah Woods) feels the beat and can't stop dancing. Unfortunatly, emperor penguins are all about finding their own heart song, and dancing youngster—as cute as he is—is a misfit. Luckily, he bumps into little blue penguins, a Spanish-infused group (led by Robin Williams) and begins a series of adventures. Miller has an exceptional variety of entertainment, Busby Berkley musical numbers, amusement park thrills, exciting chase sequences (seals and orca lovers might like think otherwise), and even an environmental message that doesn't weigh you down. Best of all, you don't know where the movie is going in the last act, a rare occurrence these days in family entrainment. A fusion of rock songs, mashed up and otherwise are featured; this movie is as much a musical as a comedy. Mumble's solo dance to a new version of Stevie Wonder's "I Wish" by Fantasia, Patti and Yolanda may be the most joyful moment on camera in 2006. —Doug Thomas

McCartney, Paul, Lester, Richard The Fab Four from Liverpool—John Lennon, Paul McCartney, George Harrison, and Ringo Starr—in their first movie. Nobody expected A Hard Day's Night to be much more than a quick exploitation of a passing musical fad, but when the film opened it immediately seduced the world—even the stuffiest critics fell over themselves in praise (highbrow Dwight Macdonald called it "not only a gay, spontaneous, inventive comedy but it is also as good cinema as I have seen for a long time"). Wisely, screenwriter Alun Owen based his script on the Beatles' actual celebrity at the time, catching them in the delirious early rush of Beatlemania: eluding rampaging fans, killing time on trains and in hotels, appearing on a TV broadcast. American director Richard Lester, influenced by the freestyle French New Wave and British Goon Show humor, whips up a delightfully upbeat circus of perpetual motion. From the opening scene of the mop tops rushing through a train station mobbed by fans, the movie rarely stops for air. Some of the songs are straightforwardly presented, but others ("Can't Buy Me Love," set to the foursome gamboling around an empty field) soar with ingenuity. Above all, the Beatles express their irresistible personalities: droll, deadpan, infectiously cheeky. Better examples of pure cinematic joy are few and far between. —Robert Horton

Chris Columbus

Mike Newell The fourth entry in the Harry Potter saga could be retitled Fast Times at Hogwarts, where finding a date to the winter ball is nearly as terrifying as worrying about Lord Voldemort's return. Thus, the young wizards' entry into puberty (and discovery of the opposite sex) opens up a rich mining field to balance out the dark content in the fourth movie (and the stories are only going to get darker). Mike Newell (Four Weddings and a Funeral) handily takes the directing reins and eases his young cast through awkward growth spurts into true young actors. Harry (Daniel Radcliffe, more sure of himself) has his first girl crush on fellow student Cho Chang (Katie Leung), and has his first big fight with best bud Ron (Rupert Grint). Meanwhile, Ron's underlying romantic tension with Hermione (Emma Watson) comes to a head over the winter ball, and when she makes one of those girl-into-woman Cinderella entrances, the boys' reactions indicate they've all crossed a threshold.

But don't worry, there's plenty of wizardry and action in Goblet of Fire. When the deadly Triwizard Tournament is hosted by Hogwarts, Harry finds his name mysteriously submitted (and chosen) to compete against wizards from two neighboring academies, as well as another Hogwarts student. The competition scenes are magnificently shot, with much-improved CGI effects (particularly the underwater challenge). And the climactic confrontation with Lord Voldemort (Ralph Fiennes, in a brilliant bit of casting) is the most thrilling yet. Goblet, the first installment to get a PG-13 rating, contains some violence as well as disturbing images for kids and some barely shrouded references at sexual awakening (Harry's bath scene in particular). The 2 1/2-hour film, lean considering it came from a 734-page book, trims out subplots about house-elves (they're not missed) and gives little screen time to the standard crew of the other Potter films, but adds in more of Britain's finest actors to the cast, such as Brendan Gleeson as Mad-Eye Moody and Miranda Richardson as Rita Skeeter. Michael Gambon, in his second round as Professor Dumbledore, still hasn't brought audiences around to his interpretation of the role he took over after Richard Harris died, but it's a small smudge in an otherwise spotless adaptation. —Ellen A. Kim

