Terry Gilliam Inspired by Chris Marker's acclaimed short film La Jetée(which is included on the DVD Short 2: Dreams), 12 Monkeyscombines intricate, intelligent storytelling with the uniquely imaginative vision of director Terry Gilliam. The story opens in the wintry wasteland of the year 2035, where a virulent plague has forced humans to live in a squalid, oppressively regimented underground. Bruce Willis plays a societal outcast who is given the opportunity to erase his criminal record by "volunteering" to time-travel into the past to obtain a pure sample of the deadly virus that will help future scientists to develop a cure. But in bouncing from 1918 to the early and mid-1990s, he undergoes an ordeal that forces him to question his own perceptions of reality. Caught between the dangers of the past and the devastation of the future, he encounters a psychiatrist (Madeleine Stowe) who is initially convinced he's insane, and a wacky mental patient (Brad Pitt in a twitchy Oscar-nominated role) with links to a radical group that may have unleashed the deadly virus. Equal parts mystery, tragedy, psychological thriller, and apocalyptic drama, 12 Monkeysranks as one of the best science fiction films of the '90s, boosted by Gilliam's visual ingenuity and one of the finest performances of Willis's career. —Jeff Shannon

Stanley Kubrick When Stanley Kubrick recruited Arthur C. Clarke to collaborate on "the proverbial intelligent science fiction film," it's a safe bet neither the maverick auteur nor the great science fiction writer knew they would virtually redefine the parameters of the cinema experience. A daring experiment in unconventional narrative inspired by Clarke's short story "The Sentinel,"2001is a visual tone poem (barely 40 minutes of dialogue in a 139-minute film) that charts a phenomenal history of human evolution. From the dawn-of-man discovery of crude but deadly tools in the film's opening sequence to the journey of the spaceship Discoveryand metaphysical birth of the "star child" at film's end, Kubrick's vision is meticulous and precise. In keeping with the director's underlying theme of dehumanization by technology, the notorious, seemingly omniscient computer HAL 9000 has more warmth and personality than the human astronauts it supposedly is serving. (The director also leaves the meaning of the black, rectangular alien monoliths open for discussion.) This theme, in part, is what makes 2001a film like no other, though dated now that its postmillennial space exploration has proven optimistic compared to reality. Still, the film is timelessly provocative in its pioneering exploration of inner- and outer-space consciousness. With spectacular, painstakingly authentic special effects that have stood the test of time, Kubrick's film is nothing less than a cinematic milestone—puzzling, provocative, and perfect. —Jeff Shannon

Such a simple idea—yet so fiendishly complex in the execution. 24, as surely everyone knows by now, is a thriller that takes places over 24 hours, midnight to midnight, in 24 one-hour episodes (well, 45-minute episodes if you subtract the commercials). Everything takes place in real time, which means no flashbacks, no flash-forwards, no handy time-dissolves. Every strand of the plot has to be dovetailed and interlocked so things happen just when they should, in the right amount of time. Not that easy.

Creator Robert Cochran and his team of writers and directors have done an impressive job of putting the jigsaw together and keeping the tension ratcheted up high, as federal agent Jack Bauer (Kiefer Sutherland) runs around L.A. trying to stall an assassination attempt on an African American presidential candidate and rescue his wife and daughter from the clutches of the Balkan baddies. Twists, turns, revelations, and cliffhangers are tossed at us with satisfying regularity. It's not perfect: we get some hokey plot devices (instant amnesia, anybody?); the final twist makes no sense whatsoever; there are altogether too many huggy family moments; and as for Dennis Hopper's "Serbian" accent....

Even so, this is undeniably mold-breaking TV. Sutherland, rescuing his career from the doldrums in one heroic leap, fully deserves his Golden Globe. Sets and locations are artfully deployed, and Sean Callery's score is a powerful, brooding presence. Like Murder Oneand The Sopranos, 24is one of those series that future TV thrillers will be measured against. —Philip Kemp

Katsuhiro Ôtomo Artist-writer Katsuhiro Ôtomo began telling the story of Akira as a comic book series in 1982 but took a break from 1986 to 1988 to write, direct, supervise, and design this animated film version. Set in 2019, the film richly imagines the new metropolis of Neo-Tokyo, which is designed from huge buildings down to the smallest details of passing vehicles or police uniforms. Two disaffected orphan teenagers—slight, resentful Tetsuo and confident, breezy Kaneda—run with a biker gang, but trouble grows when Tetsuo start to resent the way Kaneda always has to rescue him. Meanwhile, a group of scientists, military men, and politicians wonder what to do with a collection of withered children who possess enormous psychic powers, especially the mysterious, rarely seen Akira, whose awakening might well have caused the end of the old world. Tetsuo is visited by the children, who trigger the growth of psychic and physical powers that might make him a superman or a supermonster. As befits a distillation of 1,318 pages of the story so far, Akirais overstuffed with character, incident, and detail. However, it piles up astonishing set pieces: the chases and shootouts (amazingly kinetic, amazingly bloody) benefit from minute cartoon detail that extends to the surprised or shocked faces of the tiniest extra; the Tetsuo monster alternately looks like a billion-gallon scrotal sac or a Tex Avery mutation of the monster from The Quatermass Experiment; and the finale—which combines flashbacks to more innocent days with a destruction of Neo City and the creation of a new universe—is one of the most mind-bending in all sci-fi cinema. —Kim Newman

Ridley Scott A landmark of science fiction and horror, Alienarrived in 1979 between Star Warsand The Empire Strikes Backas a stylishly malevolent alternative to George Lucas's space fantasy. Partially inspired by 1958's It! The Terror from Beyond Space, this instant classic set a tone of its own, offering richly detailed sets, ominous atmosphere, relentless suspense, and a flawless ensemble cast as the crew of the space freighter Nostromo, who fall prey to a vicious creature (designed by Swiss artist H.R. Giger) that had gestated insideone of the ill-fated crew members. In a star-making role, Sigourney Weaver excels as sole survivor Ripley, becoming the screen's most popular heroine in a lucrative movie franchise. To measure the film's success, one need only recall the many images that have been burned into our collective psyche, including the "facehugger," the "chestburster," and Ripley's climactic encounter with the full-grown monster. Impeccably directed by Ridley Scott, Alienis one of the cinema's most unforgettable nightmares. —Jeff Shannon

David Fincher The least successful film in this series was directed by stylemaster (and content-underachiever) David Fincher. Ripley, the only survivor of her past mission, awakens on a prison planet in the far corners of the solar system. As she tries to recover, she realizes that not only has an alien gotten loose on the planet, the alien has implanted one of its own within her. As she battles the prison authorities (and is aided by the prisoners) in trying to kill the alien, she must also cope with a distinctly shortened lifespan that awaits her. But the striking imagery makes for muddled action and the script confuses it further. The ending looks startling but it takes a long time—and a not particularly satisfying journey—to get there. —Marshall Fine

Jean-Pierre Jeunet Perhaps these films are like the Star Trekmovies: The even-numbered episodes are the best ones. Certainly this film (directed by French stylist Jean-Pierre Jeunet) is an improvement over Alien 3, with a script that breathes exciting new life into the franchise. This chapter is set even further in the future, where scientists on a space colony have cloned both the alien and Ripley (Sigourney Weaver), who died in Alien 3; in doing so, however, they've mixed alien DNA with Ripley's human chromosomes, which gives Ripley surprising power (and a bad attitude). A band of smugglers comes aboard only to discover the new race of aliens—and when the multi-mouthed melonheads get loose, no place is safe. But, on the plus side, they have Ripley as a guide to help them get out. Winona Ryder is on hand as the smugglers' most unlikely crew member (with a secret of her own), but this one is Sigourney's all the way. —Marshall Fine

James Cameron Aliensis one of the few cases of a sequel that far surpassed the original. Sigourney Weaver returns as Ripley, who awakens on Earth only to discover that she has been hibernating in space so long that everyone she knows is dead. Then she is talked into traveling (along with a squad of Marines) to a planet under assault by the same aliens that nearly killed her. Once she gets there, she finds a lost little girl who triggers her maternal instincts—and she discovers that the company has once again double-crossed her, in hopes of capturing one of the aliens to study as a military weapon. Directed and written by James Cameron, this is one of the most intensely exciting (not to mention intensely frightening) action films ever, with a large ensemble cast that includes Bill Paxton, Lance Henriksen, Paul Reiser, and Michael Biehn. Weaver defined the action woman in this film and walked away with an Oscar nomination for her trouble. —Marshall Fine

Milos Forman A note-perfect cinematic event whose immortality was assured from its opening night, Amadeusis 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 Amadeusfinally 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

While watching An Evening with Kevin Smith 2(let's skip over that stupid subtitle, shall we?), you may ask yourself, "Why should I give a **** about anything Kevin Smith has to say?"—and then you'll be laughing in agreement with a lot of what he says. For better or worse, the potty-mouthed creator of Clerksand Dogmais an expert at combining his own "View Askew" perspective with stand-up comedy and ribald Q&A with (mostly) appreciative audiences. The novelty here is that Smith (now looking richer and more custom-tailored than he did on the cover of An Evening with Kevin Smith ) is equally at home with fans in Toronto and London, where his cross-cultural observations inform much of their humorous interaction. Whether he's discussing the X-Menmovies as homosexual allegory, recalling how his wife caught him masturbating to pictures of her that he shot for Playboy, or making prescient observations about Mel Gibson's career meltdown (just a few of the many topics covered here), Smith remains admirably frank about his fan-base, his limited skills as a filmmaker, and his counter-cultural status as a chubby fan-boy who made good in Hollywood. Even when he tests your tolerance with opinions best kept to himself, Smith is a focused observer of his own milieu, willing to expose his insecurities while refusing to suffer fools in his audience (and there are more than a few).

As with his previous stand-up DVD, Smith welcomes frequent (and now drug-free) costar Jason Mewes onstage for some extreme (and extremely funny) sex-talk, including demonstrations of Mewes'"half-half-whole" technique (don't ask), and later (as a disc 2 bonus feature) approaching young London women with a the kind of pick-up lines (like "Let me get up in them guts") that only a guy like Mewes could get away with. Dropping F-bombs like there's no tomorrow, Smith is crude but intelligent (nobody makes it on luck alone), and this two-disc set will satisfy established fans and would-be converts alike. Likewise, Smith-haters will find nothing to change their minds, since Smith occasionally comes across as smug and self-satisfied, even when he's really not. What matters here is the humor of a self-effacing guy who's never quite sure if he deserves his own success. That puts Smith on even terms with his fans, and it's that dynamic, more than anything else, that makes these concerts a whole lot of fun. —Jeff Shannon

J.M. Kenny To know the origin of "Snoochie-Boochies," you mustspend An Evening with Kevin Smith. The Jersey-bred auteurof low-budget comedy proves equally adept as an uncensored raconteur, regaling five college audiences—his most devoted demographic—in this two-disc compilation of lively Q&A. Sporting his trademark slacker garb, Smith occasionally bites the loyal, sometimes moronic hands that feed him (as a result, audience participation is drop-dead hilarious), but he's arguably the most publicly and personally honest filmmaker to survive the insanity of Hollywood. His best stories lift the veil of show-biz decorum, describing absurd meetings with studio executives over his ill-fated screenplay Superman Lives; razzing the artsy pretensions of director Tim Burton; or exposing Prince (who hired him to direct a never-completed documentary) as a self-absorbed Jesus freak. These attacks aren't baseless; Smith's too smartly good-natured to provoke without purpose, and with an onstage visit by Jason Mewes ("Jay" to Smith's "Silent Bob"), this ribald, sharply assembled Eveningcompares favorably to Richard Pryor with its outrageous blend of comedy and candor. —Jeff Shannon

In the tradition of such obsessively driven directors as Erich von Stroheim and Werner Herzog, Francis Ford Coppola approached the production of Apocalypse Nowas if it were his own epic mission into the heart of darkness. On location in the storm-ravaged Philippines, he quite literally went mad as the project threatened to devour him in a vortex of creative despair, but from this insanity came one of the greatest films ever made. It began as a John Milius screenplay, transposing Joseph Conrad's classic story "Heart of Darkness" into the horrors of the Vietnam War, following a battle-weary Captain Willard (Martin Sheen) on a secret upriver mission to find and execute the renegade Colonel Kurtz (Marlon Brando), who has reverted to a state of murderous and mystical insanity. The journey is fraught with danger involving wartime action on epic and intimate scales. One measure of the film's awesome visceral impact is the number of sequences, images, and lines of dialogue that have literally burned themselves into our cinematic consciousness, from the Wagnerian strike of helicopter gunships on a Vietnamese village to the brutal murder of stowaways on a peasant sampan and the unflinching fearlessness of the surfing warrior Lieutenant Colonel Kilgore (Robert Duvall), who speaks lovingly of "the smell of napalm in the morning." Like Herzog's Aguirre: The Wrath of God, this film is the product of genius cast into a pit of hell and emerging, phoenix-like, in triumph. Coppola's obsession (effectively detailed in the riveting documentary Hearts of Darkness, directed by Coppola's wife, Eleanor) informs every scene and every frame, and the result is a film for the ages. —Jeff Shannon

Wolfgang Reitherman Duchess and her three kittens are enjoying the high life with their devoted human mistress until the wicked butler Edgar, with his eyes on a big inheritance, decides to dope them and get them out of the picture. How can these fragile creatures cope in the unfamiliar countryside and the meaner streets of Paris? Only by meeting the irrepressible alley cat O'Malley, a rough diamond with romance in his heart. After they get a taste of the wide dangerous world, he guides them home, and Edgar gets his just desserts at the wrong end of a horse. As always, it's really the voices rather than the animation that are the heart of the Disney magic: Phil Harris is brilliant as O'Malley, Eva Gabor as Duchess is... well... Eva Gabor; but perhaps the most memorable turns are by Pat Buttram and George Lindsay, who turn the old hounds Napoleon and Lafayette into a couple of bumbling Southern-fried rednecks. Their scenes with Edgar, and the musical numbers with Scat Cat and his cool-dude band, are classic. Most striking about seeing The Aristocatsnow is how deeply Disney's style of animation has changed since this was at the cutting edge in 1970. Perhaps the nostalgic, dated feel are just a result of being plonked down in Belle Epoque Paris, but the illustrations are fussier (a pity) and the animation and overall pace much less frenetic (sometimes a relief) than in more recent efforts such as Aladdin. —Richard Farr

The award-winning series about the space station that's the tumultuous center of the 23rd Century's bid for peace among humans and aliens hyperdrives onto DVD in a Deluxe 6-Disc Set.

Featuring 22 episodes digitally remastered for upgraded picture and sound as well as enticing Exclusive Extras, Babylon 5: The Complete First Season - Signs and Portents is an adventure-packed, state-of-the-universe collectible that will mesmerize fans and space creatures everywhere.

Format: DVD MOVIE

Janet Greek

Robert Zemeckis Filmmaker Robert Zemeckis topped his breakaway hit Romancing the Stonewith Back to the Future, a 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 Zoneepisode 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. —Doug Thomas

Critics and audiences didn't seem too happy with Back to the Future, Part II, the inventive, perhaps too clever sequel. Director Zemeckis and cast bent over backwards to add layers of time-travel complication, 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 Marty watching his own actions from the first film. —Tom Keogh

Shot back-to-back with the second chapter in the trilogy, Back to the Future, Part IIIis less hectic than that film and has the same sweet spirit of the first, albeit in a whole new setting. This time, Marty ends up in the Old West of 1885, trying to prevent the death of mad scientist Christopher Lloyd at the hands of gunman Buford "Mad Dog" Tannen (Thomas F. Wilson, who had a recurring role as the bully Biff). Director Zemeckis successfully blends exciting special effects with the traditions of a Western and comes up with something original and fun. —Tom Keogh

Leslie H. Martinson Holy camp site, Batman! After a fabulously successful season on TV, the campy comic book adventure hit the big screen, complete with painful puns, outrageous supervillains, and fights punctuated with word balloons sporting such onomatopoeic syllables as "Pow!,""Thud!," and "Blammo!" Adam West's wooden Batman is the cowled vigilante alter ego of straight-arrow millionaire Bruce Wayne and Bruce Ward's Robin (a.k.a. Dick Grayson, Bruce's young collegiate protégé) his overeager sidekick in hot pants. Together they battle an unholy alliance of Gotham City's greatest criminals: the Joker (Cesar Romero, whooping up a storm), the Riddler (giggling Frank Gorshin), the Penguin (cackling Burgess Meredith), and the purr-fectly sexy Catwoman (Lee Meriwether slinking in a skin-tight black bodysuit). The criminals are, naturally, out to conquer the world, but with a little help from their unending supply of utility belt devices (bat shark repellent, anyone?), our dynamic duo thwarts their nefarious plans at every turn. Since the TV show ran under 30 minutes an episode (with commercials), the 105-minute film runs a little thin—a little camp goes a long way—but fans of the small-screen show will enjoy the spoofing tone throughout. Leslie H. Martinson directs Lorenzo Semple's screenplay like a big-budget TV episode minus the cliffhanger endings. —Sean Axmaker

Christopher Nolan Batman Beginsdiscards the previous four films in the series and recasts the Caped Crusader as a fearsome avenging angel. That's good news, because the series, which had gotten off to a rousing start under Tim Burton, had gradually dissolved into self-parody by 1997's Batman & Robin. As the title implies, Batman Beginstells the story anew, when Bruce Wayne (Christian Bale) flees Western civilization following the murder of his parents. He is taken in by a mysterious instructor named Ducard (Liam Neeson in another mentor role) and urged to become a ninja in the League of Shadows, but he instead returns to his native Gotham City resolved to end the mob rule that is strangling it. But are there forces even more sinister at hand?

Co-written by the team of David S. Goyer (a veteran comic book writer) and director Christopher Nolan (Memento), Batman Beginsis a welcome return to the grim and gritty version of the Dark Knight, owing a great debt to the graphic novels that preceded it. It doesn't have the razzle dazzle, or the mass appeal, of Spider-Man 2(though the Batmobile is cool), and retelling the origin means it starts slowly, like most "first" superhero movies. But it's certainly the best Bat-film since Burton's original, and one of the best superhero movies of its time. Bale cuts a good figure as Batman, intense and dangerous but with some of the lightheartedness Michael Keaton brought to the character. Michael Caine provides much of the film's humor as the family butler, Alfred, and as the love interest, Katie Holmes (Dawson's Creek) is surprisingly believable in her first adult role. Also featuring Gary Oldman as the young police officer Jim Gordon, Morgan Freeman as a Q-like gadgets expert, and Cillian Murphy as the vile Jonathan Crane. —David Horiuchi

Batman at Amazon.com

All BatmanDVDs

Batman Begins101: A Comic Book Primer

Where Have I Seen Christian Bale?

All BatmanComics and Graphic Novels

BatmanToys

Batman BeginsSoundtrack

Stills from Batman Begins(click for larger images)

DVD Features

The first disc is filled out by the theatrical trailer and a Jimmy Fallon-starring Batman Beginsspoof from the MTV Movie Awards. The second disc consists of eight featurettes (about 105 minutes total) on a variety of topics. "The Journey Begins" covers the early stages of the movie, including the casting and how director/co-writer Christopher Nolan brought in co-writer David S. Goyer for his comic-book expertise. "Shaping Mind and Body" covers Christian Bale's fight training, and other featurettes discuss the sets (the Batcave is shown being constructed out of wood and sheets), the Batman costume, the Batmobile, the monorail sequence, and the hazards of filming in Iceland. All the behind-the-scenes featurettes are solid but somewhat routine, and while "The Journey Begins" is the widest overview, there's not really any centerpiece documentary (all are 8 to 15 minutes, and there's no Play All option). Interviewees tend to be the same throughout: Nolan, Goyer, Bale (the only cast member to get much face time), and other crew members (it's nice to hear from the stunt people).

Potentially more interesting to fans is "Genesis of the Bat," which covers the comic books that influenced the film, including The Long Halloween, Neal Adams's Ra's Al Ghul from the '70s, Dennis O'Neill and Dick Giordano's The Man Who Falls, and Frank Miller's Batman: Year Oneand The Dark Knight Returns. Interviewees include DC Comics editor Paul Levitz and artist Jim Lee, but the latter's involvement eventually degrades the featurette into a pitch for DC's All-Star Batmanline. A nice bonus to the Deluxe Edition is a mini comic book (DVD case-sized) that has Batman's first appearance (Detective Comics#27), The Man Who Falls, and a 48-page excerpt from The Long Halloween. (Once you get a taste of Halloween, you'll want to pick up the full-length, full-size version.) Filling out the disc are overviews of four gadgets and eight characters, DVD-ROM features, and a variety of poster-art concepts. To get to the features menu, you have to scroll through a multi-page Goyer-scribed comic book, which is a good read, but you can't skip it the next time you want to watch the second disc. Note that the comic book is also viewable in French, and the second disc offers a French menu and French (but not English) subtitles for the featurettes. —David Horiuchi

Battlestar Galactica's Edward James Olmos wasn't kidding when he said "the series is even better than the miniseries." As developed by sci-fi TV veteran Ronald D. Moore, the "reimagined"BGis exactly what it claims to be: a drama for grown-ups in a science-fiction setting. The mature intelligence of the series is its greatest asset, from the tenuous respect between Galactica's militarily principled commander Adama (Olmos) and politically astute President Roslin (Mary McDonnell) to the barely suppressed passion between ace Viper pilot "Apollo" (a.k.a. Adama's son Lee, played by Jamie Bamber) and the brashly insubordinate Starbuck (Katee Sackhoff), whose multifaceted character is just one of many first-season highlights. Picking up where the miniseries ended (it's included here, sparing the need for separate purchase), season 1 opens with the riveting, Hugo Award-winning episode "33," in which Galactica and the "ragtag fleet" of colonial survivors begin their quest for the legendary 13th colony planet Earth, while being pursued with clockwork regularity by the Cylons, who've now occupied the colonial planet of Caprica. The fleet's hard-fought survival forms (1) the primary side of the series' three-part structure, shared with (2) the apparent psychosis of Dr. Gaius Baltar (James Callis) whose every thought and move are monitored by various incarnations of Number Six (Tricia Helfer), the seemingly omniscient Cylon ultravixen who follows a master plan somehow connected to (3) the Caprican survival ordeal of crash-landed pilots "Helo" (Tahmoh Penikett) and "Boomer" (Grace Park), whose simultaneous presence on Galactica is further evidence that 12 multicopied models of Cylons, in human form, are gathering their forces.

With remarkably consistent quality, each of these 13 episodes deepens the dynamics of these fascinating characters and suspenseful situations. While BGrelies on finely nuanced performances, solid direction, and satisfying personal and political drama to build its strong emotional foundation, the action/adventure elements are equally impressive, especially in "The Hand of God," a pivotal episode in which the show's dazzling visual effects get a particularly impressive showcase. Original BGseries star Richard Hatch appears in two politically charged episodes (he's a better actor now, too), and with the threat of civil war among the fleet, season 1 ends with an exceptional cliffhanger that's totally unexpected while connecting the plot threads of all preceding episodes. To the credit of everyone involved, this is frackin' good television.

DVD features
The fifth disc in Battlestar Galactica's season 1 set is highlighted by eight comprehensive featurettes covering all aspects of the series, from its miniseries origins to standard surveys of production design, visual effects, and particulars of plot and character. For hardcore fans and anyone interested in TV production, nine out of 13 episodes, plus the disc 1 miniseries, are accompanied by intelligent and informative commentary originally provided as BGwebsite podcasts, mostly by series developer and writer Ronald D. Moore, who provides tantalizing clues about developments in season 2. The "Series Lowdown" is a cast-and-crew promotional program originally broadcast to attract SciFi Channel viewers who were initially reluctant to embrace a "reimagined"Battlestar Galactica. The strategy worked: First-season ratings left no doubt that the new BGwas as good as—and in many ways better than—the original. —Jeff Shannon

The adventure of one of television's finest dramas continues with the complete third season of the Peabody Award-winning Battlestar Galactica. The Colonies' survivors have found their hopes of eluding their Cylon pursuers dashed by an invasion and occupation of their new home. As the fate of all human life hangs in the balance, friends become enemies, enemies become unexpected allies, and decisions are made that will haunt some people for the rest of their lives. Relive all 20 episodes of the season that challenges everything you thought you knew about the Battlestar Galactica universe. Presented in Dolby 5.1 surround sound, the 6-disc set features over 15 hours of extensive special features, including the DVD exclusive version of the episode "Unfinished Business" containing 25 additional minutes of never-before-seen footage. You won't want to miss a minute of the series considered "one of the best dramas on TV" (Time Magazine).

Alan J. Levi Richard A. Colla

Michael Rymer Despite voluminous protest and nitpicking criticism from loyal fans of the original 1978-80 TV series, the 2003 version of Battlestar Galacticaturned out surprisingly well for viewers with a tolerance for change. Originally broadcast on the Sci-Fi Channel in December 2003 and conceived by Star Trek: The Next Generationalumnus Ronald D. Moore as the pilot episode for a "reimagined" TV series, this four-hour "miniseries" reprises the basic premise of the original show while giving a major overhaul (including some changes in gender) to several characters and plot elements. Gone are the flowing robes, disco-era hairstyles, and mock-Egyptian fighter helmets, and thankfully there's not a fluffy "daggit" in sight... at least, not yet. Also missing are the "chrome toaster" Cylons, replaced by new, more formidable varieties of the invading Cylon enemy, including "Number Six" in hot red skirts and ample cleavage, who tricks the human genius Baltar into a scenario that nearly annihilates the human inhabitants of 12 colonial worlds.

Thus begins the epic battle and eventual retreat of a "ragtag fleet" of humans, searching for the mythical planet Earth under the military command of Adama (Edward James Olmos) and the political leadership of Laura Roslin (Mary McDonnell), a former secretary of education, 43rd in line of succession and rising to the occasion of her unexpected Presidency. As directed by Michael Rymer (Queen of the Damned), Moore's ambitious teleplay also includes newfangled CGI space battles (featuring "handheld" camera moves and subdued sound effects for "enhanced realism"), a dysfunctional Col. Tigh (Michael Hogan) who's provoked into action by the insubordinate Starbuck (Katee Sackhoff), and a father-son reunion steeped in familial tragedy. To fans of the original BGseries, many of these changes are blasphemous, but for the most part they work—including an ominous cliffhanger ending. The remade Galacticais brimming with smart, well-drawn characters ripe with dramatic potential, and it readily qualifies as serious-minded science fiction, even as it gives BGloyalists ample fuel for lively debate. —Jeff Shannon

F. Gary Gray Be Cooltakes its own advice: It's slick, Hollywood entertainment that kills two amusing hours with relative ease and comfort. Better than leftovers but not as tasty as a full-course meal, this sequel to 1995's hit comedy Get Shorty(and based on Elmore Leonard's 1999 sequel novel) finds former loan shark Chili Palmer (John Travolta) itching to get out of the movie business, so he hooks up with a newly widowed music executive (Uma Thurman) to launch the career of an up-'n-coming Beyoncé-like singer (newcomer Christina Milian). A mock-black manager (Vince Vaughn), his sleazy boss (Harvey Keitel), and an upscale gangsta-rap executive (Cedric the Entertainer) all have a competing stake in the fast-rising pop diva's future, and this sets the plot rolling in a fun but rather hand-me-down fashion that lacks the savvy panache of Get Shortybut still provides plenty of lightweight humor. The Rock and Outkast's André Benjamin provide the best laughs in supporting roles that effortlessly relieve the movie from the symptoms of sequelitis. —Jeff Shannon

Once you settle into the realization that this 1986 John Carpenter (Halloween) film is not going to be one of the director's more masterful works, Big Trouble in Little Chinajust becomes a full-tilt comic blast. Kurt Russell is hilarious as a drawling, would-be John Wayne hero who steps into the middle of a supernatural war in the heart of Chinatown. While kung fu warriors and otherworldly spirits battle over the fate of two women (Kim Cattrall and Suzee Pai), Russell's swaggering idiot manages to knock himself out or underestimate the forces he's dealing with. The whole thing is dopey, but it's supposed to be dopey and Russell's game performance brings an ironic edge. Carpenter directs some nifty spook effects (the sudden arrival of three martial arts demigods from out of nowhere is worth applause), and he also wrote the music. —Tom Keogh

Stephen Herek Like, radical, dude—but not nearly as funny as it should be, even though it was a box-office hit. Keanu Reeves and Alex Winter are a pair of dim Valley boys, whose life is made heinous by a school history project. Enter George Carlin as a futuristic dude with a time-traveling phone booth. So Bill and Ted go back in time to round up a gang of historical figures (Socrates, Joan of Arc) to bring back for their presentation. Abe Lincoln at the mall? That's about as witty as it gets, rendering this the kind of comedy that gives teenaged audiences a bad name. —Marshall Fine

The recipe for Bladeis 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. Bladeis 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 animesprinkled 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 IItakes 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

Ridley Scott We regret that this DVD is under certain restrictions that prohibit sales to customers who live outside the North American continent. If you do not live in the United States or Canada, we will not be able to ship you this DVD. Thank you for understanding.

John Landis It's hard to ignore the sad and conspicuous absence of the late John Belushi, but this long-delayed sequel to 1980's The Blues Brothersstill has Dan Aykroyd—as Chicago bad boy and blues rocker Elwood Blues—to keep the music alive. Once again, Elwood's trying to reunite the original Blues Brothers Band, and this time he's got a strip-joint bartender (John Goodman) and a 10-year-old orphan named Buster (J. Evan Bonifant) joining him at center stage. Believing that Elwood has kidnapped the kid, the cops are hot on his trail as the reunited band hits the road for the Battle of the Bands in Louisiana and the All-Star Blues Jam that ends the movie in a rockin' blaze of glory. It's a shameless clone of the first film, and nobody—especially not Aykroyd or director John Landis—seems to care that the story's not nearly as fun as the music that's used to stretch it out. Of course there's a seemingly endless parade of stunts, including a nonstop pileup of police cars that's hilariously absurd, but what really matters here—indeed, the movie's only saving grace—is the great lineup of legendary blues musicians. Aretha Franklin, James Brown, Junior Wells, Eric Clapton, B.B. King, Jonny Lang, Eddie Floyd, and Blues Traveler are among the many special guests assembled for the film, and their stellar presence makes you wonder if the revived Blues Brothers shouldn't remain an obscure opening act. The collector's edition DVD includes production photos, the theatrical trailers, and a behind-the-scenes featurette about the making of the film including interviews with the principal cast. —Jeff Shannon

This thoroughly second-rate follow-up to the groundbreaking (and highly profitable) horror flick The Blair Witch Project—produced by Blair Witchdirectors Daniel Myrick and Eduardo Sanchez—plays with the notions of reality and fantasy that surrounded the hype of the original movie, and attempts to throw in some scares along the way. A year after the release of the original film, a group of five Blair Witch aficionados—four out-of-towners led by one seriously unhinged "tour guide"—venture into the woods outside Burkittsville, Maryland, on a tour of the sites made famous by missing documentarians Heather, Mike, and Josh. After a drunken night of camping out in hopes of communing with the spirit of the Blair Witch, the five wake up to find that their seemingly innocent sleep may have been disturbed somehow. But what exactly happened? If you're expecting suspense of the first degree and a horrifying payoff similar to the one that climaxed the first film, you'll be sorely disappointed. After retreating to an old, run-down broom factory (get it? Broom factory? Blair Witch? Oh well...), the five go over their videotapes of the night in question to get some answers, and basically wind up screaming at each other for the remainder of the film, and shedding some blood along the way. Documentary filmmaker Joe Berlinger (of the highly acclaimed Paradise Lostand Brother's Keeper) proves that he should definitely stick to nonfiction filmmaking, and the entire cast is grating and unpleasant, aside from a scene-stealing turn by Kim Director as a goth chick with attitude to burn and a no-nonsense approach to this Blair Witch stuff. Strictly for hard-core Blair Witchfans only, and even then this sequel may prove to disappoint. —Mark Englehart

Featuring a blowzy, winningly inept size-12 heroine, Bridget Jones's Diaryis a fetching adaptation of Helen Fielding's runaway bestseller, grittier than Ally McBealbut 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 Funeraland 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

Murder, and its tale-telling aftermath, is the compelling subject of CSI: Crime Scene Investigation. Since it premiered on CBS on October 6, 2000, CSIwas a ratings triumph, spawning a spinoff (CSI: Miami) and positioning itself for long-term success. As the first season demonstrates, creator Anthony Zuiker's foolproof formula was established early on, bolstered by a fine ensemble cast and requiring minimal tweaking as the season progressed; its Las Vegas-based "criminalists" eventually became "CSI" steeped in the scientific minutiae of forensic investigation, but the series arrived essentially intact, with an irresistible (and seemingly inexhaustible) supply of corpses and the mysteries that surround them. Influenced by the graphic precedent of movies like Sevenand Kiss the Girls, CSImatches morbidity with dispassionate methodology; viewers are so fascinated by the investigative process that they're unfazed by intimate autopsies and internal (i.e., digitally animated) views of traumatized flesh, bone, and sinew.

While keeping abreast of cutting-edge technologies, CSIcombines the ingenuity (and fallibility) of villains with the appealing humanity of its heroes. CSI director and entomologist Gil Grissom (played by series coproducer William Petersen) is introverted but ethically intense; he's both mentor and moral compass for his night-shift team, including a former stripper-turned-CSI (Marg Helgenberger); a recovering gambler (Gary Dourdan); an eager ace (George Eads) with room for improvement; a workaholic (Jorja Fox) who can't always remain emotionally detached from her cases; and a chief detective (Paul Guilfoyle) who's a necessary link to police procedure. Like The X-Files, CSIsupports its characters with feature-film production values, employing a Rashomonstructure that turns murder into a progressively accurate study of cause and effect. Script quality is consistently high ("Blood Drops" and "Unfriendly Skies" are exceptional), direction is slick and sophisticated, and the mysteries are complex enough to invite multiple viewings. Despite a regrettable shortage of DVD features, CSI's inaugural season remains addictively worthy of its lofty reputation. —Jeff Shannon

The second season of CSI: Crime Scene Investigationconsolidates the show's well-deserved popular appeal, while beginning to explore (gently at first) beneath the slickly professional surface of the investigators themselves. Gradually we learn more about what makes Grissom and his astonishingly gifted forensics team tick, beyond merely that they are workaholics who seem to require no sleep at all. The show's trademark reveals of vital evidence—be it on the autopsy slab or under the microscope—add a fresh spin to what is, at heart, a good old-fashioned whodunit series. William Petersen brings the requisite air of antiquarianism to a character whose meticulous demeanor and love of order consciously inherits the mantle of Sherlock Holmes (whose vast collection of tobacco samples and bottles of chemicals are the ancestors of CSI's high-tech crime lab). This is a series in which scientific evidence-gathering is elevated to the status of a religion. "When a tree falls in the forest, even if no one is around to hear, it doesmake a sound," affirms Grissom with the calm assurance of a yogi on the path to Enlightenment.

And just when CSIstarts to seem a little toopat, just when the trail of clues seems a little tooneat, the show always seems able to throw a surprise or two at us: perhaps there has been no crime after all; perhaps the evidence concerns a completely different crime altogether; or perhaps, as in one brave episode concerning brothers implicated in multiple murders, the evidence simply isn't good enough to convict the right man, even when Grissom knows which one really is guilty. As a result, every episode is simply compulsive viewing. —Mark Walker

Brian De Palma This terrifying adaptation of Stephen King's bestselling horror novel was directed by shock maestro Brian De Palma for maximum, no-holds-barred effect. Sissy Spacek stars as Carrie White, the beleaguered daughter of a religious kook (Piper Laurie) and a social outcast tormented by her cruel, insensitive classmates. When her rage turns into telekinetic powers, however, school's out in every sense of the word. De Palma's horrific climax in a school gym lingers forever in the memory, though the film is also built upon Spacek's remarkable performance and Piper Laurie's outlandishly creepy one. John Travolta has a small part as a thug, De Palma's future wife, Nancy Allen, is his girlfriend, and Amy Irving makes her screen debut as one of the girls giving Carrie a hard time. —Tom Keogh

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. —Tom Keogh

Bob Fosse's sexy cynicism still shines in Chicago, a faithful movie adaptation of the choreographer-director's 1975 Broadway musical. Of course the story, all about merry murderesses and tabloid fame, is set in the Roaring '20s, but Chicagoreeks of '70s disenchantment—this isn't just Fosse's material, it's his attitude, too. That's probably why the movie's breathless observations on fleeting fame and fickle public taste already seem dated. However, Renée Zellweger and Catherine Zeta-Jones are beautifully matched as Jazz Age vixens, and Richard Gere gleefully sheds his customary cool to belt out a showstopper. (Yes, they all do their own singing and dancing.) Whatever qualms musical purists may have about director Rob Marshall's cut-cut-cut style, the film's sheer exuberance is intoxicating. Given the scarcity of big-screen musicals in the last 25 years, that's a cause for singing, dancing, cheering. And all that jazz. —Robert Horton

Nick Morris

A unique and inspiring look into the heart of the Cirque du Soleil universe. This 10-year anniversary retrospective made in 1994 highlights the essence of Cirque du Soleil, the amazing energy and spirit that gave birth to the phenomenon and the breathtaking artistry that has captivated and delighted audiences around the world. 1994, 56 minutes.

While some will quibble with the visual design of Cirque du Soleil (a mutant hybrid of a Renaissance harlequinade and the Vegas excess of Liberace or Siegfried and Roy), there's no arguing about the physical prowess of the performers; the acrobatic feats are simply astonishing. Cirque du Soleil: Cirque Reinvente(We Reinvent the Circus) features dazzling dexterity on tightropes, trapezes, bicycles, and the bodies of other performers; impeccable clowning; and a contortionist of truly inhuman flexibility who can walk upside down on her hands and knees in an uncannily spiderlike fashion. Though Cirque du Soleil's spectacle is best experienced live, these particular pieces translate surprisingly well to video. —Bret Fetzer

David Mallet Guy Caron (II) The Chinese consider the lion a symbol of good luck, so it's a half-dragon, half-lion—a dralion—that is the symbol of the East-meets-West fusion of this Cirque du Soleil show, in which 36 Chinese acrobats join the renowned Canadian troupe. Celebrating the four elements as represented in four colors— blue (air), green (water), red (fire), and ochre (earth)—Dralioncombines ancient Chinese circus traditions with Cirque du Soleil's usual stunning elements: the techno-oriented single ring; the multicolored lights and costumes; the music that mixes rock, New Age, and various world influences (though not Chinese); and the madcap clowns that pull a victim out of the audience (he turns out to be a terrific sport).

But of course the main reason to watch a Cirque du Soleil show is the acrobatic stunts, those eye-popping displays of agility, balance, and strength. You'll see an acrobat balancing on one hand, a brawny juggler, a high-flying teeterboard act, a double trapeze, contortionists, a parasol turned and tossed atop a foot, furiously synchronized hoop-diving, unbelievable rope-skipping, and more. While nothing can match the experience of seeing this troupe live, the video does offer some choice close-ups that you would never get from your seat, and you can't ask the live performers to repeat your favorite stunts over and over again. And you'll wantto see them over and over because Dralionis a dazzler. —David Horiuchi

Keith Melton Like all Cirque du Soleil productions, Journey of Manis a showcase for transcendent beauty and astonishing physical achievement. Originally produced as a 3-D IMAX presentation, this 39-minute film remains impressive on smaller screens, although its guiding theme (the evolution of humankind through the power of dreams, faith, and love) is sweetly contrived. It's the way this theme is expressed that matters: elements of Cirque du Soleil's awe-inspiring stage act are performed amidst wondrous settings, accompanied by Benoît Jutras's inspiring score, and metaphorically representing the birth, growth, and maturity of "the Universal Child." The journey of man comes full circle to the sustaining belief that all things are possible. It's this point that is best expressed by the remarkable feats of Cirque du Soleil's lavishly costumed performers, including a uniquely graceful underwater ballet, swooping bungee- cord choreography, two precisely balanced human "statues" in perfect synchronicity, and other wonders that must be seen to be believed. —Jeff Shannon

David Mallet Spectacle-makers Cirque du Soleil push the sheer abundance of eye-candy to the maximum in La Nouba. While some astonishing physical feat is underway, a host of colorful clown characters dart in and out at the fringes of the stage. For some viewers, this will only enhance the experience—others will find them an annoying distraction, particularly the lackluster quartet of white-faced clowns who almost never go away. This, combined with some overly busy camerawork, threatens to undermine the show; but the acrobatics are topnotch as ever. The German Wheel, phenomenal bicyclists, trapeze acts, flying straps, tightrope walkers (including a sequence in which a woman does a hand-stand on top of a tightrope walker's head), chair-balancing, and a particularly impressive extended trampoline routine will make La Noubasatisfying. —Bret Fetzer

Franco Dragone New experience indeed. Cirque du Soleil's Nouvelle Experienceis another video compilation of acrobatic feats and inspired clowning. For example, four women on a suspended platform twist and contort their bodies until you'd swear their spines were made of rubber. Then lithe, muscular men and women launch themselves off of a teeter-totter so they can spin in all directions in mid-air; or they do the splits while walking on a tightrope; or they spin and balance umbrellas with their feet. Plus the stilt-walkers, the trapeze artists, the guy balancing on a giant ball—it goes on and on, all of it precise and impressive. A high point of this particular compilation is David Shiner's ingenious clown routine, in which he wordlessly convinces random audience members to be the actors in a silent movie. It's really, really funny. There's just not much else to be said about it. —Bret Fetzer

David Mallet When Cirque du Soleil first ventured beyond Canada's borders, its powerful, singularly ambitious "reinvention of the circus" seemed quixotic. Inspired by European precedents, this was a big top downsized to a more intimate, single ring, as the French-Canadian troupe jettisoned animals, banished the usual fright-wigged clowns in favor of funny folks versed in (gulp) pantomime, and focused on acrobats, contortionists, and illusionists. Conventional wisdom would have held that such esoterica was doomed, but anyone lucky enough to catch that initial Cirque production (or, for that matter, any of its subsequent offerings) knows just how wrong conventional wisdom can be.

Cirque's creative brain trust, including "guide" Guy Laliberte and director Franco Dragone, have crafted each production as an extended performance piece framed by recurrent characters, unified production design, and underlying themes. Already mesmerizing visual tableaux and astonishing illusions are given an added poignancy (and, occasionally, true gravity) by the productions' underlying comments about society, conformity, beauty, and emotion; even without such conscious motifs, however, Cirque's sheer artistry is never less than riveting.

Quidamrevolves around an Everychild, living with self-absorbed (and deliberately archetypal) parents, who's whisked away to a vividly surreal world where Cirque's remarkable acrobats and artists take literal flight. Their tools are often prosaic—oversized flying rings, an open steel wheel large enough for a single inhabitant, skateboards, ropes—yet the resulting images are stunning. Injecting further drama and atmosphere is the score (here by musical director Benoit Jutras), which is as far removed from traditional circus music as Cirque's "acts" are from Barnum & Bailey. Performed with synthesizers, electric guitar, solo reed instruments, percussion, and voice (often singing in a kind of Esperanto that's tantalizing yet foreign), Cirque's music can be dismissed as New Age only until heard in its intended context.

Like three earlier video productions, Quidamcan't quite achieve the sheer, enveloping wonder that its theatrical source does. But for fans of Cirque du Soleil's unique performance art, this latest presentation sustains the troupe's magic. —Sam Sutherland

Jacques Payette Saltimbancois a celebration of life in which an international troupe of more than fifty performers ranging from 8 to 45 years of age defy gravity and dazzle with their artistry. A panoply of acts in which top-notch acrobatics are executed with masterly beauty, hand-balancing, double trapeze, double tightrope, Chinese poles, the Russian swing, bangees, jugglers, and clowns. Created in 1994 as an antidote to the violence and despair typical of the 20th century, this phantasmagorical show proposes a new vision of urbanity, overflowing with optimism and happiness. Saltimbancois not linear; rather, it is a kaleidoscope, an adventure in which anything can happen. Saltimbancohas its own language, a soul expressed through the voice, the body and music. 1994, 78 minutes.

Nick Morris Dominic Champagne Even by the high standards of Cirque du Soleil, Varekaiis outstanding. While this artsy circus often aspires to weave a narrative through its spectacular events, in Varekaithat story (about a winged boy who falls to earth and falls in love with a caterpillar girl) is as delightful and engaging as the acrobatic feats—which is saying a lot, because these feats will leave you agog. Acrobats juggle each others' bodies with their legs; identical twins spin on aerial straps; a contortionist twists into uncanny pretzel shapes; and much, much more. The elaborate costumes truly do evoke an otherworldly place—one of the clown characters looks like a man's torso emerging from the mouth of a carnivorous plant. Exceptionally well-filmed, and featuring a wealth of extra features about the making of the show, Varekaiis Cirque du Soleil at the peak of its powers: Dizzy, dazzling, and sexy. —Bret Fetzer

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 Clerksas 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

Kevin Smith Kevin Smith knows his audience, so he's mostly indulging his fans with the abundance of Clerks II's DVD extras. On disc 1, three separate commentaries cover the entirety of Clerks II's production, beginning with Smith, producer Scott Mosier, and original Clerksdirector of photography David Klein talking about Clerks II's technical details, focusing on Klein's approach to the film's desaturated colour palette, the benefits of digital color manipulation, and other aspects of the DP's craft. It's informative material for anyone who's curious about the many decisions that go into any film's overall look and feel. Smith and Mosier return for the cast commentary, which quickly devolves into a casual free-for-all with Jason Mewes, Jeff Anderson, Brian O'Halloran, Trevor Fehrman, and Jennifer Schwalbach candidly riffing on varied topics including reluctance or enthusiasm in reprising their Clerksroles, on-set romance (Mewes and Fehrman got some), working with Dawson (who was unavailable when the commentary was recorded), and their general happiness with the film. Smith, Mosier, and Anderson also provide a podcast commentary that's more focused, but mostly redundant if you've listened to the other two. With an introduction by Smith and Mosier, over 30 minutes of deleted scenes are OK but not great, with some nice character interplay between Anderson and O'Halloran, and some mostly-improvisational riffing from stand-up comedians Wanda Sykes and Earthquake in extended takes from their "Mooby's" scene. "A Closer Look at Interspecies Erotica" is a good-natured featurette about Zak "Sexy Stud" Knutson, who gamely made movie history with his leather-clad performance in the infamous "donkey-show" scene.

Mosier and Smith (who obsessively monitors his fans and critics on the Internet) also provide introductions to the features on disc 2, starting with "Back to the Well," a comprehensive 90-minute "making of' documentary that's almost as fun as the movie itself. "How Movies Are Made" is another name for "Blooper Reel," with nearly 30 minutes of flubs, goofs, and crack-ups—enjoyable enough for a quick look, but mostly a waste of time. The 50-minute compilation of "Train Wrecks" (or video production diaries) is more worthwhile, covering such topics as crewmember intros (with Mewes), Smith's early feedback screening (in December 2005) for friends Robert Rodriguez and Quentin Tarantino, and the eight-minute standing ovation that Clerks IIreceived at the 2006 Cannes film festival. All in all, these bonus features function as a video scrapbook for Clerks II's cast and crew, revealing a happy shoot that led, to the relief and delight of everyone involved, to a happy ending of critical and box-office success. The uninitiated should be forewarned that most of these features are just as lewd and crude as Clerks IIitself, but devotees of the View Askewniverse wouldn't have it any other way. —Jeff Shannon

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 The dark, brooding tone of Conan the Barbarianis replaced in this rousing sequel by a lighter, more humorous tone and one of the campiest casts ever assembled. This time, Conan is assigned by a duplicitous queen (Sarah Douglas) to escort a virgin princess (Olivia d'Abo) on a treacherous trek to a crystal palace where they will retrieve a priceless gemstone. Basketball champ and self-described Lothario Wilt Chamberlain plays Bombaata, a warrior sent on a secret mission to kill Conan, and the androgynous Grace Jones plays Zula, a wild woman who becomes Conan's loyal ally. Some consider this sequel a disappointment, but the film makes no apologies for its silliness, and that's the key to its success as gloriously pulpy entertainment. —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

Jean-Paul Rappeneau Director Jean-Paul Rappeneau and cowriter Jean-Claude Carriere had the brilliant idea of casting France's most lovably vulnerable hunk, the massive Gerard Depardieu, in one of French literature's meatiest roles: the sword-wielding poet Cyrano. Equipped with a massive nose and a heart to match, Depardieu soars as the heart-broken soldier who must lend his words of love to another man to woo the woman he yearns for. Rappeneau spared no expense in taking this Edmond Rostand play into realistic locations for the battle scenes in the second act, making the film as exciting as it is romantic and funny. Depardieu attacks the role in great gulps, consuming all the oxygen in any room he enters. Macho but sensitive, he creates a larger-than-life Cyrano, whose wrenching sadness at the lack of interest from his lady love will have you reaching for the tissues. —Marshall Fine

Michael Gordon Edmond Rostand's ineffably romantic play about the big-nosed soldier and swordsman with a poet's soul looks stagey in this 1950 film adaptation. But, thanks to a heartfelt performance by Jose Ferrer (who won an Oscar for the role), the beauty of Rostand's words shines through. Ferrer plays Cyrano, who is in love with the beautiful Roxanne but is unable to tell her so for fear that she will reject him because of his extremely prominent nose. In a heart-breaking turn, she confesses her love to him—but it is love for another man, a soldier under his command named Christian. Christian, however, is a good-hearted but tongue-tied youngster, and so the older Cyrano woos Roxanne vicariously by supplying Christian with his own words of love, most famously in a balcony scene in which Cyrano speaks for himself while pretending to be Christian. Ferrer is tender, tough, and funny and single-handedly pulls this film to near-greatness. —Marshall Fine

Stuart Gordon Based on a short story by HP Lovecraft, the undisputed master of macabre Paul and his girlfriend Barbara are celebrating the success of their new company on a yacht off the coast of Spain. When a sudden storm smashes their boat on a reef, Barbara and Paul swim to the nearest town for help. The decrepit fishing village of Imboca at first seems to be deserted, but unblinking eyes peer out from boarded-up houses. The strange inhabitants offer little help to the stranded couple. By nightfall, Barbara is missing and Paul finds himself pursued by the entire town but a town of what?