On the DVD
The highlight of the two-disc set is a half-hour conversation with actors Daniel Radcliffe, Emma Watson, and Rupert Grint. They discuss their reactions to the film and other topics with British writer Richard Curtis . Then they answer questions from contest-winning fans, such as what are their favorite kids' books (Watson bypasses the obvious answer in favor of Roald Dahl and Philip Pullman) and what scenes are they looking forward to in upcoming films. More routine extras include the "Reflections on the Fourth Film" featurette (14 min.), though it has comments from some of the other young cast members, and "Preparing for the Yule Ball" (9 min.). The 10 minutes of additional scenes are mostly skulking and skullduggery, plus a long musical number from the ball. The remaining material is grouped along the lines of the Triwizard Tournament, with behind-the-scenes looks at each of the competitions (about 22 min. total), two longer featurettes on He Who Must Not Be Named (11 min.) and the workday of the other contestants (Robert Pattinson, Stanislav Ianevski, and Clémence Poésy, 13 min.), and four games, playable with the directional arrows on the remote control, that can be frustrating to figure out. —David Horiuchi

Alfonso Cuarón Some movie-loving wizards must have cast a magic spell on Harry Potter and the Prisoner of Azkaban, because it's another grand slam for the Harry Potter franchise. Demonstrating remarkable versatility after the arthouse success of Y Tu Mamá También, director Alfonso Cuarón proves a perfect choice to guide Harry, Hermione, and Ron into treacherous puberty as the now 13-year-old students at Hogwarts School of Witchcraft and Wizardry face a new and daunting challenge: Sirius Black (Gary Oldman) has escaped from Azkaban prison, and for reasons yet unknown (unless, of course, you've read J.K. Rowling's book, considered by many to be the best in the series), he's after Harry in a bid for revenge. This dark and dangerous mystery drives the action while Harry (the fast-growing Daniel Radcliffe) and his third-year Hogwarts classmates discover the flying hippogriff Buckbeak (a marvelous CGI creature), the benevolent but enigmatic Professor Lupin (David Thewlis), horrifying black-robed Dementors, sneaky Peter Pettigrew (Timothy Spall), and the wonderful advantage of having a Time-Turner just when you need one. The familiar Hogwarts staff returns in fine form (including the delightful Michael Gambon, replacing the late Richard Harris as Dumbledore, and Emma Thompson as the goggle-eyed Sybil Trelawney), and even Julie Christie joins this prestigious production for a brief but welcome cameo. Technically dazzling, fast-paced, and chock-full of Rowling's boundless imagination (loyally adapted by ace screenwriter Steve Kloves), The Prisoner of Azkaban is a Potter-movie classic. —Jeff Shannon

Chris Columbus Here's an event movie that holds up to being an event. This filmed version of Harry Potter and the Sorcerer's Stone, adapted from the wildly popular book by J.K. Rowling, stunningly brings to life Harry Potter's world of Hogwarts, the school for young witches and wizards. The greatest strength of the film comes from its faithfulness to the novel, and this new cinematic world is filled with all the details of Rowling's imagination, thanks to exuberant sets, elaborate costumes, clever makeup and visual effects, and a crème de la crème cast, including Maggie Smith, Richard Harris, Alan Rickman, and more. Especially fine is the interplay between Harry (Daniel Radcliffe) and his schoolmates Ron (Rupert Grint) and Hermione (Emma Watson), as well as his protector, the looming Hagrid (Robbie Coltrane). The second-half adventure—involving the titular sorcerer's stone—doesn—doesn't translate perfectly from page to screen, ultimately because of the film's fidelity to the novel; this is a case of making a movie for the book's fans, as opposed to a transcending film. Writer Steve Kloves and director Chris Columbus keep the spooks in check, making this a true family film, and with its resourceful hero wide-eyed and ready, one can't wait for Harry's return. Ages 8 and up. —Doug Thomas

Edmund Goulding Howard Hughes James Whale Two bright facets light up Hell's Angels, a 1930s aviation melodrama. One is the extraordinary footage re-creating World War I air battles; the other is 18-year-old Jean Harlow. Both are enough to offset the cornball story and stilted dialogue, the latter added late in production, with the advent of motion-picture sound. The movie, almost three years in the making, with a budget of nearly $4 million—very high for its day—was the obsession of eccentric millionaire director Howard Hughes. Apparently, the authenticity of the dogfight scenes was so important to Hughes that he piloted a plane himself, and ended up breaking a few bones in the process. More shocking, it's said that three pilots lost their lives making the movie. The sequence depicting an epic encounter between the British Royal Flying Corps and a German zeppelin is especially stunning, thanks to the eye-popping use of hand tinting. A bombing raid on a German munitions depot is also remarkably convincing.