System Requirements:

Running Time 98 Min

Format: DVD MOVIE

Mark Steven Johnson Darker than its popular comic-book predecessor Spider-Man, the $80 million extravaganza Daredevilwas packaged for maximum global appeal, its juvenile plot beginning when 12-year-old Matt Murdock is accidentally blinded shortly before his father is murdered. Later an adult attorney in New York's Hell's Kitchen, Murdock (Ben Affleck) uses his remaining, superenhanced senses to battle crime as Daredevil, the masked and vengeful "man without fear," pitted against dominant criminal Kingpin (Michael Clarke Duncan) and the psychotic Bullseye (Colin Farrell), who can turn almost anything into a deadly projectile. Daredevil is well matched with the dynamic Elektra (Jennifer Garner), but their teaming is as shallow as the movie itself, which is peppered with Marvel trivia and cameo appearances (creator Stan Lee, Clerksdirector and Daredevildevotee Kevin Smith) and enough computer-assisted stuntwork to give Spidey a run for his money. This is Hollywood product at its most lavishly vacuous; die-hard fans will argue its merits while its red-leathered hero swoops and zooms toward a sequel. —Jeff Shannon

Woody Allen roared back at his detractors with Deconstructing Harry, a bitterly funny treatise about the creative process. Known to mine his often tumultuous personal life for his movies, the embattled writer-director-star didn't bother to make his alter ego likable in this movie: Harry Block (Allen) pops pills, frequents prostitutes, and cheats on the women in his life, then writes about their foibles in thinly disguised fiction. No wonder they're all furious with him. As Harry journeys to his alma mater with a hooker, ill pal, and kidnapped son, a series of flashbacks unravel, juxtaposing Harry's relationships with their "slightly exaggerated" fictional counterparts. There are amusing cameos throughout, including a humorous turn by Demi Moore as a fictitious ex-wife who "became Jewish with a vengeance," and Billy Crystal as the devil who found Hollywood too nasty for his liking. The humor is dark and caustic, but well worth it;Deconstructing Harryis a near-brilliant mediation on the sometimes queasy relationship between art, creator, and critic. —Diane Garrett

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

John McTiernan The second sequel to the mold-making action film Die Hardbrings Detective John McClane (Bruce Willis) to New York City to face a better villain than in Die Hard 2. Played by Jeremy Irons, he's the brother of the Germanic terrorist-thief Alan Rickman played in the original film. But this bad guy has his sights set higher: on the Federal Reserve's cache of gold. As a distraction, he sets McClane running fool's errands all over New York—and eventually, McClane attracts an unintentional partner, a Harlem dry cleaner (Samuel L. Jackson) with a chip on his shoulder. Some great action sequences, though they can't obscure the rather large plot holes in the film's final 45 minutes. —Marshall Fine

For longtime fans and un-Zapped neophytes alike, Does Humor Belong in Music?presents the late, great Frank Zappa at his mischievous best. Unlike the infamously rambling Baby Snakes, this hour-long, digitally remastered 14-song set (culled from FZ's performance at the Pier in New York City on August 26, 1984) is 95% music, punctuated with brief interview clips (including the inane titular question, and Frank's expectedly affirmative response), and featuring one of the tightest bands that Zappa ever assembled. Everybody participates in Zappa's unique parade of musical fusion, street theater, and defiant anti-establishment sarcasm, with Zappa playing masterful conductor when he's not riffing with nimble-fingered fretwork (notably during "Zoot Allures,""Cosmik Debris," and Greg Allman's "Whipping Post," the set's only cover song). His trademark humor extends to all of his bandmates, especially Ray White and Ike Willis (guitars, vocals) and Bobby Martin (keyboards, vocals), and any topic is fair game for Zappa's skewering, frequently explicit lyrics, from pop-culture sellouts and corrupt recording executives ("Tinsel Town Rebellion") to greedy politicians ("Hot Plate Heaven at the Green Hotel"). Each song is performed to perfection while espousing FZ's impassioned philosophy of taking nothing seriously except the music. In that regard, this Zappa LiveDVD represents pure genius at work, having fun and taking no prisoners. —Jeff Shannon

Kevin Smith is a conundrum of a filmmaker: he's a writer with brilliant, clever ideas who can't set up a simple shot to save his life. It was fine back when Smith was making low-budget films like Clerksand Chasing Amy, both of which had an amiable, grungy feel to them, but now that he's a rising director who's attracting top talent and tackling bigger themes, it might behoove him to polish his filmmaking. That's the main problem with Dogma—it—it's an ambitious, funny, aggressively intelligent film about modern-day religion, but while Smith's writing has matured significantly (anyone who thinks he's not topnotch should take a look at Chasing Amy), his direction hasn't. It's too bad, because Dogmais ripe for near-classic status in its theological satire, which is hardly as blasphemous as the protests that greeted the movie would lead you to believe.

Two banished angels (Ben Affleck and Matt Damon) have discovered a loophole that would allow them back into heaven; problem is, they'd destroy civilization in the process by proving God fallible. It's up to Bethany (Linda Fiorentino), a lapsed Catholic who works in an abortion clinic, to save the day, with some help from two so-called prophets (Smith and Jason Mewes, as their perennial characters Jay and Silent Bob), the heretofore unknown 13th apostle (Chris Rock), and a sexy, heavenly muse (the sublime Salma Hayek, who almost single-handedly steals the film). In some ways Dogmais a shaggy dog of a road movie—which hits a comic peak when Affleck and Fiorentino banter drunkenly on a train to New Jersey, not realizing they're mortal enemies—and segues into a comedy-action flick as the vengeful angels (who have a taste for blood) try to make their way into heaven. Smith's cast is exceptional—with Fiorentino lending a sardonic gravity to the proceedings, and Jason Lee smirking evilly as the horned devil Azrael—and the film shuffles good-naturedly to its climax (featuring Alanis Morissette as a beatifically silent God), but it just looks so unrelentingly... subpar. Credit Smith with being a daring writer but a less-than-stellar director. —Mark Englehart

With their progressive metal style and exceptional musicianship (learned at the Berklee School of Music) Dream Theater grew to prominence with their MTV hit "Pull Me Under" in 1992. During that time Dream Theater developed a rabid fan base that remains with them today - especially when it comes to their mind-blowing live shows. This 2 DVD set, Images And Words: Live In Tokyo/5 Years In A LIVEtime, is a must-own for any Dream Theater fan. The 2-DVD set is jam-packed with over 3 hours of footage: live performances along with 6 music videos and memorable behind-the-scenes interviews.

A treasure-trove for Dream Theater fans, Live at Budokanpresents an entire three-hour performance at Tokyo's famed Budokan arena on April 26, 2004, along with a bonus disc rich in supplementary material. Disc 1 finds the metallic progressive-rock quintet at its awe-inspiring best, plowing through its catalog of dramatic epics and jack-hammer instrumentals, including five of the seven songs from 2003's Train of Thought. Disc 2 features an extended drum solo from percussionist extraordinaire Mike Portnoy; gear tours from guitarist John Petrucci and keyboardist Jordan Rudess (fascinating for lay people and downright revelatory for musicians); and a half-hour documentary on DT's 2004 stint in Japan punctuated by tantalizing snippets of band rehearsals. The shooting and editing for the concert are a music lover's dream, with lengthy shots that linger on the performances of individual band members. Disc 2 takes this even further with a multi-angle sequence of the 12-minute "Instrumedley."

Production values are extremely high: it's a widescreen presentation shot on high-def video and nicely mixed for multichannel Dolby Digital 5.1 surround sound (with a thinner, collapsed version of the same for Dolby 2.0). It must be noted, however, that the center, subwoofer, and surround channels get jumbled right at 1:35:30 on disc 1. The front left/right channels remain in place, but the signals for the other four speakers play non-musical chairs. People listening in 2.0 will experience a brief dropout at that point. —Michael Mikesell

Florian Kern Like many progressive-rock groups from King Crimson, Pink Floyd, and Yes to Genesis, Rush, and Queensryche, Dream Theater has followed its own musical and artistic agenda, trends and hipness be damned. That single-mindedness is borne out on Metropolis 2000: Scenes from New York, a full-length concert video shot at Roseland Ballroom in New York City in August 2000; it was the final show on the group's tour supporting its release Scenes from a Memory. With its intricate rhythms and complex song structures, Dream Theater's music is serious and somber to a fault; when gospel singer Theresa Thomason and a backing chorus are brought on for a few numbers, the effect is strangely soothing, as if a layer of humanity smothers the impeccable craftsmanship. The video is decked out in visuals of a mostly silly sort, often literally spelling out the album's narrative (or what passes for it), including reenactments and a portentous narrator. It's all cleverly put together (drummer Mike Portnoy gets director credit), and Kevin Shirley's audio mixing presents the music with clarity and undeniable power. Fans of Dream Theater won't need to be told to snap this up; those unconvinced, however, are not likely to become converts. —Kevin Filipski

The tenacious odyssey of Dream Theater culminates in one of their finest concerts ever on this magnificent Score: 20th Anniversary World TourDVD. Just how good is this blazing prog-metal performance, recorded at New York City's radio City Music Hall on April 1, 2006? For starters, it's easy to believe the band's drummer and co-founder, Mike Portnoy, when he ends the nearly three-hour show by saying "this was one of the best nights of our career." Then consider that for one brief but shining moment in mid-September 2006, Scorenudged Pink Floyd's Pulseout of the #1 spot on the bestselling music DVD charts, proving without a doubt that DT's loyal fan base was more than willing to elevate the band to an unprecedented level of critical and commercial success. It's a win-win scenario for everyone, because it's obvious, from this performance and the OctivariumCD that spawned it, that Scorerepresents 20 years of bold perseverance, and the sheer power of combined talents against the fickle forces of a music industry that repeatedly tried, and failed, to compromise Dream Theater's unique creative vision.

For longtime fans, Scoreoffers an abundance of material that's exclusive to this release, with minimal crossover from previous Dream Theater DVDs. "The Spirit Carries On" is a natural highlight, and James LaBrie's vocals are as pristine here as they are throughout the entire concert. But there can be little doubt that this gig will be best remembered for the flawless performances of the DT epics "Six Degrees of Inner Turbulence,""Octivarium," and a jaw-dropping encore rendition of "Metropolis," all spectacularly accompanied by the Octivarium Orchestra under the baton of arranger and conductor Jamshied Sharifi. These massive arrangements have been beautifully mixed in 5.1 Dolby Digital or equally crisp PCM stereo, and each member of Dream Theater is given ample opportunity to demonstrate their virtuoso skills, including several transcendent solos by guitarist John Petrucci and keyboardist Jordan Rudess (the latter proving his mastery of the lap steel guitar, vintage Moog synthesizer and the curiously amazing Continuum Fingerboard). Of course, one must never underestimate the awesome bass foundation laid by John Myung, whose priceless contribution is sonically ever-present, if not always visually apparent. As directed by Portnoy, however, Scoreis totally focused on the music, gracefully and unobtrusively covering the concert from a variety of visually advantageous angles, and edited (by Chris Osterhus) to follow every beat, transition, and solo with breathtaking precision. All in all, Scoreis easily on par with Pulse, and arguably surpasses the Floyd DVD in terms of overall performance. It's a godsend for fans, and a perfect introduction for the band's ever-growing audience of new and converted fans. — Jeff Shannon

On the DVD
"The Score So Far" is an outstanding documentary that fully chronicles Dream Theater's history from its earliest days (when Portnoy, Petrucci, and Myung met at Boston's Berklee College of Music) to the Radio City concert on April 1, 2006. Personnel changes are candidly addressed (as opposed to some bands, DT don't hide their past difficulties, and credit is always given when due), and the film serves as a tribute to the band's refusal to bow to commercial pressures. (It's no wonder Mike Portnoy feels a gratifying sense of vindication; after 20 years, he and his bandmates fully deserve it.) Also included is the amusing "Octivarium Animation" shown during the concert, and three live performances (from 1993, 2002 and 2005) that further illustrate Dream Theater's ability to refine and/or redefine its sound and image while keeping up with the times. —Jeff Shannon

Tim Burton Edward Scissorhandsachieves the nearly impossible feat of capturing the delicate flavor of a fable or fairy tale in a live-action movie. The story follows a young man named Edward (Johnny Depp), who was created by an inventor (Vincent Price, in one of his last roles) who died before he could give the poor creature a pair of human hands. Edward lives alone in a ruined Gothic castle that just happens to be perched above a pastel-colored suburb inhabited by breadwinning husbands and frustrated housewives straight out of the 1950s. One day, Peg (Dianne Wiest), the local Avon lady, comes calling. Finding Edward alone, she kindly invites him to come home with her, where she hopes to help him with his pasty complexion and those nasty nicks he's given himself with his razor-sharp fingers. Soon Edward's skill with topiary sculpture and hair design make him popular in the neighborhood—but the mood turns just as swiftly against the outsider when he starts to feel his own desires, particularly for Peg's daughter Kim (Winona Ryder). Most of director Tim Burton's movies (such as Pee Wee's Big Adventure, Beetlejuice, Batman) are visual spectacles with elements of fantasy, but Edward Scissorhandsis more tender and personal than the others. Edward's wild black hair is much like Burton's, suggesting that the character represents the director's own feelings of estrangement and co-option. Johnny Depp, making his first successful leap from TV to film, captures Edward's childlike vulnerability even while his physical posture evokes horror icons like the vampire in Nosferatuand the sleepwalker in The Cabinet of Dr. Caligari. Classic horror films, at their heart, feel a deep sympathy for the monsters they portray; simply and affectingly, Edward Scissorhandslays that heart bare. —Bret Fetzer

Álex de la Iglesia Spain released, PAL/Region 2 DVD: it WILL NOT play on standard US DVD player. You need multi-region PAL/NTSC DVD player to view it in USA/Canada. Languages: o English (subtitles) o Spanish (subtitles) o Spanish (Dolby Digital 5.1) Synopsis: Rafael is an ambitious, seductive man. He likes attractive women, elegant clothes and select environments. He works in a big department store. He has turned the Womens Section into his own domain. He was born to sell, its in his blood. Rafael aims to become the new Floor manager. His main rival to hold the post is Don Antonio, the veteran in charge of the mens section. But fate intervenes and Don Antonio dies accidentally after a heated discussion. The only witness to the crime is Lourdes, a dreadful, naïve and obsessive shop assistant who doesnt hesitate to blackmail Rafael into becoming her lover, husband and slave. Rafael despairs as he sees his sophisticated world crumbling little by little into a hell of vulgarity. In the grip of madness he thinks up an infallible plan to free himself from Lourdes. This time he cant even afford to make one mistake. Everything has to be ferpect.. Special Features: o Commentary o Deleted Scenes o Filmographies o Interactive Menu o Making Of o Scene Access o Storyboards o Trailer(s)

Alex De La Iglesia

Robert Rodriguez Before Robert Rodriguez's El Mariachi, Mexicans in North American action films were typically maids, drug dealers, or prison inmates. Even if the Cisco Kid wasa friend of yours, you handled a dust cloth or a Mac-10 if you lasted in Hollywood longer than a New York minuto. But when El Mariachicrossed the border in 1992, things changed. Granted, it still involved a drug lord in a shoot-em-up, bang-bang, but this time the good guy was a Mexican. Austin-based Rodriguez made El Mariachifor a fistful of pesos and a little help from his friends. He wrote, directed, coproduced, edited, andoperated the camera. Plus, he assembled a cast that had never acted before to work por nada. All for a paltry $7,000, a milagro without a beanfield war.

Desperadocontinues the outrageous action adventure. Working with a much bigger budget, Rodriguez returns the nameless mariachi to nonstop action. Again thrust into a world he never made, the hero takes his guitar-case arsenal deep into the criminal labyrinth of Bucho (Joaquim de Almeida), el gran chingonof the Mexican drug lords. With an amigo (Steve Buscemi) and a beautiful bookstore owner (Salma Hayek), el mariachiconfronts an outrageous cast along the way, including a bartender (Cheech Marin), a drug deal pick-up guy (Quentin Tarantino), and the original mariachi (coproducer Carlos Gallardo) as a new-found compa'. Antonio Banderas has the lead this time, and if he's not quite up to the challenge, it's probably because he's Spanish, not Mexican, a distinction not lost by anyone raised on what the popular media now calls "ethnic food." That said, Desperadois not to be missed. Using intelligence, romance, and humor—as well as plenty of explosive, surreal violence—Rodriguez again showcases the timeless struggle between the forces of darkness and light. And, in the process, he's recasting the mold for the contemporary action hero—kids now argue about who gets to play the Mexican. —Stephan Magcosta

Juan Jose Campanella El Mismo Amor, La Misma Lluvia (Same Love, Same Rain) PAL/REGION 2 DVD. Ricardo Darin, Soledad Villamil, Eduardo Blanco. Directed by Juan Jose Campanella.

Rob Bowman While 2003's Daredevilwas a conventional superhero movie, the 2005 spinoff, Elektra, is more of a wuxia-styled martial arts/fantasy flick. Elektra (Jennifer Garner) has returned to her life as a hired assassin, but she balks at an assignment to kill a single father (Goran Visnjic, ER) and his teenage daughter (Kirsten Prout). That makes her the target of the Hand, an organization of murderous ninjas, scheming corporate types, and a band of stylish supervillains seeking to eliminate Elektra and tip the balance of power in the ongoing battle of good vs. evil.

As the star of Alias, Garner has proven that she can kick butt with the best of them, and some of the visual effects are impressive, but the action sequences tend to be anticlimactic, and there's not much to the story. Fans will notice numerous references to Frank Miller's comic books, but there's very little resemblance to Miller's cold-blooded killer (Elektra with an agent? Elektra referring to herself as a "soccer mom"?).

Is Elektrabetter than Daredevil? Not really, even with the distinct advantage of having all Garner and no Ben Affleck. That could be the spinoff's greatest disappointment: after Spider-Man 2raised the bar for comic-book movies, Elektralowered it back to Daredevil's level. Directed by Rob Bowman (the X-Filesmovie), and featuring Terence Stamp as the mysterious mentor Stick, Will Yun Lee (Die Another Day) as the chief villain, and NFL-player-turned-mixed-martial-arts-champion Bob Sapp as the immovable Stone.

DVD features
Ben Affleck's much-rumored cameo is one of the deleted scenes on the ElektraDVD. It's a one-minute throwaway, and while he's supposedly appearing as Matt Murdock (who romanced Elektra in Daredevil), the barrage of celebrity gossip makes it impossible to see him as anything other than Jennifer Garner's real-life boyfriend. There's also a making-of featurette, which is mostly promotional hype other than a few interesting effects shots; four editing featurettes; and Jennifer Garner's videotaped message to ComicCon. —David Horiuchi

More on Elektra

Elektra: The Album(Soundtrack CD)

Elektra: The Movie(Comic Adaptation)

Frank Miller Comic Books

Daredevil(Director's Cut) (DVD)

Jennifer Garner stars in Alias(DVD)

More Superhero DVDs

Michael Moore To anyone who trulyunderstands what it means to be an American, Michael Moore's Fahrenheit 9/11should be seen as a triumph of patriotic freedom. Rarely has the First Amendment been exercised with such fervor and forthrightness of purpose: After subjecting himself to charges of factual errors in his gun-lobby exposé Bowling for Columbine, Moore armed himself with a platoon of reputable fact-checkers, an abundance of indisputable film and video footage, and his own ironically comedic sense of righteous indignation, with the singular intention of toppling the war-ravaged administration of President George W. Bush. It's the Bush presidency that Moore, with his provocative array of facts and figures, blames for corporate corruption, senseless death, unnecessary war, and political favoritism toward Osama Bin Laden's family and Saudi oil partners following the terrorist attacks of September 11, 2001. Moore's incendiary film earned Palme d'Or honors at Cannes and a predictable legion of detractors, but do yourself a favor: Ignore those who condemn the film without seeing it, and let the facts speak for themselves. By honoring American soldiers and the victims of 9/11 while condemning Bush's rationale for war in Iraq, Fahrenheit 9/11may actually succeed in turning the tides of history. —Jeff Shannon

Dominic Polcino What better way to launch Family Guy's sixth season and commemorate Star Wars' 30th anniversary than with this double-length Very Special Episode, a full-scale, awesomely animated spoof that recasts George Lucas' saga with Family Guy's galaxy of characters: Chris (Seth Green) is Luke; Lois (Alex Borstein) is Princess Leia; Peter (Seth McFarlane) is Han Solo, but not, as expected, Jabba the Hut; Brian (Seth, again) is Chewbacca; Quagmire (and again, Seth) is C3PO; Cleveland is R2D2; Herbert, the creepy senior pedophile, is Obi-Wan (both voiced by Mike Henry); and, of course, Stewie (Seth, already) is Darth Vader ("My diapers have gone over to the dark side"). Poor Meg is reduced to a cameo as the hideous reptilian creature that haunts the garbage compactor. Blue Harvestis reverently faithful to A New Hope, while engaging in typical Family Guypop-culture references (everything from those old Grey Poupon commercials to Doctor Who, Airplane, Dirty Dancing, and Deal or No Deal) and bizarre digressions (the iconic opening crawl detours into an appreciation of a "way naked" Angelina Jolie in Gia). Along for the wild ride are Judd Nelson, who contributes a voice cameo as John Bender for a Breakfast Clubgag, Rush Limbaugh railing against futuristic affirmative action on Tatooine talk radio, and Beverly D'Angelo and Chevy Chase as the vacationing Griswolds observing the rebellion from their orbiting station wagon. A Star Warsspoof in 2007 isn't exactly uncharted territory. As Chris Griffin notes in this episode's final moments, Robot Chickenbrilliantly did it months earlier (and let us not forget Mel Brooks'Spaceballsfrom 1987; or, on second thought...). But the Force is strong with Family Guy, and who could resist the opportunity to hear the Muzak playing in a Death Star elevator? —Donald Liebenson

Beyond Family Guy: Blue Harvest

The Family GuySeries

The Star WarsStore

More from Fox

Stills from Family Guy: Blue Harvest

Earth is a desolate wasteland in Final Fantasy: The Spirits Within. Humanity has been decimated by an invasion of Phantoms, insubstantial aliens that extract and devour the spirits of living things. The few remaining humans have retreated to a handful of cities that are protected by massive bio-energy shields. The beautiful Dr. Aki Ross (voiced by Ming-Na) and her mentor Dr. Sid (Donald Sutherland) have discovered that the energy signatures of eight key Earth spirits can cancel out and destroy the Phantoms. With the help of Captain Edwards (Alec Baldwin) and his band of marines, they must scour the globe for the last two remaining spirits before General Hein (James Woods) manipulates the refugee government into attacking the aliens with an orbital laser that may also destroy the Earth.

Hironobu Sakaguchi's film is taken from the popular Final Fantasyvideo game franchise, which is particularly well suited to film adaptation with its series of original stories, but the movie features entirely new characters and settings. And like Toy Storyand Shrek, Final Fantasy: The Spirits Withinis completely computer generated. Unlike those cartoon comedies, though, The Spirits Withinis a serious science fiction drama with astonishingly human digital actors. Aki, the female lead, appeared in a full-page spread in Maximmagazine's Hot 100 list—and was indistinguishable from the real-life models. The setting and conflict make for incredible action, but it's the larger issues, character interaction, and human elements that really make the movie shine. The Spirits Withinis not simply a science fiction movie, in the same way that Crouching Tiger, Hidden Dragonis not simply a kung fu flick. The result is a fantastic summer movie with better action and more emotion than Pearl Harbor, and actors more lifelike than those in that other video game movie, Tomb Raider. —Mike Fehlauer

This unbearable quartet of stories was written and directed by hot filmmakers Quentin Tarantino (Pulp Fiction), Robert Rodriguez (El Mariachi), Allison Anders (Gas Food Lodging), and Alexandre Rockwell (In the Soup), which only proves that even the smart guys can really blow it sometimes. The anthology is linked by the hotel in which all the events are taking place, and by Tim Roth as a bellboy flitting from scene to scene. Nobody overcomes the insufferable air of self-congratulation that permeates this exercise in forced hipness. With Bruce Willis, Madonna, Lili Taylor, Ione Skye, Jennifer Beals, and Antonio Banderas. —Tom Keogh

Touted as "a movie about people who do stuff that is not normal," Frank Zappa's Baby Snakeschronicles a late-'70s Halloween stand in New York City (a zany enough proceeding in its own right) with digressions throughout the first half for backstage antics, band interviews, and some outlandish clay animation from Bruce Bickford, with whose work Zappa was obviously smitten. Onstage, Zappa is a live wire, the audience is appropriately rambunctious, and the band—an especially potent incarnation of the famous Mothers of Invention—is tight as could be. The film amounts to a three-hour musical carnival whose participants lack any trace of artistic or personal inhibition. Zappa, who died in 1993, always worked with consummate musicians, and Baby Snakesshowcases the cream of the crop: Terry Bozzio (one of the greatest drummers ever to command a kit), bassist Patrick O'Hearn, keyboard wizard Tommy Mars, and even pop chameleon Adrian Belew.

The DVD packaging, with its deluxe miniature dossier on Zappa and the film, is fabulous, and the sound and picture seem about as good as they could be, under the influence—that is, the circumstances. Undeniable are Zappa's intelligence and charisma, which flicker and blaze every second he's on screen. The progressive-leaning rock and jazz music is frequently interrupted for meandering spoken interludes and is certainly not for all tastes. But Frank Zappa was a force to behold, and Baby Snakesoffers a unique cultural education for anyone bold enough to give it a spin. "Without deviation," Zappa wrote, "progress is not possible."Baby Snakesis one of Frank's most fervent contributions to progress. —Michael Mikesell

Live performances by two very different groups led by the late Frank Zappa are the main attraction of Dub Room Special, a relatively rare DVD offering from one of contemporary music's most prolific and hard-to-classify figures. There were always two sides to Zappa (who died in 1993), from serious composer/musician to potty-mouthed frat boy, from innovator, iconoclast, and provocateur to juvenile shtick-meister. Both are on display here, but while there's plenty of fooling around, onstage and off, in the end it's Zappa's music that makes the more profound impression. The earlier of the two performances, recorded in 1974 and entitled "A Token of His Extreme," finds George Duke (keyboards), Chester Thompson (drums), the zany Napoleon Murphy Brock (woodwinds), and Ruth Underwood (mallet percussion) joining the guitarist for renditions of "Montana,""Florentine Pogen,""Inca Roads," and others, all showcasing both Zappa's warped sense of humor and the remarkable complexity and avant-garde flavor of his compositions; this is arguably the best band he ever assembled, and perhaps the best visual record of a Zappa gig. The second show, from Halloween 1981, is less distinguished. The musicians, though far less prominent than those from the earlier group (with the exception of hotshot guitarist Steve Vai), are excellent, but the material is weaker, and the entire proceeding is marred by "Stevie's Spanking," a moronic ode to Vai's visit with a kinky groupie. Elsewhere, Bruce Bickford's stop motion clay animation (also featured throughout Baby Snakes, a 2003 Zappa DVD release) is clever but somewhat overused; and there's little excuse for the bits featuring Italian "journalist" Massimo Bassoli (whose main talent seems to be picking his nose) or the inclusion of the very dated "Valley Girl" documentary, featuring Zappa's daughter Moon Unit. —Sam Graham

Robert Rodriguez From a match made in heaven comes a movie spawned in hell! Young hotshot director Robert Rodriquez (El Mariachi, Desperado) teamed up with Pulp Fictionauteur Quentin Tarantino (offering his services as writer and co-star) to make this outrageous, no-holds-barred hybrid of high-octane crime and gruesome horror. QT plays Richard Gecko, a borderline psychopath who breaks his career-criminal brother, Seth (George Clooney), out of prison, after which they rob a bank and leave a trail of dead and wounded in their bloody wake. Then they hijack a mobile home driven by a former Baptist minister (Harvey Keitel) who quit the church after his wife's death and hit the road with his two children (played by Juliette Lewis and Ernest Liu). Heading to Mexico with their hostages, the infamous Gecko brothers arrive at the Titty Twister bar to rendezvous for a money drop, but they don't realize that they've just entered the nocturnal lair of a bloodthirsty gang of vampires! With not-so-subtle aplomb, Rodriguez and Tarantino shift into high gear with a nonstop parade of gore, gunfire, and pointy-fanged mayhem featuring Salma Hayek as a snake-charming dancer whose bite is much worse than her bark. If you're a fan of Tarantino's lyrical dialogue and pop-cultural wit, you'll have fun with the road-movie half of this supernatural horror-comedy, but if your taste runs more to exploding heads and eyeballs, sloppy entrails and morphing monsters, the second half provides a connoisseur's feast of gross-out excess. Bon appétit! —Jeff Shannon

Albert Hughes Allen Hughes Heavy on atmosphere and light on everything else, From Hell is visually impressive while lacking the depth of the acclaimed graphic novel it's based upon. Making their third feature since 1993's Menace II Society, twins Allen and Albert Hughes approach the Jack the Ripper case with physical precision, re-creating the gritty Whitechapel district of 1888 London in meticulous detail. What they've forgotten is the sheer terror that gripped Whitechapel in the wake of the Ripper's slaying of five prostitutes, investigated here by a Scotland Yard sleuth (Johnny Depp) who uses opium, laudanum, and absinthe to fuel his semiprescient visions of the slayings. Heather Graham attempts a slippery Cockney accent as a would-be victim, while Ian Holm steals the show as a has-been surgeon with devilish delusions of grandeur. Violence is obliquely suggested or briefly graphic, but no matter how you cut it, From Hell is only marginally thrilling as it treads familiar territory. —Jeff Shannon

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 Waras 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

You don't have to be a Star Trekfan to enjoy Galaxy Quest, but it certainly helps. A knowingly affectionate tribute to Trekand any other science fiction TV series of the 1960s and beyond, this crowd-pleasing comedy offers in-jokes at warp speed, hitting the bull's-eye for anyone who knows that (1) the starship captain always removes his shirt to display his manly physique; (2) any crew member not in the regular cast is dead meat; and (3) the heroes always stop the doomsday clock with one second to spare. So it is with Commander Taggart (Tim Allen) and the stalwart crew of the NSEA Protector, whose intergalactic exploits on TV have now been reduced to a dreary cycle of fan conventions and promotional appearances. That's when the Thermians arrive, begging to be saved from Sarris, the reptilian villain who threatens to destroy their home planet.

Can actors rise to the challenge and play their roles for real? The Thermians are counting on it, having studied the "historical documents" of the Galaxy QuestTV show, and their hero worship (not to mention their taste for Monte Cristo sandwiches) is ultimately proven worthy, with the help of some Galaxygeeks on planet Earth. And while Galaxy Questserves up great special effects and impressive Stan Winston creatures, director Dean Parisot (Home Fries) is never condescending, lending warm acceptance to this gentle send-up of sci-fi TV and the phenomenon of fandom. Best of all is the splendid cast, including Sigourney Weaver as buxom blonde Gwen DeMarco; Alan Rickman as frustrated thespian Alexander Dane; Tony Shalhoub as dimwit Fred Kwan; Daryl Mitchell as former child-star Tommy Webber; and Enrico Colantoni as Thermian leader Mathesar, whose sing-song voice is a comedic coup de grâce. —Jeff Shannon

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

John Travolta is the standout in this somewhat cartoonish adaptation of Elmore Leonard's novel about a smalltime Miami enforcer (Travolta) who decides to get into the movie business in L.A. The cast sparkles—Gene Hackman as a failing cut-rate-movie producer, Rene Russo as a failed actress, Danny DeVito as a vain thespian, Delroy Lindo as a mobster who wants a cut of Travolta's film action—and the script is clever. But not clever enough: this isn't Robert Altman's The Player, as far as satires about Hollywood go. But director Barry Sonnenfeld (Men in Black) keeps it cute and brisk and that makes for an enjoyable experience. Travolta is great as a vaguely dangerous, supremely self-confident man whose love of movies makes him almost cuddly. The DVD release includes optional widescreen or standard formats, optional French and Spanish soundtracks, original theatrical trailer, and Dolby digital sound. —Tom Keogh

Quentin Tarantino Loud, fast, and proudly out of control, Grindhouseis 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 Proofis 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

Loud, fast, and proudly out of control, Grindhouseis 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. Rodriguez's Planet Terroris a rollicking horror/sci-fi/action piece about a plague outbreak that turns citizens into cannibalistic murderers; it's heavy on the gore and explosions but also features a terrific cast of A players (Freddy Rodriguez, Naveen Andrews, Marley Shelton) and B-movie vets (Michael Biehn, Jeff Fahey, Tom Savini) and the indelible image of Rose McGowan as a stripper whose torn-off leg is replaced by a high-powered machine gun.

If Tarantino's feature was a nod to the moody, genre-jumping exploitation of the early '70s, Rodriguez's contribution to the Grindhouseaesthetic pays tribute to the manic gorefests from Italy and the States in the early '80s. And much like the film itself, the supplemental features on Terror's double-disc Extended and Unrated presentation have a loose, action-packed and familial vibe that gives fans full access to Rodriguez's one-man-studio approach to moviemaking. The director is featured twice on audio tracks: first, on the feature commentary, which provides a fun tour through the picture's production (as well as information on the upcoming GrindhouseDVD set, which will reunite the two pictures in their theatrical format), and later on the "10-Minute Film School," a fascinating breakneck run through the numerous visual and CGI effects that produced the film's most eye-popping effects, including McGowan's leg/machine gun. Most of the extras echo Rodriguez's informative and entertaining vibe—two featurettes cover the picture's male and female cast (the former offers affectionate tributes to the exploitation vets in the company, including Biehn, Fahey, Michael Parks, and Savini), while "Casting Rebel" is an amusing discussion of how Rodriguez came to bring his own son into the movie, as well as his refusal to disclose the fate of Rebel's character. "Sickos, Bullets, and Explosions" takes a look at Terror's extensive special effects through interviews with stunt coordinator Jeff Dashnaw and members of the visual effects team, while "The Friend, The Doctor, and The Real Estate Agent" chats with three non-actors, all pals of Rodriguez, who wound up with small but significant roles in the picture. The Extended and Unrated aspect of the set is limited to a few extended scenes and extra splatter (sorry, the infamous "Missing Reel" is not recovered for this set), while Grindhouse fans bemoaning the absence of the film's hilarious faux trailers will appreciate the inclusion of Rodriguez's hilarious Machetespot, with Danny Trejo as a death-dealing, lady-loving tough guy gunning for double-crosser Fahey. The set also includes an "Audience Reaction" track: Essentially, it's a whole track of whoops and hollers that allows the viewer to "experience" the film as if they were watching it in an actual grindhouse from back in the day. Its inclusion neither adds to or detracts from enjoying this DVD, but it's wholly indicative of the level of fun Rodriguez had making the picture—and wants to share with his fans. — Paul Gaita

Chris Columbus First sequels are the true test of an enduring movie franchise, and Harry Potter and the Chamber of Secretspasses with flying colors. Expanding upon the lavish sets, special effects, and grand adventure of Harry Potter and the Sorcerer's Stone, Harry's second year at Hogwarts School of Witchcraft and Wizardry involves a darker, more malevolent tale (parents with younger children beware), beginning with the petrified bodies of several Hogwarts students and magical clues leading Harry (Daniel Radcliffe), Ron (Rupert Grint), and Hermione (Emma Watson) to a 50-year-old mystery in the monster-laden Chamber of Secrets. House elves, squealing mandrakes, giant spiders, and venomous serpents populate this loyal adaptation (by Sorcerer's Stonedirector Chris Columbus and screenwriter Steve Kloves), and Kenneth Branagh delightfully tops the supreme supporting cast as the vainglorious charlatan Gilderoy Lockhart (be sure to view past the credits for a visual punchline at Lockhart's expense). At 161 minutes, the film suffers from lack of depth and uneven pacing, and John Williams' score mostly reprises established themes. The young, fast-growing cast offers ample compensation, however, as does the late Richard Harris in his final screen appearance as Professor Albus Dumbledore. Brimming with cleverness, wonderment, and big-budget splendor, Chamberhonors the legacy of J.K. Rowling's novels. —Jeff Shannon

Mike Newell The latest entry in the Harry Pottersaga 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 Potterfilms, 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

Alas! The fifth Harry Potterfilm has arrived. The time is long past that this can be considered a simple "children's" series—though children and adults alike will enjoy it immensely. Starting off from the dark and tragic ending of the fourth film, Harry Potter and the Order of the Phoenixbegins in a somber and angst-filled tone that carries through the entire 138 minutes (the shortest of any HPmovie despite being adapted from the longest book). Hopes of winning the Quidditch Cup have been replaced by woes like government corruption, distorted media spin, and the casualties of war. As the themes have matured, so have the primary characters' acting abilities. Ron (Rupert Grint), Hermione (Emma Watson), and especially Harry (Daniel Radcliffe) are more convincing than ever—in roles that are more demanding.

Harry is deeply traumatized from having witnessed Cedric Diggory's murder, but he will soon find that this was just another chapter in the continuing loss he will endure. Lord Voldemort (Ralph Fiennes) has returned and, in an attempt to conceal this catastrophe from the wizarding public, the Ministry of Magic has teamed up with the wizard newspaper The Daily Prophetto smear young Potter and wise Dumbledore (Michael Gambon)—seemingly the only two people in the public eye who believe the Dark Lord has returned. With no one else to stand against the wicked Death Eaters, the Hogwarts headmaster is forced to revive his secret anti-Voldemort society, the Order of the Phoenix. This welcomes back characters like Mad-Eye Moody (Brendan Gleeson), kind Remus Lupin (David Thewlis), fatherly Sirius Black (Gary Oldman), and insidious Severus Snape (Alan Rickman), and introduces a short list of intriguing new faces. In the meantime, a semi-psychotic bureaucrat from the Ministry (brilliantly portrayed by Imelda Staunton) has seized power at Hogwarts, and Harry is forced to form a secret society of his own—lest the other young wizards at his school be left ill-equipped to defend themselves in the looming war between good and evil. In addition, Harry is filled with an inexplicable rage that only his Godfather Sirius seems to be able to understand.

This film, though not as frightening as its predecessor, earns its PG-13 rating mostly because of the ever-darkening tone. As always, the loyal fans of J.K. Rowling's books will suffer huge cuts from the original plot and character developments, but make no mistake: this is a goodmovie. —Jordan Thompson

On the DVD
The second disc of The Order of the Phoenixfeatures "The Hidden Secrets of Harry Potter," a retrospective on the series so far, with "Potter experts" (i.e., people who run fan sites) weighing in on what's to come. This must have been filmed during production, because all their speculation about the conclusion of the saga is clearly dated and therefore superfluous (since Orderreleased theatrically at the same time as the seventh book, one would've expected a more current analysis). Many of the deleted scenes are mostly extensions, with the exception of one hilarious take of Professor Trelawney (Emma Thompson) trying—unsuccessfully—to eat gracefully during Dolores Umbridge's introduction at Hogwarts. The chatty actress Natalia Tena, who plays Tonks, gives a tour of the set in "Trailing Tonks," even playing a Christmas song she wrote on her guitar, and director David Yates and editor Mark Day demonstrate editing 101 with a feature that lets you edit your own scene from the movie. Watch the feature but skip the self-editing part; the controls are too complicated to navigate and too frustrating to work properly (plus, hit the wrong button and you've gone all the way back to the beginning). A digital copy of the movie is also included on the bonus disc. —Ellen A. Kim

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

Alfonso Cuarón In Harry Potter and the Prisoner of Azkaban Harry Ron and Hermione now teenagers return for their third year at Hogwarts where they are forced to face escaped prisoner Sirius Black who poses a great threat to Harry. Harry and his friends spend their third year learning how to handle a half-horse half-eagle Hippogriff repel shape-shifting Boggarts and master the art of Divination. They also visit the wizarding village of Hogsmeade and the Shrieking Shack which is considered the most haunted building in Britain. In addition to these new experiences Harry must overcome the threats of the soul-sucking Dementors outsmart a dangerous werewolf and finally deal with the truth about Sirius Black and his relationship to Harry and his parents. With his best friends Harry masters advanced magic crosses the barriers of time and changes the course of more than one life. Directed by Alfonso Cuaron and based on J.K. Rowling's third book this wondrous spellbinder soars with laughs and the kind of breathless surprise only found in a Harry Potter adventure.Running Time: 144 min.System Requirements: Running Time 142 MinFormat: DVD MOVIE Genre: ACTION/ADVENTURE Rating: NR UPC: 085392844524 Manufacturer No: 28445

In the ongoing deluge of comic-book adaptations, Hellboyranks well above average. Having turned down an offer to helm Harry Potter and the Prisoner of Azkabanin favor of bringing Hellboy's origin story to the big screen, the gifted Mexican director Guillermo del Toro compensates for the excesses of Blade IIwith a moodily effective, consistently entertaining action-packed fantasy, beginning in 1944 when the mad monk Rasputin—in cahoots with occult-buff Hitler and his Nazi thugs—opens a transdimensional portal through which a baby demon emerges, capable of destroying the world with his powers. Instead, the aptly named Hellboy is raised by the benevolent Prof. Bloom, founder of the Bureau for Paranormal Research and Defense, whose allied forces enlist the adult Hellboy (Ron Perlman, perfectly cast) to battle evil at every turn. While nursing a melancholy love for the comely firestarter Liz (Selma Blair), Hellboy files his demonic horns ("to fit in," says Bloom) and wreaks havoc on the bad guys. The action is occasionally routine (the movie suffers when compared to the similar X-Menblockbusters), but del Toro and Perlman have honored Mike Mignola's original Dark Horse comics with a lavish and loyal interpretation, retaining the amusing and sympathetic quirks of character that made the comic-book Hellboy a pop-culture original. He's red as a lobster, puffs stogies like Groucho Marx, and fights the good fight with a kind but troubled heart. What's not to like? —Jeff Shannon

Ang Lee When the Hulk gets angry, his movie gets good, so you wish he'd get angry more often. Accepting this challenge after the triumphant Crouching Tiger, Hidden Dragon, director Ang Lee has created an ambitious film, based on the Marvel comic created by Stan Lee and Jack Kirby, that succeeds as a cautionary tale about mad science and traumatized children coping with legacies of pain. That's the Hulk's problem: After accidental exposure to gamma radiation, scientist Bruce Banner (Eric Bana) turns into the huge, green, and indestructible Hulk when provoked, and repressed childhood memories fuel his fury. Hobbled by the obligatory "origin story" (to acquaint neophytes with the character's Jekyll-and-Hyde-ish fate), there's room for little else in a sluggish film that struggles to reconcile Lee's stylistic flair (evident in his visual interpretation of comic-book technique) with the razzle-dazzle of a megabudget franchise. What's good is good (Jennifer Connelly essentially echoes her role from A Beautiful Mind, and Nick Nolte is righteously tormented as Banner's father), but the movie's schizoid intentions remain largely unclear. —Jeff Shannon

Alex Proyas In the year 2035 technology and robots are a trusted part of everyday life. But that trust is broken when a scientist is found dead and a skeptical detective (Smith) believes that a robot is responsible. Bridget Moynahan co-stars in this high-tech action thriller that questions whether technology will ultimately lead to mankind's salvation . . . or annihilation.System Requirements: Running Time 115 MinFormat: DVD MOVIE Genre: ACTION/ADVENTURE Rating: PG-13 UPC: 024543151906 Manufacturer No: 2225190

Neil Jordan When it was announced that Tom Cruise would play the vampire Lestat in this adaptation of Anne Rice's bestselling novel, even Rice chimed in with a highly publicized objection. The author wisely and justifiably recanted her negative opinion when she saw Cruise's excellent performance, which perceptively addresses the pain and chronic melancholy that plagues anyone cursed with immortal bloodlust. Brad Pitt and Kirsten Dunst are equally good at maintaining the dark and brooding tone of Rice's novel. And in this rare mainstream project for a major studio, director Neil Jordan compensates for a lumbering plot by honoring the literate, Romantic qualities of Rice's screenplay. Considered a disappointment while being embraced by Rice's loyal followers, the movie is too slow to be a satisfying thriller, but it is definitely one of the most lavish, intelligent horror films ever made. —Jeff Shannon

Joel Coen Ethan Coen A sleek George Clooney and a seductive Catherine Zeta-Jones square off magnificently in the divorce comedy Intolerable Cruelty. The plot is simple: Lawyer supreme Miles Massey (Clooney, Out of Sight, Ocean's Eleven) skillfully outmaneuvers gold-digger Marylin Rexroth (Zeta-Jones, Chicago, Traffic) when she divorces her wealthy husband—and she sets out to get revenge. But this movie comes from the creative minds of the Coen Brothers (Fargo, Raising Arizona, O Brother Where Art Thou?), and so Intolerable Crueltyincludes a Scottish wedding chapel in Vegas, an asthmatic hit man, fluffy-dog-stroking European nobility, and a legendarily unbreakable pre-nuptial agreement. Still, it's pretty restrained for the Coens; smooth and consistent, it never stumbles as disappointingly as their movies can, but also never quite hits the operatic pitch of their best work. It's still damn funny, though, with top-notch performances from the leads as well as Geoffrey Rush, Cedric the Entertainer, and Billy Bob Thornton. —Bret Fetzer

James Yukich

The curiosity of Quentin Tarantino's Jackie Brownis Robert Forster's worldly wise bail bondsman Max Cherry, the most alive character in this adaptation of Elmore Leonard's Rum Punch. The Academy Awards saw it the same way, giving Forster the film's only nomination. The film is more "rum" than "punch" and will certainly disappoint those who are looking for Tarantino's trademark style. This movie is a slow, decaffeinated story of six characters glued to a half million dollars brought illegally into the country. The money belongs to Ordell (Samuel L. Jackson), a gunrunner just bright enough to control his universe and do his own dirty work. His just-paroled friend—a loose term with Ordell—Louis (Robert De Niro) is just taking up space and could be interested in the money. However, his loyalties are in question between his old partner and Ordell's doped-up girl (Bridget Fonda). Certainly Fed Ray Nicolette (Michael Keaton) wants to arrest Ordell with the illegal money. The key is the title character, a late-40s-ish flight attendant (Pam Grier) who can pull her own weight and soon has both sides believing she's working for them. The end result is rarely in doubt, and what is left is two hours of Tarantino's expert dialogue as he moves his characters around town.