The movie's other bombshell, Jean Harlow, fairly jumps off the screen as an upper-class floozy who plays fast and loose with the two leading men, RFC pilots Monte and Roy Rutledge (Ben Lyon and James Hall), one a scoundrel and one a saint. Harlow glows in the film—it—it's immediately obvious why her appearance here put her on the fast track to Hollywood stardom. Beauty, sex appeal, vulnerability, audacity—whatever the intangible something is that makes a movie star, it's clear Harlow had it, even as a teenager. —Laura Mirsky

Guillermo del Toro

Kenneth Branagh Very few films come close to the brilliance Kenneth Branagh achieved with his first foray into screenwriting and direction. Henry Vqualifies as a masterpiece, the kind of film that comes along once in a decade. He eschews the theatricality of Laurence Olivier's stirring, fondly remembered 1945 adaptation to establish his own rules. Branagh plays it down and dirty, seeing the bard's play through revisionist eyes, framing it as an antiwar story. Branagh gives us harsh close-ups of muddied, bloody men, and close-ups of himself as Henry, his hardened mouth and willful eyes revealing much about this land war. Not that the director-star doesn't provide lighter moments. His scenes introducing the French Princess Katherine (Emma Thompson) are toothsome. Bubbly, funny, enhanced by lovely lighting and Thompson's pale beauty, these glimpses of a princess trying to learn English quickly from her maid are delightful.

What may be the crowning glory of Branagh's adaptation comes when the dazed, shaky leader wanders through battlefields, not even sure who has won. As King Hal carries a dead boy (Empire of the Sun's Christian Bale) over the hacked-up bodies of both the English and French, you realize it is the first time Branagh has opened up the scenes: a panorama of blood and mud and death. It is as strong a statement against warmongering as could ever be made. —Rochelle O'Gorman

Yimou Zhang

Akira Kurosawa In one of the many classic collaborations between director Akira Kurosawa and his leading man Toshirô Mifune, this 1958 film tells the story of a warrior and a princess trying against all odds to return to their homeland with their fortune. Along the way, they are simultaneously assisted and thwarted by two itinerant and not too bright farmers with their own designs on the treasure, giving the story a subtle comic bent. The Hidden Fortress combines an epic tale of struggle and honor with modern comic sensibilities, creating a masterful addition to world cinema. A general and a princess must dodge enemy clans while smuggling the royal treasure out of hostile territory with two bumbling, conniving peasants at their sides; it's a spirited adventure that only Akira Kurosawa could create. Acknowledged as a primary influence on George Lucas' Star Wars, The Hidden Fortress delivers Kurosawa's inimitably deft blend of wry humor, breathtaking action and humanist compassion on an epic scale.

Mel Brooks' renowned spoof of the most famous Hitchcockian classics-"Vertigo,""The Birds,""Psycho" and "Spellbound"-is one of his most outrageous comedy classics. After a Harvard psychiatrist (Brooks) takes over the Psycho-Neurotic Institute for the

Nearly 500 years after his death, Leonardo da Vinci still intrigues us. Most people think of him as a great artist, but he was also a remarkable scientist and inventor. His love of mechanics was unparalleled and he filled his notebooks with pages of incredible machines—from weapons of war to "Ships of the Skies", from submarines and scuba suits to robots and an analogue computer...even contact lenses and alarm clocks! How did a 15th-century man envision such modern innovations? If we follow his plans, would any of his designs work? We need wonder no more. With recent technological advances and new materials, we're the first generation able to bring Leonardo's drawings to life—to learn whether his "mechanical dreams" were workable plans. We explore the fascinating intersection of his art, science, and engineering marvels, and use them to offer insight into this "Genius of Geniuses", who remains as elusive as Mona Lisa's smile.