Tarantino changed the race of Jackie and Ordell, a move that means little except that it allows Tarantino to heap on black culture and language, something he has a gift and passion for. He said this film is for an older audience although the language and drug use may put them off. The film is not a salute to Grier's blaxploitation films beyond the musical score. Unexpectedly the most fascinating scenes are between Grier and Forster: two neo-stars glowing in the limelight of their first major Hollywood film after decades of work. —Doug Thomas

With sidesplitting dialogue and rampant profanity, Jay and Silent Bob Strike Backreunites Kevin Smith's dynamic duo in supreme lowbrow style. It's the fifthcomedy in Smith's celebrated New Jersey "trilogy." Here Quick-Stop potheads Jay (Jason Mewes) and Silent Bob (Smith) wreak vengeance on Hollywood, where Miramax is making a "Bluntman & Chronic" feature inspired by J. and S.B., but without their permission. En route from Jersey to La La Land, Jay and his "hetero life mate" encounter sexy jewel thieves (including the delightful Shannon Elizabeth), a precocious orangutan, a dimwit wildlife marshal (Will Ferrell), and a nonstop parade of in-jokes, harmless (yet controversial) gay jokes, and splendid celebrity cameos. While gently biting the Miramax hand that feeds him, and paying affectionate homage to the Star Warssaga, Smith sheds all inhibitions to give Jay and Silent Bob a stellar sendoff that's nasty, sassy, and undeniably hilarious. —Jeff Shannon

With confident style and low-budget ingenuity, Jeepers Creepersgets under your skin, provoking spine-tingling horror when college siblings Trish (Gina Philips) and Darry (Justin Long) encounter a flesh-eating demon along a barren rural highway. After a harrowing car chase that sets the movie's nerve-wracking tone, they investigate suspicious activity near an abandoned church, where a corrugated pipe leads to unimaginable horrors. What follows is a cat-and-mouse game against the regenerating demon, which feeds on fear—and selected body parts—according to a psychic (Patricia Belcher) who adds chilling portent to the routine climax in a besieged police station. Writer-director Victor Salva (Powder) emphasizes primal fear over logic, but plot holes are easily forgiven when you're scared out of your socks. A surprise box-office hit in late summer 2001, Jeepers Creeperswill please even jaded horror fans with its back-to-basics frights. —Jeff Shannon

Kevin Smith Jersey Girlstars Ben Affleck as a workaholic music executive who loses his wife (Jennifer Lopez) in childbirth and has to raise his newborn daughter with the help of his crotchety New Jersey dad (George Carlin). The movie unspools as if writer-director Kevin Smith, normally a highly self-aware filmmaker (Clerks, Chasing Amy, Dogma), set out to put a fresh spin on every cliché he could imagine (parent forced to choose between child and career; parent rushing to attend school performance; etc.)—then forgot to put in the spin. The scenes that aren't lifeless are implausible (Liv Tyler plays the fantasy girl of every awkward boy's dreams). The only real feeling comes from the strong soundtrack. However, Raquel Castro, as the daughter, is an uncanny double for Lopez; when the light plays across Castro's cheekbones just so, you'd swear the casting director simply shrunk Lopez for convenience. —Bret Fetzer

Quentin Tarantino Quentin Tarantino's Kill Bill, Vol. 1is trash for connoisseurs. From his opening gambit (including a "Shaw-Scope" logo and gaudy '70s-vintage "Our Feature Presentation" title card) to his cliffhanger finale (a teasing lead-in to 2004's Vol. 2), Tarantino pays loving tribute to grindhouse cinema, specifically the Hong Kong action flicks and spaghetti Westerns that fill his fervent brain—and this frequently breathtaking movie—with enough cinematic references and cleverly pilfered soundtrack cues to send cinephiles running for their reference books. Everything old is new again in Tarantino's humor-laced vision: he steals from the best while injecting his own oft-copied, never-duplicated style into what is, quite simply, a revenge flick, beginning with the near-murder of the Bride (Uma Thurman), pregnant on her wedding day and left for dead by the Deadly Viper Assassination Squad (or DiVAS)—including Lucy Liu and the unseen David Carradine (as Bill)—who become targets for the Bride's lethal vengeance. Culminating in an ultraviolent, ultra-stylized tour-de-force showdown, Tarantino's fourth film is either brilliantly (and brutally) innovative or one of the most blatant acts of plagiarism ever conceived. Either way, it's hyperkinetic eye-candy from a passionate film-lover who clearly knows what he's doing. —Jeff Shannon

"The Bride" (Uma Thurman) gets her satisfaction—and so do we—in Quentin Tarantino's "roaring rampage of revenge,"Kill Bill, Vol. 2. Where Vol. 1was a hyper-kinetic tribute to the Asian chop-socky grindhouse flicks that have been thoroughly cross-referenced in Tarantino's film-loving brain, Vol. 2—not a sequel, but Part Two of a breathtakingly cinematic epic—is Tarantino's contemporary martial-arts Western, fueled by iconic images, music, and themes lifted from any source that Tarantino holds dear, from the action-packed cheapies of William Witney (one of several filmmakers Tarantino gratefully honors in the closing credits) to the spaghetti epics of Sergio Leone. Tarantino doesn't copy so much as elevate the genres he loves, and the entirety of Kill Billis clearly the product of a singular artistic vision, even as it careens from one influence to another. Violence erupts with dynamic impact, but unlike Vol. 1, this slower grand finale revels in Tarantino's trademark dialogue and loopy longueurs, reviving the career of David Carradine (who plays Bill for what he is: a snake charmer), and giving Thurman's Bride an outlet for maternal love and well-earned happiness. Has any actress endured so much for the sake of a unique collaboration? As the credits remind us, "The Bride" was jointly created by "Q&U," and she's become an unforgettable heroine in a pair of delirious movie-movies (Vol. 3awaits, some 15 years hence) that Tarantino fans will study and love for decades to come. —Jeff Shannon

Chris Nahon Let's face it: No one is usually checking a Jet Li movie for the verbalsparring. In Kiss of the Dragon, Chinese undercover agent Li chops his way through Paris after he's framed in some sketchily defined drug sting operation. The fight sequences are tough and quite brutal, and the over-the-top finale is arguably worth the price of admission, wherein an implacable Li takes on the entire Paris Police Bureau, working his way up toward police chief Tchéky Karyo's office through cops, a pair of peroxide-blond twin henchmen, and a whole class of kung fu cadets. Co-screenwriter Luc Besson (La Femme Nikita) should know by now what makes for a nifty genre piece, but the woeful dialogue is a shame, and there aren't nearly enough action sequences to get your blood boiling. Poor Bridget Fonda gives it the old school try in a thankless role as an ex-junkie prostitute from the Midwest whose young daughter is being held captive by duplicitous police chief/drug lord/pimp Karyo (who fairly inhales the scenery). Director Chris Nolan might have pushed further the strangers-in-a-strange-land camaraderie between Li and Fonda, but the script still would've sunk him. —Steve Wiecking

Francis Veber Every wednesday night a few guys have a meal together. There is a game coupled with the meal: each one of them has to bring an "idiot". The game consists in making the idiots talk about there ideas and passions so that the hosts can have a good laugh. At the end they will choose the "idiot of the evening". One of the hosts has invited his idiot home so they could go to the dinner together, but unfortunately he gets a severe pain in his back due to an accident that day and can't go to the "meal of idiots". Even worse is the fact that the idiot tries to help him all the time, and naturally does everything wrong and aggravates every situation.Le Mercredi, pour Pierre Brochant et ses amis, c'est le jour du dîner de cons. Le principe est simple:chacun amène un con. Celui qui a dégoté le plus spectaculaire est déclaré vainqueur. Ce soir, Brochant exulte. Il a trouvé la perle. Le con idéal. "Un conde classe mondiale!" François Pignon, comptable au Ministère des Finances, passionné de modèles réduits en allumettes. Mais ce qu'il ne sait pas, c'est que Pignon est un fieffé porteur de guigne passé maître dans l'art de déclencher les catastrophes...

Christopher Gans

Dick Carruthers Exclamations of religious awe are in order. Legendary and long sought-after, this live Led Zeppelincollection is nothing less than the rock music equivalent of the Holy Grail. Quite simply, this is what all the fuss was about.

Given that they were the biggest band in the world, Zeppelin were notoriously camera-shy in their heyday. Their official filmic legacy until now has been just the fascinating but flawed The Song Remains the Same. While this new set presents some previously unseen footage from the same 1973 Madison Square Garden gigs, its real wonders lie in the earlier (1970) Royal Albert Hall footage and the later Earls Court (1975) and Knebworth (1979) concerts. Everything here looks and sounds new-minted, thanks to painstaking restoration and remastering of both audio and visual sources, a Herculean labor of love on the part of co-producer Dick Carruthers working hand-in-glove with Jimmy Page. Trawling through thousands of yards of previously unseen film and unheard tape recordings—some with missing visuals, some with missing audio—Page and Carruthers have chosen only the best possible footage available. They were also at pains to make the segments segue seamlessly so that the viewer is treated to what feels like a continuous concert—just sample the transition from a grainy Super 8 "Immigrant Song" (Sydney, 1972) to "Black Dog" at MSG.

Highlights? It's not hyperbole to say that every powerhouse minute of this collection (some 230 minutes of concert footage plus another hour and a half of extra DVD material) is a rare musical and visual treat. But hearing Page's violin bow work on "Dazed and Confused" in DTS or Dolby 5.1 is an experience not soon forgotten. —Mark Walker

Peter Clifton, Joe Massot For Led Zeppelin fanatics, this 1976 feature The Song Remains the Same is a treasure of searing live performances, particularly welcome in light of the sad scarcity of such visual material from the band's great decade. Despite the group's road weariness after a long tour, their final, three-night stand at Madison Square Garden in 1973 was full of the old power. Performances of "No Quarter," "Whole Lotta Love," "Black Dog," "Dazed and Confused," and "Stairway to Heaven" underscore Zep's charisma. Trouble is, you don't get an unbroken performance here. Viewers have to wade through a mishmash of documentary insight into the lives of Robert Plant, Jimmy Page, John Bonham, and John Paul Jones, as well as fantasy sequences supposedly inspired by the thoughts and fantasies of the band's individual members. It's mostly garish and silly, but there are some nice elements, especially insights into the late Bonham's life. The DVD doesn't offer much in the way of add-ons (a theatrical trailer is about it), but there is also enhanced viewing for 16 x 9 televisions. —Tom Keogh

This is Les Luthier's third anthology, playing live their most famous works. 1 - El sendero de Warren Sánchez 2 - La balada del 7º regimiento 3 - El explicado 4 - Pepper Clemens sent the messenger: nevertheless the reverend left the herd 5 - Quien conociera a María amaría a María 6 - San Ictícola de los peces 7 - Canción a la independencia de Feudalia 8 - La hora de la nostalgia 9 - Cantata del adelantado Don Rodrigo Díaz de Carreras, de sus hazañas en tierras de Indias, de los singulares acontecimientos en que se vio envuelto y de cómo se desenvolvió

CONTENT: 01. Lo que el sheriff se contó (chistes de saloon) 02. Radio Tertulia (programa radial) 03. Loas al Cuarto de Baño (obra sanitaria) 04. Serenata Tímida (canción pusilánime) 05. Daniel y el Señor (a Dios ópera sacra) 06. Serenata Astrológica 07. Me engañaste una vez más (tanguito) 08. Gloria de Mastropiero (tangum) 09. Serenata intimidatoria (último aviso) 10. Los jóvenes de hoy en día (r.i.p. al rap) 11. Educación sexual moderna (cántico enclaustrado)

Subtitles en English, French, Italian and Portuguese. 2 BONUS TRACKS!!!!! 1. Iniciación a las Artes Marciales (música ceremonial) 2. Romance del Joven Conde, la Sirena y el Pajaro Cucú y la Oveja (romance onomatopéyico) 3. Encuentro en el Restaurante (rapsodia gastronómica) 4. El Acto en Banania (marchas oficiales) 5. El Sendero de Warren Sánchez (salmos sectarios) 6. Concierto de Mpkstroff (concierto para piano y orquesta) 7. Mi Bebé es un Tesoro (balada pueril) 8. Somos Adolescenters, mi Pequeña (motete menor) BONUS TRACKS: 9. El Poeta y el Eco (canción... ón... ón) 10. Homenaje a Huesito Williams (top ten shits) - a) L'otro día caminando - b) Siento algo por tí - c)Dime si ella... - d) El teléfono del amor This show was released on May 13 1987. The recordings were made in: Tracks 1-2-3-4-5-6: Palma Auditorium, Palma, Spain, March 30 1989 Track 7: TV show, Barranquilla, Colombia, November 25 1988 Track 8: TV Show, Santiago de Chile, Chile, August 22 1989. Tracks 9-10: Colón Theatre, Bogotá, Colombia, November 8 1981

Chris Sanders (III) DeBlois, Dean Warm, funny, and imaginative, Lilo & Stitchis the best animated feature the Walt Disney Studios have produced in years. On the planet Turo, mad scientist Jumba Jookiba (voice by David Ogden Stiers) has created a miniature monster programmed for destruction. When the monster escapes to Earth, it's adopted as a pet and named "Stitch" by Lilo (Daveigh Chase), a lonely little Hawaiian girl. Lilo and her older sister Nani (Tia Carrere) have been struggling to stay together since their parents died. Stitch and Lilo share some hilarious adventures, evading welfare officer Cobra Bubbles (Ving Rhames) and galactic police agents. They learn the timely lesson that a family can be something you're born into—or something you assemble. A warmth and sincerity that recall The Iron Giantand the films of Hiyao Miyazaki make Liloa delightful fantasy adults and children can truly enjoy together. —Charles Solomon

Sophomore jinx hit hard in this second film by Kevin Smith, whose debut Clerks transcended the limits of its setting and budget to become something memorably funny. (Smith followed Mallrats with the wonderful Chasing Amy, so Mallratsdefinitely had the old curse.) A ramshackle comedy set in a mall, the film follows several story lines involving lovers, enemies, friends, goofballs, and Smith's own "silent" character, who also appeared in Clerksand Chasing Amy. A heavy self-consciousness weighs on everything, as if Smith forgot how to make obscenity funny instead of tedious. Still, it's nice to see some of the director's film family on screen, among them Jason Lee and Joey Lauren Adams. —Tom Keogh

Sophomore jinx hit hard in this second film by Kevin Smith, whose debut Clerks transcended the limits of its setting and budget to become something memorably funny. (Smith followed Mallrats with the wonderful Chasing Amy, so Mallratsdefinitely had the old curse.) A ramshackle comedy set in a mall, the film follows several story lines involving lovers, enemies, friends, goofballs, and Smith's own "silent" character, who also appeared in Clerksand Chasing Amy. A heavy self-consciousness weighs on everything, as if Smith forgot how to make obscenity funny instead of tedious. Still, it's nice to see some of the director's film family on screen, among them Jason Lee and Joey Lauren Adams. —Tom Keogh

Tim Burton It's enlightening to view Tim Burton's Mars Attacks!as his twisted satire of the blockbuster film Independence Day, which was released earlier the same year, although the movies were in production simultaneously. Burton's eye-popping, schlock tribute to 1950s UFO movies actually plays better on video than it did in theaters. The idea of invading aliens ray gunning the big-name movie stars in the cast is a cleverly subversive one, and the bulb-headed, funny-sounding animated Martians are pretty nifty, but it all seemed to be spread thin on the big screen. On video, however, the movie's kooky humor seems a bit more concentrated. The Earth actors (most of whom get zapped or kidnapped for alien science experiments) include Jack Nicholson, Glenn Close, Annette Bening, Pierce Brosnan, Danny DeVito, Martin Short, Sarah Jessica Parker, Rod Steiger, Michael J. Fox, Lukas Haas, Jim Brown, Tom Jones, and Pam Grier. The digital video disc features an isolated track for Danny Elfman's score, as well as a few other clever and nasty little Martian surprises. —Jim Emerson

Barry Sonnenfeld This imaginative summer comedy from director Barry Sonnenfeld (Get Shorty) is a lot of fun, largely on the strength of Will Smith's engaging performance as the rookie partner of a secret agent (Tommy Lee Jones) assigned to keep tabs on Earth-dwelling extraterrestrials. There's lots of comedy to spare in this bright film, some of the funniest stuff found in the margins of the major action. (A scene with Smith's character being trounced in the distance by a huge alien while Jones questions a witness is a riot.) The inventiveness never lets up, and the cast—including Vincent D'Onofrio doing frighteningly convincing work as an alien occupying a decaying human—hold up their end splendidly. —Tom Keogh

More remake than sequel, Men in Black IIsafely repeats everything that made Men in Blackthe blockbuster hit of 1997. That's fine if you loved the original's fresh humor, weird aliens, and loopy ingenuity, but as sequels go, it's pure déjà vu. Makeup wizard Rick Baker is the only MIBalumnus who's trying anything new, while director Barry Sonnenfeld and costars Will Smith and Tommy Lee Jones (as alien-fighting agents Jay and Kay, respectively) are on autopilot with an uninspired screenplay. The quest of a multitentacled alien—on Earth in the form of Lara Flynn Boyle—for the light of Zartha requires Jay to deneuralize Kay, whose restored memory contains the key to saving the planet. The tissue-thin premise allows all varieties of special effects—mostly familiar, with some oddly hilarious new stuff tossed in for good measure. Certainly enjoyable as a popcorn distraction, but the MIBmagic has worn a bit thin. —Jeff Shannon

Set in the chillingly possible future of 2054, Steven Spielberg's Minority Reportis arguably the most intelligently provocative sci-fi thriller since Blade Runner. Like Ridley Scott's "future noir" classic, Spielberg's gritty vision was freely adapted from a story by Philip K. Dick, with its central premise of "Precrime" law enforcement, totally reliant on three isolated human "precogs" capable (due to drug-related mutation) of envisioning murders before they're committed. As Precrime's confident captain, Tom Cruise preempts these killings like a true action hero, only to run for his life when he is himself implicated in one of the precogs' visions. Inspired by the brainstorming of expert futurists, Spielberg packs this paranoid chase with potential conspirators (Max Von Sydow, Colin Farrell), domestic tragedy, and a heartbreaking precog pawn (Samantha Morton), while Cruise's performance gains depth and substance with each passing scene. Making judicious use of astonishing special effects, Minority Reportbrilliantly extrapolates a future that's utterly convincing, and too close for comfort. —Jeff Shannon

Could this be the funniest movie ever made? By any rational measure of comedy, this medieval romp from the Monty Python troupe certainly belongs on the short list of candidates. According to Leonard Maltin's Movie & Video Guide, it's "recommended for fans only," but we say hogwash to that—you could be a complete newcomer to the Python phenomenon and still find this send-up of the Arthurian legend to be wet-your-pants hilarious. It's basically a series of sketches woven together as King Arthur's quest for the Holy Grail, with Graham Chapman as the King, Terry Gilliam as his simpleton sidekick Patsy, and the rest of the Python gang filling out a variety of outrageous roles. The comedy highlights are too numerous to mention, but once you've seen Arthur's outrageously bloody encounter with the ominous Black Knight (John Cleese), you'll know that nothing's sacred in the Python school of comedy. From holy hand grenades to killer bunnies to the absurdity of the three-headed knights who say "Ni—!,—!," this is the kind of movie that will strike you as fantastically funny or just plain silly, but why stop there? It's all over the map, and the pace lags a bit here and there, but for every throwaway gag the Pythons have invented, there's a bit of subtle business or grand-scale insanity that's utterly inspired. The sum of this madness is a movie that's beloved by anyone with a pulse and an irreverent sense of humor. If this movie doesn't make you laugh, you're almost certainly dead. —Jeff Shannon

Perhaps only the collective brilliant minds of the Monty Python film and television troupe are up to the task of tackling a subject as weighty as the Meaning of Life. Sure, Kierkegaard, Wittgenstein, and their ilk have tried their hands at this puzzler, but only Python has attempted to do so within the commercial motion picture medium. Happily for us all, Monty Python's the Meaning of Lifetruly explains everything one conceivably needs to know about the perplexities of human existence, from the mysteries of Catholic doctrine to the miracle of reproduction to why one should avoid the salmon mousse to the critical importance of the machine that goes ping!Using fish as a linking device (and what marvelous links those aquatic creatures make), The Meaning of Lifeis presented as a series of sketches: a musical production number about why seed is sacred; a look at dining in the afterlife; the quest for a missing fish (there they are again); a visit from Mr. Death; the cautionary tale of Mr. Creosote and his rather gluttonous appetite; an unflinching examination of the harsh realities of organ donation, and so on. Sadly, this was the last original Python film, but it's a beaut. You'll laugh. You'll cry (probably because you're laughing so hard). You may even learn something about the Meaning of Life. Or at least about how fish fit into the grand scheme of things. —Jim Emerson

Baz Luhrmann A dazzling and yet frequently maddening bid to bring the movie musical kicking and screaming into the 21st century, Baz Luhrmann's Moulin Rougebears no relation to the many previous films set in the famous Parisian nightclub. This may appear to be Paris in the 1890s, with can-can dancers, bohemian denizens like Toulouse-Lautrec (John Leguizamo), and ribaldry at every turn, but it's really Luhrmann's pop-cultural wonderland. Everyone and everything is encouraged to shatter boundaries of time and texture, colliding and careening in a fast-cutting frenzy that thinks nothing of casting Elton John's "Your Song" 80 years before its time. Nothing is original in this kaleidoscopic, absinthe-inspired love tragedy—the words, the music, it's all been heard before. But when filtered through Luhrmann's love for pop songs and timeless showmanship, you're reminded of the cinema's power to renew itself while paying homage to its past.

Luhrmann's overall success with his third "red-curtain" extravaganza (following Strictly Ballroomand William Shakespeare's Romeo & Juliet) is wildly debatable: the scenario is simple to the point of silliness, and how can you appreciate choreography when it's been diced into hash by attention-deficit editing? Still, there's something genuine brewing between costars Ewan McGregor and Nicole Kidman (as, respectively, a poor writer and his unobtainable object of desire), and their vocal talents are impressive enough to match Luhrmann's orgy of extraordinary sets, costumes, and digital wizardry. The movie's novelty may wear thin, along with its shallow indulgence of a marketable soundtrack, but Luhrmann's inventiveness yields moments that border on ecstasy, when sound and vision point the way to a moribund genre's joyously welcomed revival. —Jeff Shannon

After cooking up a winning formula for the first season, NBC's karmic comedy could afford to shake things up. In Earl's equally successful second, there's an episode incorporating clay animation ("Robbed a Stoner Blind" with Christian Slater), an homage to Cops("Our 'Cops' Is On!" with Kathy Kinney), a two-parter set in Latin America ("South of the Border" with John Leguizamo), and a Tarantino-style whodunit with narration split between Earl, Randy, Joy, and Crab Man ("Buried Treasure").

As before, Earl (Jason Lee), in cahoots with brother Randy (Ethan Suplee), continues in his quest to become "a better person." He starts by turning to Camden County strip club owner Richard Chubby (Burt Reynolds) to get ex-wife Joy out of a jam involving stolen merchandise ("Jump for Joy"). Joy's struggle to evade prison will last all year, during which Earl falls for her "hot professional" lawyer (Marlee Matlin). Other highlights include "Sticks & Stones," in which Earl gives a bearded lady (Judy Greer) back her confidence, and "Larceny of a Kitty Cat," in which the allergic Randy dates a feline fancier (Amy Sedaris). When that comes to an end, he finally works up the nerve to tell motel maid Catalina (Nadine Velazquez) how he really feels about her ("Foreign Exchange Student').

From the start, Earlattracted a colorful array of talent. That trend continues with Roseanne Barr as a nun ("Made a Lady Think I Was God") and John Waters as a funeral director ("Kept a Guy Locked in a Truck"). Emmy nominees Giovanni Ribisi and Beau Bridges also return for a few episodes, along with other first-season favorites, like Patty, the Daytime Hooker (Dale Dickey). As with the previous set, there's a bushel of extras, including deleted scenes, commentary, and a blooper reel. —Kathleen C. Fennessy

The most original comedy since Arrested Development, My Name is Earlmarked the launch of a lovable new loser. Earl Hickey (Jason Lee) sleeps all day and drinks all night. The pattern ends when he buys a "scratcher"—and wins $100,000. Seconds later, he's hit by a car and loses the ticket. While in the hospital, wife Joy (Emmy nominee Jaime Pressly) leaves him for Darnell the Crab Man (Eddie Steeples). Doped up on morphine, he's watching TV when Carson Daly says something about karma. Earl decides that's his problem: bad karma. He resolves to spend the rest of his life making up for all the harm he's ever done. In the pilot, Earl and brother Randy (Ethan Suplee) start by picking up litter around their motel (Joy got the trailer). While they're at it, Earl finds the lost ticket and collects his bounty. The plan is working! Along with comely maid Catalina (Nadine Velazquez), they set off to right more wrongs. Created by Greg Garcia and teamed with The Office, My Name is Earlput NBC back on the must-see comedy map. Unlike most sitcoms, it drops the studio audience in favor of flashbacks, freeze frames, first-person narration, and extensive So-Cal location work. A soundtrack heavy on blue collar favorites, like Lynyrd Skynyrd, completes the picture.

Throughout the season, Earl gives an old girlfriend self-respect ("Faked My Own Death"), plans his ex-wife's big day ("Joy's Wedding"), and makes up for the birthday he ruined ("Monkeys in Space"). First year guests include Brett Butler ("White Lie Christmas"), Juliette Lewis ("The Bounty Hunter"), and Emmy nominee Jon Favreau ("O Karma, Where Art Thou?"). Giovanni Ribisi and Beau Bridges also stop by as, respectively, Earl's pal Ralph and father Carl. Speaking of originality, "Dad's Car," which takes place during Mother's Day, features commentary from the mothers of Lee, Suplee, Garcia, and director Marc Buckland. —Kathleen C. Fennessy

Stills from the First Season of My Name Is Earl(click for larger image)

Ever wonder if there was a class system in the world of superheroes? After all the big names like Superman, Batman, Spider-Man, etc., who were the supporting players? The folks assigned to the less-than-stellar gigs of saving only a small part of the world? According to this intermittently successful send-up of comic book heroism, there are indeed masked heroes who struggle and toil for their moment in the super sun. Based on the Dark Horse comic book series, Mystery Menfollows the travails of three B-list avengers—Mr. Furious (Ben Stiller), the Shoveler (William H. Macy), and the Blue Raja (Hank Azaria)—as they fight to make themselves known to the citizens of Champion City, quite difficult to do when the flashy Captain Amazing (Greg Kinnear, never better) takes all the cool gigs andhas product endorsements up the ying-yang. According to them, it's all a matter of timing—never mind that Mr. Furious never rises above a snit, or that the Blue Raja wears green. Their big break comes when Captain Amazing is abducted by the evil Casanova Frankenstein (Geoffrey Rush), and it's up to this motley crew to save Champion City.

Blessed with a wondrously gifted comic cast and full of droll details, Mystery Menstruggles in fits and spurts towards its climax. Transcendently witty in parts, it's also woefully sophomoric in others. Literally, this is the kind of movie in which someone gets off a brilliant line and then sits on a fork. Still, when this movie is rolling, it's gleefully on target, thanks primarily to the mordantly cocky Stiller and Janeane Garofalo as a latecomer to the superhero gang; her secret weapon is a bowling ball in which her dead father's head is encased. The comic chemistry between these two is fierce, and when you add the dryly funny Macy and the endearing Azaria (who finally gets a chance to let loose with his comic gifts), it's a hilarious joyride. Too bad that the gas tank is only half-full; this stunning cast deserves a first-rate vehicle. With Tom Waits as a weapons expert, Claire Forlani as the requisite babe, and Paul Reubens as the Spleen, the world's most flatulent superhero. —Mark Englehart

Jon Turteltaub From Jerry Bruckheimer producer of PIRATES OF THE CARIBBEAN and Jon Turteltaub director of PHENOMENON comes NATIONAL TREASURE the thrilling edge-of-your-seat adventure starring Academy Award(R) winner Nicolas Cage (1995 Best Actor LEAVING LAS VEGAS). Ever since he was a boy Benjamin Franklin Gates (Cage) has been obsessed with finding a treasure few dare to believe exists — the legendary Knights Templar Treasure. As Gates tries to find and decipher ancient riddles that will lead him to the greatest treasure known to man he's dogged by a ruthless enemy who wants it for himself. Now in a race against time Gates must steal one of America's most sacred and guarded documents the Declaration of Independence or let it and a key clue to the mystery fall into dangerous hands. Heart-pounding chases close calls and the FBI turn Gates' quest into a high-stakes crime caper and the most exciting treasure hunt you've ever experienced.Bonus Features1. Alternate Ending With Optional Director's Audio Commentary2. Deleted Scenes With Optional Director's Audio Commentary3. "NATIONAL TREASURE On Location" Making-Of Featurette4. "The Knights Templar" Featurette5. "Treasure Hunters Revealed" Featurette6. "Riley's Decode This!" Featurette Plus 3 Puzzling Challenges7. Opening Scene Animatic With Optional Director's Audio CommentarySystem Requirements: Running Time 131 MinFormat: DVD MOVIE Genre: ACTION/ADVENTURE Rating: PG UPC: 786936242928 Manufacturer No: 03599000

Oliver Stone Oliver Stone would like to have the last word on America's media culture of voyeurism and violence, but whatever he's trying to say in this grisly, unconventional movie comes across terribly garbled. Woody Harrelson and Juliette Lewis play traveling serial killers who become television celebrities when a Geraldo-like personality (Robert Downey Jr.) turns their madness into the biggest story in the country. Stone extensively rewrote an original script by Quentin Tarantino, and he employs a mosaic of different film stocks, video, and pop pastiches to create a sense of blurred lines between visual phenomena. (The background on Lewis's character's life as an abused child, for instance, is presented as a sitcom starring Rodney Dangerfield.) But the result of these experiments is a pompous, even amateurish effort at grasping the reins of a real-life national debate. One almost wants to tell Stone to sit down and raise his hand next time if he thinks he has something to say. The controversial director would like Natural Born Killersto be nothing less than a monumental achievement, but it's one of the emptier entries in his filmography. —Tom Keogh

Fabian Bielinsky

Only Joel and Ethan Coen, the fraternal director and producer team behind art-house hits such as The Big Lebowskiand Fargoand masters of quirky and ultra-stylish genre subversion, would dare nick the plot line of Homer's Odysseyfor a comic picaresque saga about three cons on the run in 1930s Mississippi. Our wandering hero in this case is one Ulysses Everett McGill, a slick-tongued wise guy with a thing about hair pomade (George Clooney, blithely sending up his own dapper image) who talks his chain-gang buddies (Coen-movie regular John Turturro and newcomer Tim Blake Nelson) into lighting out after some buried loot he claims to know of. En route they come up against a prophetic blind man on a railroad truck, a burly, one-eyed baddie (the ever-magnificent John Goodman), a trio of sexy singing ladies, a blues guitarist who's sold his soul to the devil, a brace of crooked politicos on the stump, a manic-depressive bank robber, and—well, you get the idea. Into this, their most relaxed film yet, the Coens have tossed a beguiling ragbag of inconsequential situations, a wealth of looping, left-field dialogue, and a whole stash of gags both verbal and visual. O Brother(the title's lifted from Preston Sturges's classic 1941 comedy Sullivan's Travels) is furthermore graced with glowing, burnished photography from Roger Deakins and a masterly soundtrack from T-Bone Burnett that pays loving homage to American '30s folk styles—blues, gospel, bluegrass, jazz, and more. And just to prove that the brothers haven't lost their knack for bad-taste humor, we get a Ku Klux Klan rally choreographed like a cross between a Nuremberg rally and a Busby Berkeley musical. —Philip Kemp

Ocean's Elevenimproves on 1960's Rat Pack original with supernova casting, a slickly updated plot, and Steven Soderbergh's graceful touch behind the camera. Soderbergh reportedly relished the opportunity "to make a movie that has no desire except to give pleasure from beginning to end," and he succeeds on those terms, blessed by the casting of George Clooney as Danny Ocean, the title role originated by Frank Sinatra. Fresh out of jail, Ocean masterminds a plot to steal $163 million from the seemingly impervious vault of Las Vegas's Bellagio casino, not just for the money but to win his ex-wife (Julia Roberts) back from the casino's ruthless owner (Andy Garcia). Soderbergh doesn't scrimp on the caper's comically intricate strategy, but he finds greater joy in assembling a stellar team (including Brad Pitt, Matt Damon, Don Cheadle, and Carl Reiner) and indulging their strengths as actors. The result is a film that's as smooth as a silk suit and just as stylish. —Jeff Shannon

Warner Brothers

Steven Soderbergh

Alex De La Iglesia

Gore Verbinski With the adventures of Captain Jack Sparrow (memorably portrayed by Johnny Depp) earning legions of fans right across the globe, the Pirates of the Caribbeantrilogy has proven to be one of the most popular series of films in recent times. Fortunately, there's good reason too.

The trilogy starts off with the best of the three films. The Curse Of The Black Pearlis a superb piece of blockbuster movie making, delivering lots of laughs, some fabulous set pieces and a core of good, old-fashioned swashbuckling action. With a terrific supporting cast, led by the likes of Geoffrey Rush, Orlando Bloom and Keira Knightley, its running time simply zips by in a flash, and there's plenty of incentive to hit the play button again once the credits roll.

The second movie in the series, Dead Man's Chestwas more commercially successful, but it's not quite as strong a film. Nonetheless, there's still plenty to enjoy, including Bill Nighy's stunning Davy Jones (the special effects there are something to behold). And it earns extra bonus points for a terrific final twist in the end reel.

And then we arrive at the closing part of the trilogy, At World's End. This is arguably the most bloated, with a nigh-on three hour running time, but it does pack a lot in. Multiple Johnny Depps for starters, along with some terrific action too.

While the three parts of the Pirates of the Caribbeantrilogy may thus be a little uneven, its nonetheless a collection of films with plenty to recommend. The first part sails away with the top honours, but there's little doubt that all three are set to entertain audiences for many years to come. —Jon Foster

Tim Burton Billed as a "reimagining" of the original 1968 film, Tim Burton's extraordinary Planet of the Apesconstantly borders on greatness, adhering to the spirit of Pierre Boulle's original novel while exploring fresh and inventive ideas and paying honorable tribute to the '68 sci-fi classic. Burton's gifts for eccentric inspiration and visual ingenuity make this a movie that's as entertaining as it is provocative, beginning with Rick Baker's best-ever ape makeup (hand that man an Oscar®!), and continuing through the surprisingly nuanced performances and breathtaking production design. Add to all this an intelligent screenplay that turns Boulle's speculative reversal—the dominance of apes over humans—into a provocative study of civil rights and civil war. The film finally goes too far with a woefully misguided ending that pays weak homage to the original, but everything preceding that misfire is astonishingly right.

While attempting the space-pod retrieval of a chimpanzee test pilot, Major Leo Davidson (Mark Wahlberg) enters a magnetic storm that propels him into the distant future, where he crash-lands on the ape-ruled planet. Among the primitively civilized apes, treatment of enslaved humans is a divisive issue: senator's daughter Ari (Helena Bonham Carter) advocates equality while the ruthless General Thade (Tim Roth) promotes extermination. While Davidson ignites a human rebellion, this conflict is explored with admirable depth and emotion, and sharp dialogue allows Burton's exceptional cast to bring remarkable expressiveness to their embattled ape characters, most notably in the comic relief of orangutan slave trader Limbo (played to perfection by Paul Giamatti). Classic lines from the original film are cleverly reversed (including an unbilled cameo for Charlton Heston, in ape regalia as Thade's dying father), and while this tale of interspecies warfare leads to an ironic conclusion that's not altogether satisfying, it still bears the ripe fruit of a timeless what-if idea. —Jeff Shannon

With the knockout one-two punch of 1992's Reservoir Dogsand 1994's Pulp Fictionwriter-director Quentin Tarantino stunned the filmmaking world, exploding into prominence as a cinematic heavyweight contender. But Pulp Fictionwas more than just the follow-up to an impressive first feature, or the winner of the Palme d'Or at Cannes Film Festival, or a script stuffed with the sort of juicy bubblegum dialogue actors just love to chew, or the vehicle that reestablished John Travolta on the A-list, or the relatively low-budget ($8 million) independent showcase for an ultrahip mixture of established marquee names and rising stars from the indie scene (among them Samuel L. Jackson, Uma Thurman, Bruce Willis, Ving Rhames, Harvey Keitel, Christopher Walken, Tim Roth, Amanda Plummer, Julia Sweeney, Kathy Griffin, and Phil Lamar). It was more, even, than an unprecedented $100-million-plus hit for indie distributor Miramax. Pulp Fictionwas a sensation. No, it was not the Second Coming (I actually think Reservoir Dogsis a more substantial film; and P.T. Anderson outdid Tarantino in 1997 by making his directorial debut with two even more mature and accomplished pictures, Hard Eightand Boogie Nights). But Pulp Fictionpacks so much energy and invention into telling its nonchronologically interwoven short stories (all about temptation, corruption, and redemption amongst modern criminals, large and small) it leaves viewers both exhilarated and exhausted—hearts racing and knuckles white from the ride. (Oh, and the infectious, surf-guitar-based soundtrack is tastier than a Royale with Cheese.) —Jim Emerson

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

Marilyn Manson worked on the soundtrack, so it's no surprise that Resident Evilis best enjoyed by headbangers, goth guys, and PlayStation junkies. Like the interactive game it's based on, this horror hybrid pits a small band of SWAT-like commandos (including Milla Jovovich and Girlfight's Michelle Rodriguez) against a ravenous hoard of zombies, resulting in a gorefest that only sociopaths could love. The tenacious heroes are trapped inside the Hive—an underground complex where an evil corporation conducts illegal research with a deadly virus—and the zombies (reanimated corpses of sacrificed employees) are fodder for endless rounds of gunfire. It's utter nonsense (not unlike director Paul W.S. Anderson's previous Event Horizon), so your best defense is to wallow in it or avoid this trash altogether. A few cool sequences are borrowed from better films (that slice-and-dice laser is cribbed from the 1998 Canadian shocker Cube), but if you're in the mood for heavy-metal carnage, this movie's for you. —Jeff Shannon

Chris Wedge Carlos Saldanha The delightful designs of William Joyce (writer/illustrator of such popular children's books as George Shrinksand Bently & Egg) make Robotsa joy to behold. The round, bouncy, and ramshackle forms of hero Rodney Copperbottom and his computer-animated friends are part of an ornate and daffy Rube-Goldberg universe of elaborate contraptions and gleaming metallic surfaces. Rodney (voiced with a hint-of-Scottish lilt by Ewan McGregor) is a young inventor who sets off for Robot City to work for Big Weld (Mel Brooks), the supreme inventor of the mechanical world. But upon his arrival, Rodney discovers that Big Weld has disappeared, and the slick, shiny Ratchet (Greg Kinnear) is phasing out the spare parts that lumpen robots need to function and replacing them with "upgrades"—expensive and glistening new exoskeletons. Unfortunately, from this suitable beginning, the story degenerates into a series of action sequences that make very little sense, though some are kinetic and fun (though others are only there to serve the inevitable Robotsvideo game). Most kids will enjoy the sheer visual pleasure of the movie, but compared to the narrative richness of Pixar movies like The Incrediblesand Toy Story, that pleasure is pretty short-lived. Also featuring the voices of Robin Williams, Halle Berry, Jim Broadbent, Amanda Bynes, Jennifer Coolidge, and many, many more. —Bret Fetzer, Amazon.com

Michael Bay If a musical sci-fi satire about an alien transvestite named Frank-n-Furter, who is building the perfect man while playing sexual games with his virginal visitors, sounds like an intriguing premise for a movie, then you're in for a treat. Not only is The Rocky Horror Pictureall this and more, but it stars the surprising cast of Susan Sarandon and Barry Bostwick (as the demure Janet and uptight Brad, who get lost in a storm and find themselves stranded at Frank-n-Furter's mansion), Meat Loaf (as the rebel Eddie), Charles Gray (as our criminologist and narrator), and, of course, the inimitable Tim Curry as our "sweet transvestite from Transsexual, Transylvania."

Upon its release in 1975, the film was an astounding flop. But a few devotees persuaded a New York theater to show it at midnight, and thus was born one of the ultimate cult films of all time. The songs are addictive (just try getting "The Time Warp" or "Toucha Toucha Touch Me" out of your head), the raunchiness amusing, and the plot line utterly ridiculous—in other words, this film is simply tremendous good fun. The downfall, however, is that much of the amusement is found in the audience participation that is obviously missing from a video version (viewers in theaters shout lines at the screen and use props—such as holding up newspapers and shooting water guns during the storm, and throwing rice during a wedding scene). Watched alone as a straight movie, Rocky Horrorloses a tremendous amount of its charm. Yet, for those who wish to perfect their lip-synching techniques for movie theater performances or for those who want to gather a crowd around the TV at home for some good, old-fashioned, rowdy fun, this film can't be beat. —Jenny Brown

Stephen Herek If you've ever indulged a rock & roll fantasy, Rock Starwill give you the vicarious thrill of seeing that fantasy come to life. That's what happens when talented tribute-band singer Chris Cole (Mark Wahlberg) is tapped to replace his idol as frontman for 1980s metal gods Steel Dragon. Chris becomes the groupie-laden "Izzy," his manager girlfriend (Jennifer Aniston) grows weary of sex 'n' drugs on tour, and Rock Starplays out its utterly conventional plot line. Despite the casting of real rockers to support Wahlberg's underrated performance (nicely matched by Aniston and Timothy Spall as Steel Dragon's road manager), his character is too rigidly written to follow an obligatory rise and fall, and even its basis in fact (inspired by Tim "Ripper" Owens's recruitment into Judas Priest) can't conceal the movie's predictable formula. As a cautionary tale it's routine, but as a leather-pants love story, Rock Star's got enough good karma to keep its dream alive. —Jeff Shannon

Daniel E. Catullo Taped in Rio de Janeiro, Brazil, on the final night of Rush's 2002 Vapor Trailstour, this double-disc set finds Canada's famous power trio giving its all for 40,000 of the most rabid Rush fans ever gathered under one sky. Sure, the guys are all pushing 50. Bassist-vocalist Geddy Lee strains to hit some high notes, and guitar wizard Alex Lifeson occasionally sounds a tad bored. But by and large they remain at or near the peak of their powerful game—and, from the looks of it, they're having more fun than ever. Drawing from 15 of their 17 studio albums and leaning heavily on Vapor Trails, they celebrate their stylistic range (progressive-leaning classic rock to dense but melodic post-grunge) and the far broader scope of drummer Neil Peart's considered lyrics.

The concert alone pushes three hours, and disc 2 offers a lengthy documentary and multi-angle options for three songs. The Dolby Digital 5.1 or 2.0 sound quality is generally good, if overly compressed. Peart's drums sound fabulous, in fact: splashy and tight and far more natural than they've sounded on any Rush album, live or otherwise, in years. Not to be missed—and needlessly hard to find—is a 1975 promotional clip for Fly by Night's "Anthem." This set is a must, even for the doubtful. —Michael Mikesell

Joss Whedon Serenityoffers perfect proof that Fireflydeserved a better fate than premature TV cancellation. Joss Whedon's acclaimed sci-fi Western hybrid series was ideally suited (in Browncoats, of course) for a big-screen conversion, and this action-packed adventure allows Whedon to fill in the Fireflybackstory, especially the history and mystery of the spaceship Serenity's volatile and traumatized stowaway, River Tam (Summer Glau). Her lethal skills as a programmed "weapon" makes her a coveted prize for the power-hungry planetary Alliance, represented here by an Operative (Chiwetel Ejiofor) who'll stop at nothing to retrieve River from Serenity's protective crew. We still get all the quip-filled dialogue and ass-kicking action that we've come to expect from the creator of Buffy the Vampire Slayer, but Whedon goes a talented step further here, blessing his established ensemble cast with a more fully-developed dynamic of endearing relationships. Serenity's cast is led with well-balanced depth and humor by Nathan Fillion as Captain Mal Reynolds, whose maverick spirit is matched by his devotion to crewmates Wash (Alan Tudyk), Zoe (Gina Torres), fun-loving fighter Jayne (Adam Baldwin), engineer Kaylee (Jewel Staite), doctor Simon (Sean Maher), and Mal's former flame Inara (Morena Baccarin), who plays a pivotal role in Whedon's briskly-paced plot. As many critics agreed, Serenityoffered all the fun and breezy excitement that was missing from George Lucas's latter-day Star Warsepics, and Whedon leaves an opening for a continuing franchise that never feels cheap or commercially opportunistic. With the mega-corporate mysteries of Blue Sun yet to be explored, it's a safe bet we haven't seen the last of the good ship Serenity. —Jeff Shannon

Samuel L. Jackson makes a gleefully updated John Shaft in John Singleton's homage to (notremake of) the early '70s action classic, picking up where Richard Roundtree's legendary Shaft left off. The Manhattan-set film is highlighted by excellent performances, dynamic action scenes, and witty one-liners (Jackson's Shaft: "It's my duty to please the booty"—although the line's deceptive: there's a surprising lack of sex in the film). Unfortunately, it's offset by a surprisingly uninspired, predictable, one-dimensional story, penned by Singleton, Richard Price, and Shane Salerno. The story, in which Shaft investigates the murder of a young African American, is without suspense, since from the start the audience knows that rich white boy Walter Wade (Christian Bale) did the deed, and that Shaft is going to kick his ass, big time. That said, charismatic performances—from Jackson (who, in keeping with the times, is more volatile and fiery than his predecessor), Toni Collette (as a frightened witness), the villainous Bale, and the utterly amazing Jeffrey Wright (Basquiat)—make the film enticing and watchable. Look for a cameo by the original Shaft's director, the legendary Gordon Parks, and fans of the original should note that a still stunningly handsome Roundtree briefly appears as Jackson's uncle. —N.F. Mendoza

3-D full color extended adventure of Shrek! 16 minutes in length. When we last left everyone's newlyweds Shrek & Fiona, they were singing & dancing late into the night with Donkey and all the fairytale creatures. Happily ever after... but not so fast.. the honeymoon has barely begun when Princess Fiona (Cameron Diaz) is ambushed by Lord Farquaad's henchman, Thelonius. A dizzying and hilarious chase ensures with Shrek (Mike Myers) and Donkey (Eddie Murphy) hot on the trail! More action and adventure, more fun that picks up right where SHREK left off.. and drops you off laughing and out-of-breath before SHREK 2 begins. Use the 3-D special glasses included with this movie to experience the excellent effects!!

Brutal and breathtaking, Sin Cityis Robert Rodriguez's stunningly realized vision of Frank Miller's pulpy comic books. In the first of three separate but loosely related stories, Marv (Mickey Rourke in heavy makeup) tries to track down the killers of a woman who ended up dead in his bed. In the second story, Dwight's (Clive Owen) attempt to defend a woman from a brutal abuser goes horribly wrong, and threatens to destroy the uneasy truce among the police, the mob, and the women of Old Town. Finally, an aging cop on his last day on the job (Bruce Willis) rescues a young girl from a kidnapper, but is himself thrown in jail. Years later, he has a chance to save her again.

Read our interview with Frank Miller.

Based on three of Miller's immensely popular and immensely gritty books (The Hard Goodbye, The Big Fat Kill, and That Yellow Bastard), Sin Cityis unquestionably the most faithful comic-book-based movie ever made. Each shot looks like a panel from its source material, and director Rodriguez (who refers to it as a "translation" rather than an adaptation) resigned from the Directors Guild so that Miller could share a directing credit. Like the books, it's almost entirely in stark black and white with some occasional bursts of color (a woman's red lips, a villain's yellow face). The backgrounds are entirely digitally generated, yet not self-consciously so, and perfectly capture Miller's gritty cityscape. And though most of Miller's copious nudity is absent, the violence is unrelentingly present. That may be the biggest obstacle to viewers who aren't already fans of the books and who may have been turned off by Kill Bill(whose director, Quentin Tarantino, helmed one scene of Sin City). In addition, it's a bleak, desperate world in which the heroes are killers, corruption rules, and the women are almost all prostitutes or strippers. But Miller's stories are riveting, and the huge cast—which also includes Jessica Alba, Jaime King, Brittany Murphy, Rosario Dawson, Benicio Del Toro, Elijah Wood, Nick Stahl, Michael Clarke Duncan, Devin Aoki, Carla Gugino, and Josh Hartnett—is just about perfect. (Only Bruce Willis and Michael Madsen, while very well-suited to their roles, seem hard to separate from their established screen personas.) In what Rodriguez hopes is the first of a series, Sin Cityis a spectacular achievement. —David Horiuchi

More Sin Cityat Amazon.com

The Graphic Novels and Books

Films by Robert Rodriguez

From Graphic Novel to Big Screen

The Soundtrack

Films by guest director Quentin Tarantino

Crime on DVD

Sam Raimi Directed by Sam Raimi, Spider-Man centers on student Peter Parker (Tobey Maguire) who, after being bitten by a genetically-altered spider, gains superhuman strength and the spider-like ability to cling to any surface. He vows to use his abilities to fight crime, coming to understand the words of his beloved Uncle Ben: "With great power comes great responsibility." 

System Requirements:

Starring: Willem Dafoe, Kirsten Dunst, Tobey Maguire.

Directed: Sam Raimi.

Running Time: 121 Minutes, Color.

This film is presented in "Widescreen" format.

Copyright 2002 Colombia Pictures Industries, Inc. 