This product is manufactured on demand using DVD-R recordable media. Amazon.com's standard return policy will apply.

What do you get when you combine the resources and ethos of the BBC with the literary panache of one of the world's best narrative historians? The answer is Simon Schama's History of Britaintelevision series. In this well-written and thoughtfully crafted survey, Schama, the bestselling author of books on European cultural history such as The Embarrassment of Richesand Citizens, has managed to be both conventional and provocative. He tells the official version of Britain's story—Roman Britain, the Norman Conquest, the struggles of the Henrys and Richards, Elizabeth I, Scottish rebellions and the English Civil Wars, the American Revolution, the growth of the British Empire, Queen Victoria, the industrial age, and Winston Churchill. But while sticking to a script familiar to anyone who sat up and listened during history class, Schama brings it all alive with memorable prose and presence—Simon de Montfort's rebel parliament is described as inaugurating the "union between patriotism and insubordination"; with Henry VIII, Schama says, "you could practically smell the testosterone." Schama is also particularly enlightening on the symbolism of buildings, memorials, language, and ceremonies, and on the complex relations between England and its Celtic and Catholic neighbors. If history must have gloss, then let it be presented like this. —Miles Taylor

Mel Brooks' uproarious version of history proves nothing is sacred as he takes us on a laugh-filled look at what really happened throughout time. His delirious romp features everything from a wild send-up of "2001" to the real stories behind the Roman

Garth Jennings Don't panic! After twenty years stuck in development (a mere blink compared to how long it takes to find the answer to life, the universe, and everything), The Hitchhiker's Guide to the Galaxyhas finally been turned into a movie. Following the radio play, TV series, commemorative towel, and books, this latest installment in the sci-fi-comedy franchise is based on the screenplay and detailed notes by Douglas Adams.

Hitching a ride.

For those unfamiliar with the story, everyman Arthur Dent (Martin Freeman) wakes up one morning to discover that his house is set to be demolished to make room for a bypass. Little does he know the entire planet Earth is also set to be destroyed for an interplanetary bypass by the Vogons, a hideous and bureaucratic race of aliens realized in the film by Jim Henson's Creature Shop. Whisked off the planet by his best friend, alien-in-disguise Ford Prefect (Mos Def), Dent embarks on a goofy jaunt across the galaxy accompanied by his trusty Hitchhiker's Guide, which looks like a really fancy PDA.

The guide itself provides some of the funniest bits of the movie, little animated shorts that explain the ludicrous life forms and extraterrestrial phenomena our heroes encounter. Along the way Arthur meets the two-headed party animal/president of the galaxy Zaphod Beeblebrox (Sam Rockwell) and develops an unrequited crush on fellow earthling Trillian (Zooey Deschanel). The creatures and sets are inspired and answer to the sci-fi fan's primal need to see lots and lots of cool stuff. In particular, there's John Malkovich's creepy, CGI-enhanced Humma Kavula. He's a guru leading a religion that worships the gigantic nose that allegedly sneezed the universe into existence (naturally all their prayers end not with "Amen" but with "Bless you.") The aliens the team encounters are inspired creations, eminently worthy of action figure-ification, and the sets belie an attention to detail worthy of freeze-framing. Fans of the other Hitchhikermanifestations, namely the British TV series, will be amused by a number of in-jokes sprinkled throughout the movie.

Concept art: The Heart of Gold pod on the planet Vogsphere

Where the story stumbles is in the telling—as books, the Hitchhiker's Guidewas foremost about goofy and brilliant ideas that raised questions about our place in the universe while getting a laugh. The cast seems at times bewildered, at least when Sam Rockwell isn't picking pieces of scenery out of his teeth, perhaps a natural reaction to an adaptation of a book with no traditional plot. The movie has enough trouble figuring out how to get the characters from one fantastical location to the next that Adams's funniest concepts often feel left in the dust. While the reverence the filmmakers felt toward Adams's legacy is apparent, one wonders what we could have expected had the creator of this science fiction universe lived to see it with his own eyes. — Ryan Boudinot

A Guide to the Guide

The Soundtrack

The Radio Play (CD)

The TV Series

The Ultimate Hitchhiker's Guide(Deluxe Edition)