Format: DVD MOVIE

Sam Raimi More than a few critics hailed Spider-Man 2as "the best superhero movie ever," and there's no compelling reason to argue—thanks to a bigger budget, better special effects, and a dynamic, character-driven plot, it's a notch above Spider-Manin terms of emotional depth and rich comic-book sensibility. Ordinary PeopleOscar-winner Alvin Sargent received screenplay credit, and celebrated author and comic-book expert Michael Chabon worked on the story, but it's director Sam Raimi's affinity for the material that brings Spidey 2to vivid life. When a fusion experiment goes terribly wrong, a brilliant physicist (Alfred Molina) is turned into Spidey's newest nemesis, the deranged, mechanically tentacled "Doctor Octopus," obsessed with completing his experiment and killing Spider-Man (Tobey Maguire) in the process. Even more compelling is Peter Parker's urgent dilemma: continue his burdensome, lonely life of crime-fighting as Spider-Man, or pursue love and happiness with Mary Jane Watson (Kirsten Dunst)? Molina's outstanding as a tragic villain controlled by his own invention, and the action sequences are nothing less than breathtaking, but the real success of Spider-Man 2is its sense of priorities. With all of Hollywood's biggest and best toys at his disposal, Raimi and his writers stay true to the Marvel mythology, honoring Spider-Mancreators Stan Lee and Steve Ditko, and setting the bar impressively high for the challenge of Spider-Man 3. —Jeff Shannon

DVD Features:

The first commentary track is by director Sam Raimi and a self-deprecating Tobey Maguire speaking in tandem, and producer (and Marvel CEO) Avi Arad and coproducer Grant Curtis speaking in tandem. They discuss a number of topics, including Raimi's memory of his excitement over Richard Donner's Superman and how the character of Black Cat had to be dropped from the film. The second commentary is by six members of the Oscar-nominated effects team, and one of their primary focuses is how Doc Ock's arms were achieved by a combination of puppetry and CGI.

The centerpiece of the second disc is a massive two-hour documentary that can be viewed all at once or in 12 separate pieces. It covers the development of the story, the visual effects, costumes, stunts, and sound and music. Three shorter featurettes cover Peter Parker's struggle between his personal and hero lives, Doc Ock, and the women in Spider-Man's life, and what's interesting is how they discuss those topics not just in relation to the movies but to the comic books as well. (For example, Betty Brant and Gwen Stacy had a much greater impact in the comics.) There's a scene in which you can toggle among three different camera angles, and a gallery of 17 paintings Alex Ross created for the opening sequence. The sound and picture are spectacular, though only the Superbit edition has DTS. —David Horiuchi

More Spiderman on DVD

The SpidermanToy Store

The First Film

Spider Manon the small screen

The Soundtrack

Game Boy Advance

The Book

More Superheroes on DVD BatmanBladeThe HulkJimmy NeutronJustice LeagueKim PossibleRobocopSpider-ManSupermanWonder WomanX-MenAlso see our Action & Adventure Store

Stills from Spider-Man 2(click for larger image)

Back when the first Star Trekfeature was released in December 1979, the Trekfranchise was still relatively modest, consisting of the original TV series, an animated cartoon series from 1973-74, and a burgeoning fan network around the world. Series creator Gene Roddenberry had conceived a second TV series, but after the success of Star Warsthe project was upgraded into this lavish feature film, which reunited the original series cast aboard a beautifully redesigned starship U.S.S. Enterprise. Under the direction of Robert Wise (best known for West Side Story), the film proved to be a mixed blessing for Trekfans, who heatedly debated its merits; but it was, of course, a phenomenal hit. Capt. Kirk (William Shatner) leads his crew into the vast structures surrounding V'Ger, an all-powerful being that is cutting a destructive course through Starfleet space. With his new First Officer (Stephen Collins), the bald and beautiful Lieutenant Ilia (played by the late Persis Khambatta) and his returning veteran crew, Kirk must decipher the secret of V'Ger's true purpose and restore the safety of the galaxy. The story is rather overblown and derivative of plots from the original series, and avid Trekkies greeted the film's bland costumes with derisive laughter. But as a feast for the eyes, this is an adventure worthy of big-screen trekkin'. Douglas Trumbull's visual effects are astonishing, and Jerry Goldmith's score is regarded as one of the prolific composer's very best (with its main theme later used for Star Trek: The Next Generation). And, fortunately for Star Trekfans, the expanded 143-minute version (originally shown for the film's network TV premiere) is generally considered an improvement over the original theatrical release. —Jeff Shannon

Nicholas Meyer Although Star Trek: The Motion Picturehad been a box-office hit, it was by no means a unanimous success with Star Trekfans, who responded much more favorably to the "classic Trek" scenario of Star Trek II: The Wrath of Khan. Inspired by the "Space Seed" episode of the original TV series, the film reunites newly promoted Admiral Kirk with his nemesis from the earlier episode—the genetically superior Khan (Ricardo Montalban)—who is now seeking revenge upon Kirk for having been imprisoned on a desolated planet. Their battle ensues over control of the Genesis device, a top-secret Starfleet project enabling entire planets to be transformed into life-supporting worlds, pioneered by the mother (Bibi Besch) of Kirk's estranged and now-adult son. While Mr. Spock mentors the young Vulcan Lt. Saavik (then-newcomer Kirstie Alley), Kirk must battle Khan to the bitter end, through a climactic starship chase and an unexpected crisis that will cost the life of Kirk's closest friend. This was the kind of character-based Trekthat fans were waiting for, boosted by spectacular special effects, a great villain (thanks to Montalban's splendidly melodramatic performance), and a deft combination of humor, excitement, and wondrous imagination. Director Nicholas Meyer (who would play a substantial role in the success of future Trekfeatures) handles the film as a combination of Moby Dick, Shakespearean tragedy, World War II submarine thriller, and dazzling science fiction, setting the successful tone for the Trekfilms that followed. —Jeff Shannon

You didn't think Mr. Spock was reallydead, did you? When Spock's casket landed on the surface of the Genesis planet at the end of Star Trek II, we had already been told that Genesis had the power to bring "life from lifelessness." So it's no surprise that this energetic but somewhat hokey sequel gives Spock a new lease on life, beginning with his rebirth and rapid growth as the Genesis planet literally shakes itself apart in a series of tumultuous geological spasms. As Kirk is getting to know his estranged son (Merritt Butrick), he must also do battle with the fiendish Klingon Kruge (Christopher Lloyd), who is determined to seize the power of Genesis from the Federation. Meanwhile, the regenerated Spock returns to his home planet, and Star Trek IIIgains considerable interest by exploring the ceremonial (and, of course, highly logical) traditions of Vulcan society. The movie's a minor disappointment compared to Star Trek II, but it's a—well, logical—sequel that successfully restores Spock (and first-time film director Leonard Nimoy) to the phenomenal Trekfranchise...as if he were ever really gone. With Kirk's willful destruction of the U.S.S. Enterpriseand Robin Curtis replacing the departing Kirstie Alley as Vulcan Lt. Saavik, this was clearly a transitional film in the series, clearing the way for the highly popular Star Trek IV. —Jeff Shannon

Widely considered the best movie in the "classic Trek" series of feature films, Star Trek IVreturns to one of the favorite themes of the original TV series—time travel—to bring Kirk, Spock, McCoy, Scotty, Sulu, Uhura, and Chekov from the 23rd century to present-day San Francisco. In their own time, the Starfleet heroes encounter an alien probe emitting a mysterious message—a message delivered in the song of the now-extinct Earth species of humpback whales. Failure to respond to the probe will result in Earth's destruction, so Kirk and company time-travel to 20th-century Earth—in their captured Klingon starship—to transport a humpback whale to the future in an effort to peacefully communicate with the alien probe. The plot sounds somewhat absurd in description, but as executed by returning director Leonard Nimoy, this turned out to be a crowd-pleasing adventure, filled with humor and lively interaction among the favorite Star Trek characters. Catherine Hicks (from TV's 7th Heaven) plays the 20th-century whale expert who is finally convinced of Kirk's and Spock's benevolent intentions. With ample comedy taken from the clash of future heroes with 20th-century urban realities, Star Trek IVwas a box-office smash, satisfying mainstream audiences and hardcore Trekfans alike. —Jeff Shannon

William Shatner Movie critic Roger Ebert summed it up very succinctly: "Of all of the Star Trekmovies, this is the worst." Subsequent films in the popular series have done nothing to disprove this opinion; we can be grateful that they've all been significantly better since this film was released in 1989. After Leonard Nimoy scored hits with Star Trek IIIand IV, William Shatner used his contractual clout (and bruised ego) to assume directorial duties on this mission, in which a rebellious Vulcan (Laurence Luckinbill) kidnaps Federation officials in his overzealous quest for the supreme source of creation. That's right, you heard it correctly: Star Trek Vis about a crazy Vulcan's search for God. By the time Kirk, Spock, and their Federation cohorts are taken to the Great Barrier of the galaxy, this journey to "the final future" has gone from an embarrassing prologue to an absurd conclusion, with a lot of creaky plotting in between. Of course, die-hard Trekkies will still allow this movie into their video collections; but they'll only watch it when nobody else is looking. After this humbling experience, Shatner wisely relinquished the director's chair to Star Trek II's Nicholas Meyer. —Jeff Shannon

Nicholas Meyer Star Trek Vleft us nowhere to go but up, and with the return of Star Trek IIdirector Nicholas Meyer, Star Trek VIrestored the movie series to its classic blend of space opera, intelligent plotting, and engaging interaction of stalwart heroes and menacing villains. Borrowing its subtitle (and several lines of dialogue) from Shakespeare, the movie finds Admiral Kirk (William Shatner) and his fellow Enterprisecrew members on a diplomatic mission to negotiate peace with the revered Klingon Chancellor Gorkon (David Warner). When the high-ranking Klingon and several officers are ruthlessly murdered, blame is placed on Kirk, whose subsequent investigation uncovers an assassination plot masterminded by the nefarious Klingon General Chang (Christopher Plummer) in an effort to disrupt a historic peace summit. As this political plot unfolds, Star Trek VItakes on a sharp-edged tone, with Kirk and Spock confronting their opposing views of diplomacy, and testing their bonds of loyalty when a Vulcan officer is revealed to be a traitor. With a dramatic depth befitting what was to be the final movie mission of the original Star Trekcrew, this film took the veteran cast out in respectably high style. With the torch being passed to the crew of Star Trek: The Next Generation, only Kirk, Scotty, and Chekov would return, however briefly, in Star Trek: Generations. —Jeff Shannon

Genndy Tartakovsky Tippy Bushkin Make no mistake, Clone Warsis honest-to-goodness authentic Star Wars. The animated series takes place between Episode II, Attack of the Clonesand Episode III, Revenge of the Sith. If the feature films covers the beginning and end of the war, Clone Warsdepicts the actual battles and events that made heroes into legends. Don't expect too much character development, as the episodes tend to be driven more by flat-out action than by dialogue (which can be a good thing, considering some Star Warsdialogue). We see such familiar faces as Obi-Wan Kenobi, Yoda, and Mace Windu in combat, and we meet the elite ARC (Advanced Recon Commandos) clone troopers plus new Jedi—the amphibious Kit Fisto and two women, Luminara Unduli and Barriss Offee. We also see a little more development of Anakin—showing off the best pilot skills in the army, defying Obi-Wan, and engaging in a deadly duel with Sith apprentice Asajj Ventress. But just when it's clear that the Separatist droid armies are no match for a Jedi, the tide begins to turn with the introduction of the menacing General Grievous, who plays a crucial part in Episode III. The cast mostly consists of veteran voice actors, but Anthony Daniels does appear as C-3PO.

Clone Warswas created by Genndy Tartakovsky, whose resume includes such stylish series as Samurai Jack, Dexter's Laboratory, and The Powerpuff Girls, and the program won a 2004 Emmy for Outstanding Animated Program (For Programming One Hour or More). These 20 episodes, which played on the Cartoon Network (and were originally designated seasons 1 and 2), can be viewed as a seamless 69-minute whole or as individual chapters. DVD features include two commentary tracks, a making-of featurette, video game and Episode IIItrailers, and an Xbox playable demo of the stealth game Republic Commando. If you're a fan who can't wait for Episode III, Clone Warsis essential viewing. —David Horiuchi

Genndy Tartakovsky Volume 2 of the stylish animated series Star Wars: Clone Warspicks up where volume 1 left off, with General Grievous threatening a group of Jedi. The war between the Republic and the Separatists continues to rage, and due to desperate need, Anakin Skywalker is bestowed the title of Jedi Knight, though he must undergo one final rite of passage by traveling to the frozen planet of Nelvan. The action is at its fiercest when the Separatists launch an overwhelming assault on Coruscant, and Masters Windu and Yoda get to show their stuff to defend the city. However, it's just a diversion from the main goal: Grievious's attempt to kidnap Supreme Chancellor Palpatine. In the series' most dramatic moment, Shaak Ti and other Jedi try to fend off the droid's attack. Clone Wars Volume 2aired on the Cartoon Network in March 2005, and it's a bit more substantial than volume 1, taking place in five 12-minute chapters (nos. 21-25) rather than 3-minute chapters. And while volume 1 was mostly flat-out action, the developments in volume 2 lead directly to the opening of Episode III, Revenge of the Sith. And you even get small tidbits such as C-3PO (again voiced by Anthony Daniels) unveiling his new gold look, Padme sporting a cinnamon-bun hairdo, and the reason why General Grievous has difficulty breathing. Let casual fans content themselves with the feature films;Clone Warsremains essential viewing for the Star Wars aficionado. (Rated Y7 for cartoon action and violence) —David Horiuchi

DVD features
In both a commentary track and a featurette, Genndy Tartakovsky and his creative team discuss the making of Clone Warsand how it ties into Episode III, Revenge of the Sith. If you're not a fan of the Lego Star Wars, you might become one after you watch the amusing "Revenge of the Brick" trailer. There's also the same Xbox demo of Battlefront IIthat was on the SithDVD, and the Dolby 5.1 sound is an improvement over volume 1's 2.0 Surround. —David Horiuchi

"I have a bad feeling about this," says the young Obi-Wan Kenobi (played by Ewan McGregor) in Star Wars: Episode I, The Phantom Menaceas he steps off a spaceship and into the most anticipated cinematic event... well, ever. He might as well be speaking for the legions of fans of the original episodes in the Star Warssaga who can't help but secretly ask themselves: Sure, this is Star Wars, but is it my Star Wars? The original elevated moviegoers' expectations so high that it would have been impossible for any subsequent film to meet them. And as with all the Star Warsmovies, The Phantom Menacefeatures inexplicable plot twists, a fistful of loose threads, and some cheek-chewing dialogue. Han Solo's swagger is sorely missed, as is the pervading menace of heavy-breather Darth Vader. There is still way too much quasi-mystical mumbo jumbo, and some of what was fresh about Star Wars22 years earlier feels formulaic. Yet there's much to admire. The special effects are stupendous; three worlds are populated with a mélange of creatures, flora, and horizons rendered in absolute detail. The action and battle scenes are breathtaking in their complexity. And one particular sequence of the film—the adrenaline-infused pod race through the Tatooine desert—makes the chariot race in Ben-Hurlook like a Sunday stroll through the park.

Among the host of new characters, there are a few familiar walk-ons. We witness the first meeting between R2-D2 and C-3PO, Jabba the Hutt looks younger and slimmer (but not young and slim), and Yoda is as crabby as ever. Natalie Portman's stately Queen Amidala sports hairdos that make Princess Leia look dowdy and wields a mean laser. We never bond with Jedi Knight Qui-Gon Jinn (Liam Neeson), and Obi-Wan's day is yet to come. Jar Jar Binks, a cross between a Muppet, a frog, and a hippie, provides many of the movie's lighter moments, while Sith Lord Darth Maul is a formidable force. Baby-faced Anakin Skywalker (Jake Lloyd) looks too young and innocent to command the powers of the Force or wield a lightsaber (much less transmute into the future Darth Vader), but his boyish exuberance wins over skeptics.

Near the end of the movie, Palpatine, the new leader of the Republic, may be speaking for fans eagerly awaiting Episode IIwhen he pats young Anakin on the head and says, "We will watch your career with great interest." Indeed! —Tod Nelson

George Lucas If The Phantom Menacewas the setup, then Attack of the Clonesis the plot-progressing payoff, and devoted Star Warsfans are sure to be enthralled. Ten years after Episode I, Padmé Amidala (Natalie Portman), now a senator, resists the creation of a Republic Army to combat an evil separatist movement. The brooding Anakin Skywalker (Hayden Christensen) is resentful of his stern Jedi mentor, Obi-Wan Kenobi (Ewan McGregor), tormented by personal loss, and showing his emerging "dark side" while protecting his new love, Amidala, from would-be assassins. Youthful romance and solemn portent foreshadow the events of the original Star Warsas Count Dooku (a.k.a. Darth Tyranus, played by Christopher Lee) forges an alliance with the Dark Lord of the Sith, while lavish set pieces showcase George Lucas's supreme command of all-digital filmmaking. All of this makes Episode IIa technological milestone, savaged by some critics as a bloated, storyless spectacle, but still qualifying as a fan-approved precursor to the pivotal events of Episode III. —Jeff Shannon

Ending the most popular film epic in history, Star Wars: Episode III, Revenge of the Sithis an exciting, uneven, but ultimately satisfying journey. Picking up the action from Episode II, Attack of the Clonesas well as the animated Clone Warsseries, Jedi Master Obi-Wan Kenobi (Ewan McGregor) and his apprentice, Anakin Skywalker (Hayden Christensen), pursue General Grievous into space after the droid kidnapped Supreme Chancellor Palpatine (Ian McDiarmid).

The Star WarsFamily Tree (click for larger image)

It's just the latest maneuver in the ongoing Clone Wars between the Republic and the Separatist forces led by former Jedi turned Sith Lord Count Dooku (Christopher Lee). On another front, Master Yoda (voiced by Frank Oz) leads the Republic's clone troops against a droid attack on the Wookiee homeworld of Kashyyyk. All this is in the first half of Episode III, which feels a lot like Episodes Iand II. That means spectacular scenery, dazzling dogfights in space, a new fearsome villain (the CGI-created Grievous can't match up to either Darth Maul or the original Darth Vader, though), lightsaber duels, groan-worthy romantic dialogue, goofy humor (but at least it's left to the droids instead of Jar-Jar Binks), and hordes of faceless clone troopers fighting hordes of faceless battle droids.

But then it all changes.

Star WarsTime Line (click for larger image)

After setting up characters and situations for the first two and a half movies, Episode IIIfinally comes to life. The Sith Lord in hiding unleashes his long-simmering plot to take over the Republic, and an integral part of that plan is to turn Anakin away from the Jedi and toward the Dark Side of the Force. Unless you've been living under a rock the last 10 years, you know that Anakin will transform into the dreaded Darth Vader and face an ultimate showdown with his mentor, but that doesn't matter. In fact, a great part of the fun is knowing where things will wind up but finding out how they'll get there. The end of this prequel trilogy also should inspire fans to want to see the original movies again, but this time not out of frustration at the new ones. Rather, because Episode IIIis a beginning as well as an end, it will trigger fond memories as it ties up threads to the originals in tidy little ways. But best of all, it seems like for the first time we actually care about what happens and who it happens to.

Episode IIIis easily the best of the new trilogy—OK, so that's not saying much, but it might even jockey for third place among the six Star Warsfilms. It's also the first one to be rated PG-13 for the intense battles and darker plot. It was probably impossible to live up to the decades' worth of pent-up hype George Lucas faced for the Star Warsprequel trilogy (and he tried to lower it with the first two movies), but Episode IIImakes us once again glad to be "a long time ago, in a galaxy far, far away."—David Horiuchi

The Complete Star WarsSaga

Episodes 4-6 Trilogy (widescreen)

Episode I: The Phantom Menace

Episde II: Attack of the Clones

Star Wars: Clone Wars Vol. 1

Star Wars: Clone Wars Vol. 2

The Star WarsStore

Stills from Episode III: Revenge of the Sith(click for larger images)

Anakin turning to the dark side

When Wookiees attack

Yoda, Jedi master

Mr. and Mrs. Vader

Saber training with Ewan McGregor and Hayden Christensen

The cast

George Lucas The 2006 limited-edition two-disc release of George Lucas's epic space fantasy Star Warsis not only the first time the movie has been officially available by itself on DVD. It marks the first-ever DVD release of Star Warsas it originally played in theaters in 1977. What does that mean exactly? Well, for starters, the initial title crawl proclaims that this is just Star Wars, not Episode IV, A New Hope. Second, the film is without the various "improvements" and enhancements Lucas added for the theatrical rerelease in 1997 as well as the DVD premiere in 2004. So no more critters and droids scurrying around the port of Mos Eisley when Luke and Obi-Wan Kenobi first arrive, no meetings between Han Solo and Jabba the Hut and between Luke and Biggs (extraneous scenes that were cut in 1977), no enhanced explosions during the final reel, and—most importantly to some fans—no more of Greedo shooting first in the bar. Instead Han is free to be the scoundrel and not even let Greedo squeeze off a shot.

What do you lose by watching the 1977 version? Dolby Digital 5.1 EX sound, for one thing (only 2.0 Surround here). Digital cleanup for another—Tatooine looks like it's been coated with an additional layer of sand cloud. But for home-theater owners, the biggest frustration will be from the non-anamorphic picture. On a widescreen TV, an anamorphically enhanced (16x9) picture at a 2.35:1 aspect ratio will fill the screen with the exception of small black bars on the top and bottom. The original edition of Star Wars, however, is not anamorphically enhanced (sometimes referred to as "4:3 letterbox"), so on a widescreen TV it will have large black bars on the top, the bottom, and the sides unless you stretch the picture (and distort it in the process, especially considering the substandard picture quality). If you're watching on a standard square-shaped (4:3) TV, though, you won't notice a difference.

Yes, it's true that serious home-theater lovers who want spectacular sound and anamorphically enhanced picture can always watch the 2004 version of the movie also included in this set. But chances are good that they already picked up the trilogy edition of all three films, so their decision to buy the 2006 two-disc edition depends on how much they want the original film. The official LucasFilm stance is that this is an individual release of the 2004 version of Star Wars: Episode IV, A New Hope, and the 1977 version of the film is merely a "bonus feature." Common speculation is that the only reason the original versions are seeing the official light of day at all is to undercut the booming black market for the laserdisc version. Star Warsfans will have to decide for themselves if that's worth the purchase. —David Horiuchi

Irvin Kershner The 2006 limited-edition two-disc release of The Empire Strikes Backis not only the first time the movie has been officially available by itself on DVD. It marks the first-ever DVD release of Empireas it originally played in theaters in 1980. What does that mean exactly? The film is without the various "improvements" and enhancements George Lucas added for the theatrical rerelease in 1997 as well as the DVD premiere in 2004. So no more of Ian McDiarmid (the Emperor) replacing Clive Revill with slightly revised lines, or Temuera Morrison rerecording of Boba Fett's minimal dialogue.

What do you lose by watching the 1980 version? Dolby Digital 5.1 EX sound, for one thing (only 2.0 Surround here), and digital cleanup. But for home-theater owners, the biggest frustration will be from the non-anamorphic picture. On a widescreen TV, an anamorphically enhanced (16x9) picture at a 2.35:1 aspect ratio will fill the screen with the exception of small black bars on the top and bottom. The original edition of Empire, however, on a widescreen TV will have large black bars on the top, the bottom, and the sides unless you stretch the picture (and distort it in the process, especially considering the substandard picture quality). If you're watching on a standard square-shaped (4:3) TV, though, you won't notice a difference.

Yes, it's true that serious home-theater lovers who want spectacular sound and anamorphically enhanced picture can always watch the 2004 version of the movie also included in this set. But chances are good that they already picked up the trilogy edition of all three films, so their decision to buy the 2006 two-disc edition depends on how much they want the original film. The official LucasFilm stance is that this is an individual release of the 2004 version of The Empire Strikes Back, and the 1980 version of the film is merely a "bonus feature." Common speculation is that the only reason the original versions are seeing the official light of day at all is to undercut the booming black market for the laserdisc version. Star Warsfans will have to decide for themselves if that's worth the purchase. —David Horiuchi

Richard Marquand The 2006 limited-edition two-disc release of Return of the Jediis not only the first time the movie has been officially available by itself on DVD. It marks the first-ever DVD release of Jedias it originally played in theaters in 1983. What does that mean exactly? The film is without the various "improvements" and enhancements George Lucas added for the theatrical rerelease in 1997 as well as the DVD premiere in 2004. So Sebastian Shaw reclaims his spot as the man behind Darth Vader's mask, and we don't see the otherworldly celebration (including the Gungans) at the end of the movie.

What do you lose by watching the 1983 version? Dolby Digital 5.1 EX sound, for one thing (only 2.0 Surround here), and digital cleanup. But for home-theater owners, the biggest frustration will be from the non-anamorphic picture. On a widescreen TV, an anamorphically enhanced (16x9) picture at a 2.35:1 aspect ratio will fill the screen with the exception of small black bars on the top and bottom. The original edition of Jedi, however, on a widescreen TV will have large black bars on the top, the bottom, and the sides unless you stretch the picture (and distort it in the process, especially considering the substandard picture quality). If you're watching on a standard square-shaped (4:3) TV, though, you won't notice a difference.

Yes, it's true that serious home-theater lovers who want spectacular sound and anamorphically enhanced picture can always watch the 2004 version of the movie also included in this set. But chances are good that they already picked up the trilogy edition of all three films, so their decision to buy the 2006 two-disc edition depends on how much they want the original film. The official LucasFilm stance is that this is an individual release of the 2004 version of Return of the Jedi, and the 1983 version of the film is merely a "bonus feature." Common speculation is that the only reason the original versions are seeing the official light of day at all is to undercut the booming black market for the laserdisc version. Star Warsfans will have to decide for themselves if that's worth the purchase. —David Horiuchi

Ken Wheat Jim Wheat John Korty

Paul Verhoeven In the first and finest RoboCopmovie, director Paul Verhoeven combined near-future science fiction with a keen sense of social satire—not to mention enough high-velocity violence to satisfy even the most voracious bloodlust. In Starship Troopers, Verhoeven and RoboCopcowriter Ed Neumeier take inspired cues from Robert Heinlein's classic sci-fi novel to create a special-effects extravaganza that functions on multiple levels of entertainment. The film might be called "Melrose Place in Space," with its youthful cast of handsome guys and gorgeous women who look like they've been recruited (and in some cases they were) from the cast of Beverly Hills 90210. Viewers might focus on the incredible, graphically intense action sequences (definitely notfor children) in which heavily armed forces from Earth go to off-world battle against vast hordes of alien "bugs" bent on planetary conquest. The attacking bugs are marvels of state-of-the-art special-effects technology, and the space battles are nothing short of spectacular. But Starship Troopersis more than a showcase for high-tech hardware and gigantic, flesh-ripping insects. Recalling his childhood in Holland during the Nazi occupation, Verhoeven turns this epic adventure into a scathingly funny satire of fascist propaganda, emphasizing Heinlein's underlying warning against the hazards of military conformity and the sickening realities of war. It's an action-packed joy ride if that's all you're looking for, but Verhoeven has a provocative agenda that makes Starship Troopersas smart as it is exciting. —Jeff Shannon

Tommy Lee Wallace Is there anything scarier than clowns? Of course not. And who knows scary better than Stephen King? You see where we're going. Itputs a malevolent clown (given demented life by a powdered, red-nosed Tim Curry) front and center, as King's fat novel gets the TV-movie treatment. Even at three hours plus, the action is condensed, but an engaging Stand by Mevibe prevails for much of the running time. The seven main characters, as adolescents, conquered a force of pure evil in their Maine hometown. Now, the cackling Pennywise is back, and they must come home to fight him—or, should we say, It—again. Admitting the TV-movie trappings and sometimes hysterical performances, this is a genuinely gripping thriller. As so often with King, the basic idea (the bond formed during a childhood trauma) is clean and powerful, a lifeline anchored in reality that leads us to the supernatural. —Robert Horton

Mick Garris Stephen King's The Shiningis a new adaptation from the author himself, made for television, that bears very little resemblance to the 1980 Stanley Kubrick version. That's not surprising since Kubrick threw out most of King's novel and presented his own version of the story. Here King redresses the balance in a miniseries that follows his original almost to the letter, and manages to be effectively creepy despite the budget and censorship limitations of the TV format.

Stephen Weber takes over the role of Jack Torrance, the caretaker who slowly descends into madness in the haunted Overlook Hotel. His performance is as far from Jack Nicholson as you could get, with his insanity building slowly and menacingly rather than being virtually mad from the get-go. Rebecca De Mornay is superb as Wendy Torrance, struggling to hold her fragile family together amid the spooky goings-on. Young Courtland Mead plays Danny, whose unique gifts give the story its title, as one of those infuriating TV brats who overacts left, right, and center. Fortunately, there are enough creepy moments and a number of frights to hold the whole thing together, the woman-in-the-bathtub scene being a standout shocker. Sure, there is nothing quite like Nicholson's "Here's Johnny!" moment, but this is the story King wanted to tell and it still shines brighter than most of the other recent screen adaptations of his work. —Jonathan Weir

After a government-spawned "superflu" wipes out more than 90 percent of the earth's population, the devastated survivors must decide whether to support or resist the advances of a mysterious stranger from way down South (heh-heh) who wishes to claim this new world order for himself. Although the six-hour length makes it nigh-impossible to digest in one sitting, this well-paced adaptation of Stephen King's apocalyptic magnum opus ranks among the best adaptations of the author's work, with strong performances from Gary Sinise, Miguel Ferrer, and especially Jamey Sheridan as a good-old-boy version of Old Scratch. The opening scene, set to the strains of Blue Oyster Cult's "Don't Fear the Reaper," is one of the most chilling things ever shot for television. Director Mick Garris is no stranger to King's world, having also helmed Sleepwalkers, the recent television remake of The Shining, and the upcoming Desperation. —Andrew Wright

Now on DVD, the full-length matching video to one of his albums. This video includes full performances of all seven songs from Alien Love Secrets. The performance features Steve's power trio of Robbie Harrington on bass, Chris Frazier on drums, and of course Steve himself on guitar. This unique performance video format allows you a special view into both Steve's guitar playing, as well as the creative musical mood and aura of each song. Featured songs include: Juice * Die To Live * and the grand finale power guitar ballad "Tender Surrender."

Swordfishis a superficial movie, so let's address the superficial facts: Halle Berry was well paid to bare her breasts in this gratuitous cyber-action thriller, and while Berry's many fans will enjoy a cheap drool at the actress's expense, her brief topless scene doesn't justify this insipid parade of glossy violence from the director of 2000's Gone in 60 Seconds. Add yet another notch in John Travolta's bad-movie belt, and you've got Hollywood bankruptcy in full blossom. Go ahead, marvel at director Dominic Sena's biggest money shot—a 360-degree pan as a robbery hostage is blown to bits by a bomb that pelts a surrounding SWAT squad with deadly ball bearings.

The plot, as if it matters: Travolta's a slick, self-appointed antiterrorist who recruits a top-flight computer hacker (Hugh Jackman) to transfer a $9.5 billion government slush fund into a cluster of secret accounts. Berry's the curvaceous bait who lures Jackman into the scheme; Don Cheadle's an FBI agent hot on their tails; and an obligatory subplot turns Jackman's daughter (Camryn Grimes) into an innocent bargaining chip. By the time a hostage transport bus is airlifted in the film's not-so-thrilling climax, Swordfishwill hold your passive attention or put you to sleep—it all depends on your tolerance for Sena's brand of derivative bloodlust. It's pornography of a sort, and efficiently mechanical, but you can bet good money that Berry and her costars didn't cash their paychecks proudly. —Jeff Shannon

Actors/musicians Jack Black and Kyle Gass bring their infamous rock duo Tenacious D to the big screen! The hilarious story of how "The D" became the self-proclaimed greatest band on earth, Tenacious D in: The Pick of Destiny follows the pair's plan to steal a supernatural guitar pick on display in a rock-and-roll museum in order to create a masterpiece song that will cement their place in music history.

George Lucas Two-Disc Special Edition: 

* Digitally remastered with THX certified sound 

* Commentary by George Lucas and co-writer/sound effects editor Walter Murch 

* Theatre of Noisesound-effects track with branching segments to 13 master sessions with Walter Murch 

* 2 New documentaries: "A Legacy of Filmmakers: The Early Years of American Zoetrope" and "Artifacts from the Future: The Making of THX 1138" 

* George Lucas's original student film "THX-11384EB" 

* "Bald": 1971 production featurette 

* Five new trailers from the 2004 theatrical release

* Original theatrical trailer

Elle Russ, Matt Stone In TEAM AMERICA: WORLD POLICE, a group of marionette puppets form Team America, an international police force dedicated to maintaining global stability. Discovering that a power hungry dictator, Kim Jong II, plans to destroy the world and is brokering weapons of mass destruction to terrorists, the team enlists the undercover help of Broadway star Gary Johnston and embarks on a harrowing mission to save the world. Opposed to this, is the Film Actors' Guild, or F.A.G., whose members include puppets representing actors Alec Baldwin, Tim Robbins, Matt Damon, Susan Sarandon and Sean Penn. In spite of the lack of support they receive, the team sticks to their plan of saving the world and putting an end to terrorism.

James Cameron After he pushed the envelope of computer-generated special effects in The Abyss, director James Cameron turned this hotly anticipated sequel to Terminatorinto a well-written, action-packed showcase for advanced special effects and for one of the most invincible villains ever imagined. Terminator 2: Judgment Dayis a legitimate sequel: there's more story to tell about a hulking, leather-clad android (Arnold Schwarzenegger) who arrives from the future to protect a rebellious teenager and future leader (Edward Furlong) from being killed by the tenacious T-1000 robot (Robert Patrick), whose liquid-metal construction makes him seemingly unstoppable. The fate of the future lies in the balance, with Linda Hamilton (who would later marry her director) reprising her role as the rugged woman whose son will change the course of history. —Jeff Shannon

The fast-paced and often seamy world of rock 'n' roll is his beat, but even detective Ford Fairlane (Andrew Dice Clay) is stunned when the king of shock-jocks, Johnny Crunch (Gilbert Gottfried), is electrocuted on the air. After all, Crunch was his only paying client! Crunch had hired Ford to track down a mysterious teenage groupie name Zuzu Petals - a search which quickly finds Ford tangled up, and trading insults, with a ruthless record executive (Wayne Newton) and merciless hit man (Robert Englund).

As with Star Wars, the George Lucas-produced Indiana Jonestrilogy was not just a plaything for kids but an act of nostalgic affection toward a lost phenomenon: the cliffhanging movie serials of the past. Episodic in structure and with fate hanging in the balance about every 10 minutes, the Jonesfeatures tapped into Lucas's extremely profitable Star Warsformula of modernizing the look and feel of an old, but popular, story model. Steven Spielberg directed all three films, which are set in the late 1930s and early '40s: the comic book-like Raiders of the Lost Ark, the spooky, Gunga Din-inspired Indiana Jones and the Temple of Doom, and the cautious but entertaining Indiana Jones and the Last Crusade. Fans and critics disagree over the order of preference, some even finding the middle movie nearly repugnant in its violence. (Pro-Temple of Doompeople, on the other hand, believe that film to be the most disarmingly creative and emotionally effective of the trio.) One thing's for sure: Harrison Ford's swaggering, two-fisted, self-effacing performance worked like a charm, and the art of cracking bullwhips was probably never quite the iconic activity it soon became after Raiders. Supporting players and costars were very much a part of the series, too—Karen Allen, Sean Connery (as Indy's dad), Kate Capshaw, Ke Huy Quan, Amrish Puri, Denholm Elliot, River Phoenix, and John Rhys-Davies among them. Years have passed since the last film (another is supposedly in the works), but emerging film buffs can have the same fun their predecessors did picking out numerous references to Hollywood classics and B-movies of the past. —Tom Keogh

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 Lebowskiis 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 Lebowskimight give you a giddy case of the munchies. —Jeff Shannon

Eduardo Sánchez (II) Daniel Myrick The Blair Witch Project

Anyone who has even the slightest trouble with insomnia after seeing a horror movie should stay away from The Blair Witch Project—this film will creep under your skin and stay there for days. Credit for the effectiveness of this mock documentary goes to filmmakers Daniel Myrick and Eduardo Sanchez, who armed three actors (Heather Donahue, Michael Williams, and Josh Leonard) with video equipment, camping supplies, and rough plot outlines. They then let the trio loose into the Maryland woods to improvise and shoot the entire film themselves as the filmmakers attempted to scare the crap out of them. Gimmicky, yes, but it worked—to the wildly successful tune of $130 million at the box office upon its initial release (the budget was a mere $40,000).

For those of you who were under a rock when it first hit the theaters, The Blair Witch Projecttracks the doomed quest of three film students shooting a documentary on the Burkittsville, Maryland, legend of the Blair Witch. After filming some local yokels (and providing only scant background on the witch herself), the three, led by Heather (something of a witch herself), head into the woods for some on-location shooting. They're never seen again. What we see is a reconstruction of their "found" footage, edited to make a barely coherent narrative. After losing their way in the forest, whining soon gives way to real terror as the three find themselves stalked by unknown forces that leave piles of rocks outside their campsite and stick-figure art projects in the woods. (As Michael succinctly puts it, "No redneck is this clever!") The masterstroke of the film is that you never actually seewhat's menacing them; everything is implied, and there's no terror worse than that of the unknown. If you can wade through the tedious arguing—and the shaky, motion-sickness-inducing camerawork—you—you'll be rewarded with an oppressively sinister atmosphere and one of the most frightening denouements in horror-film history. Even after you take away the monstrous hype, The Blair Witch Projectremains a genuine, effective original. —Mark Englehart

Curse of the Blair Witch
Are you wondering just exactly who the Blair Witch was? What the Burkittsville, Maryland, legend was all about? Or what exactly fascinated student filmmaker Heather and what possibly took her, Mike, and Josh from this earth? Get all your background questions answered by Curse of the Blair Witch, a one-stop-shopping "documentary" originally produced for the Sci-Fi Channel as a tie-in marketing tool. Entirely fictionalized, Curse of the Blair Witchfocuses both on the past and the present, with copious info on the Blair Witch myth as well as on the disappearance of Heather, Josh, and Mike. As it turns out, the original witch was one Elly Kedward, who was accused in 1785 of taking blood from several children; she was subsequently banished to the harsh winter woods and left for dead. Her grisly and bloody legacy involves missing children, polluted water, disemboweled men, and a serial killer of children who claims to have been haunted by "an old woman ghost." Aside from some ineffective "newsreel" footage of the serial killer, all this intriguing information is presented convincingly and chillingly. Cursemay in fact freak you out more than the movie, and it evokes the great, pulpy In Search Ofseries of the '70s, one of the prime inspirations for filmmakers Daniel Myrick and Eduardo Sanchez. News clips of the search for Heather, Josh, and Mike lend a vérité atmosphere to the proceedings, but shed little light on their mysterious disappearance or their characters. Basically, it's a tease to go see the movie. Still, The Blair Witch Projectprovided only ever-so-slight information on the legend that haunted the forest, so you'll want this cleverly constructed mock documentary to supplement your knowledge of the film. —Mark Englehart

After building up the duo's popularity through recordings and several performances on Saturday Night Live,John Belushi and Dan Aykroyd—as "legendary" Chicago blues brothers Jake and Elwood Blues—took their act to the big screen in this action-packed hit from 1980. As Jake and Elwood struggle to reunite their old band and save the Chicago orphanage where they were raised, they wreak enough good-natured havoc to attract the entire Cook County police force. The result is a big-budget stunt-fest on a scale rarely attempted before or since, including extended car chases that result in the wanton destruction of shopping malls and more police cars than you can count. Along the way there's plenty of music to punctuate the action, including performances by Ray Charles, Aretha Franklin, Cab Calloway, and James Brown that are guaranteed to knock you out. As played with deadpan wit by Belushi and Aykroyd, the Blues Brothers are "on a mission from God," and that gives them a kind of reckless glee that keeps the movie from losing its comedic appeal. Otherwise this might have been just a bloated marathon of mayhem that quickly wears out its welcome (which is how some critics described this film and its 1998 sequel). Keep an eye out for Steven Spielberg as the city clerk who stamps some crucial paperwork near the end of the film.—Jeff Shannon

David Twohy Bigger isn't always better, but for anyone who enjoyed Pitch Black, a nominal sequel like The Chronicles of Riddickshould prove adequately entertaining. Writer-director David Twohy returns with expansive sets, detailed costumes, an army of CGI effects artists, and the star he helped launch—Vin Diesel—bearing his franchise burden quite nicely as he reprises his title role. The Furian renegade Riddick has another bounty on his head, but when he escapes from his mercenary captors, he's plunged into an epic-scale war waged by the Necromongers. A fascist master race led by Lord Marshal (Colm Feore), they're determined to conquer all enemies in their quest for the Underverse, the appeal of which is largely unexplained (since Twohy is presumably reserving details for subsequent "chronicles"). With tissue-thin plotting, scant character development, and skimpy roles that waste the talents of Thandie Newton (as a Necromonger conspirator) and Judi Dench (as a wispy "Elemental" priestess), Twohy's back in the B-movie territory he started in (with The Arrival), brought to vivid life on a vast digital landscape with the conceptual allure of a lavish graphic novel. But does Riddick have leadership skills on his resumé? To get an answer to that question, sci-fi fans will welcome another sequel. —Jeff Shannon

Comes with rare collectable booklet compiled by Gary Russell author of the art of The Lord of the Rings Movies

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)

The Ultimate Hitchhiker's Guide(Paperback)

The Filming of the Douglas Adams Classic(book)

Interviews with The Cast and Director

Watch our interviews with the cast and director of The Hitchhiker's Guide to the Galaxyand find out what they think of other DVDs and books: 

high bandwidth 

low bandwidth

In every aspect, the extended-edition DVD of Peter Jackson's epic fantasy The Lord of the Rings: The Fellowship of the Ringblows away the theatrical-version DVD. No one who cares at all about the film should ever need to watch the original version again. Well, maybe the impatient and the squeamish will still prefer the theatrical version, because the extended edition makes a long film 30 minutes longer and there's a bit more violence (though both versions are rated PG-13). But the changes—sometimes whole scenes, sometimes merely a few seconds—make for a richer film. There's more of the spirit of J.R.R. Tolkien, embodied in more songs and a longer opening focusing on Hobbiton. There's more character development, and more background into what is to come in the two subsequent films, such as Galadriel's gifts to the Fellowship and Aragorn's burden of lineage. And some additions make more sense to the plot, or are merely worth seeing, such as the wood elves leaving Middle-earth or the view of Caras Galadhon (but sorry, there's still no Tom Bombadil). Extremely useful are the chapter menus that indicate which scenes are new or extended.

Of the fourcommentary tracks, the ones with the greatest general appeal are the one by Jackson and cowriters Fran Walsh and Philippa Boyens, and the one by 10 cast members, but the more technically oriented commentaries by the creative and production staff are also worth hearing. The bonus features (encompassing two complete DVDs) are far superior to the largely promotional materials included on the theatrical release, delving into such matters as script development, casting, and visual effects. The only drawback is that the film is now spread over two discs, with a somewhat abrupt break following the council at Rivendell, due to the storage capacity required for the longer running time, the added DTS ES 6.1 audio, and the commentary tracks. But that's a minor inconvenience. Whether in this four-disc set or in the collector's gift set (which adds Argonath bookends and a DVD of National Geographic Beyond the Movie: The Lord of the Rings: The Fellowship of the Ring), the extended-edition DVD is the FellowshipDVD to rule them all. —David Horiuchi

The greatest trilogy in film history, presented in the most ambitious sets in DVD history, comes to a grand conclusion with the extended edition of The Lord of the Rings: The Return of the King. Not only is the third and final installment of Peter Jackson's adaptation of the works of J.R.R. Tolkien the longest of the three, but a full 50 minutes of new material pushes the running time to a whopping 4 hours and 10 minutes. The new scenes are welcome, and the bonus features maintain the high bar set by the first two films, The Fellowship of the Ringand The Two Towers.

What's New?

One of the scenes cut from the theatrical release but included here, the resolution of the Saruman storyline, generated a lot of publicity when the movie opened, as actor Christopher Lee complained in the press about losing his only appearance. It's an excellent scene, one Jackson calls "pure Tolkien," and provides better context for Pippin to find the wizard's palantir in the water, but it's not critical to the film. In fact, "valuable but not critical" might sum up the ROTKextended edition. It's evident that Jackson made the right cuts for the theatrical run, but the extra material provides depth and ties up a number of loose ends, and for those sorry to see the trilogy end (and who isn't?) it's a welcome chance to spend another hour in Middle-earth. Some choice moments are Gandalf's (Ian McKellen) confrontation with the Witch King (we find out what happened to the wizard's staff), the chilling Mouth of Sauron at the gates of Mordor, and Frodo (Elijah Wood) and Sam (Sean Astin) being mistaken for Orc soldiers. We get to see more of Éowyn (Miranda Otto), both with Aragorn and on the battlefield, even fighting the hideously deformed Orc lieutenant, Gothmog. We also see her in one of the most anticipated new scenes, the Houses of Healing after the battle of the Pelennor Fields. It doesn't present Aragorn (Viggo Mortensen) as a savior as the book did, but it shows the initial meeting between Éowyn and Faramir (David Wenham), a relationship that received only a meaningful glance in the theatrical cut.

If you want to completely immerse yourself in Peter Jackson's marvelous and massive achievement, only the extended edition will do.

And for those who complained, no, there are no new endings, not even the scouring of the Shire, which many fans were hoping to see. Nor is there a scene of Denethor (John Noble) with the palantir, which would have better explained both his foresight and his madness. As Jackson notes, when cuts are made, the secondary characters are the first to go, so there is a new scene of Aragorn finding the palantir in Denethor's robes. Another big difference is Aragorn's confrontation with the King of the Dead. In the theatrical version, we didn't know whether the King had accepted Aragorn's offer when the pirate ships pulled into the harbor; here Jackson assumes that viewers have already experienced that tension, and instead has the army of the dead join the battle in an earlier scene (an extended cameo for Jackson). One can debate which is more effective, but that's why the film is available in both versions. If you feel like watching the relatively shorter version you saw in the theaters, you can. If you want to completely immerse yourself in Peter Jackson's marvelous and massive achievement, only the extended edition will do.

How Are the Bonus Features?

To complete the experience, The Return of the Kingprovides the same sprawling set of features as the previous extended editions: four commentary tracks, sharp picture and thrilling sound, and two discs of excellent documentary material far superior to the recycled material in the theatrical edition. Those who have listened to the seven hours of commentary for the first two extended editions may wonder if they need to hear more, but there was no commentary for the earlier ROTKDVD, so it's still entertaining to hear Jackson break down the film (he says the beacon scene is one of his favorites), discuss differences from the book, point out cameos, and poke fun at himself and the extended-edition concept ("So this is the complete full strangulation, never seen before, here exclusively on DVD!"). The documentaries (some lasting 30 minutes or longer) are of their usual outstanding quality, and there's a riveting storyboard/animatic sequence of the climactic scene, which includes a one-on-one battle between Aragorn and Sauron.

One DVD Set to Rule Them All
Peter Jackson's trilogy has set the standard for fantasy films by adapting the Holy Grail of fantasy stories with a combination of fidelity to the original source and his own vision, supplemented by outstanding writing, near-perfect casting, glorious special effects, and evocative New Zealand locales. The extended editions without exception have set the standard for the DVD medium by providing a richer film experience that pulls the three films together and further embraces Tolkien's world, a reference-quality home theater experience, and generous, intelligent, and engrossing bonus features. —David Horiuchi

The extended edition of The Lord of the Rings: The Fellowship of the Ringwas perhaps the most comprehensive DVD release to date, and its follow-up proves a similarly colossal achievement, with significant extra footage and a multitude of worthwhile bonus features. The extended version of The Two Towersadds 43 minutes to the theatrical version's 179-minute running time, and there are valuable additions to the film. Two new scenes might appease those who feel that the characterization of Faramir was the film's most egregious departure from the book, and fans will appreciate an appearance of the Huorns at Helm's Deep plus a nod to the absence of Tom Bombadil. Seeing a little more interplay between the gorgeous Eowyn and Aragorn is welcome, as is a grim introduction to Eomer and Theoden's son. And among the many other additions, there's an extended epilogue that might not have worked in the theater, but is more effective here in setting up The Return of the King. While the 30 minutes added to The Fellowship of the Ringfelt just right in enriching the film, the extra footage in The Two Towersat times seems a bit extraneous—we seemoments that in the theatrical version we had been told about, and some fleshed-out conversations and incidents are rather minor. But director Peter Jackson's vision of J.R.R. Tolkien's world is so marvelous that it's hard to complain about any extra time we can spend there.

While it may seem that there would be nothing left to say after the bevy of features on the extended Fellowship, the four commentary tracks and two discs of supplements on The Two Towersremain informative, fascinating, and funny, far surpassing the recycled materials on the two-disc theatrical version. Highlights of the 6.5 hours' worth of documentaries offer insight on the stunts, the design work, the locations, and the creation of Gollum, and—most intriguing for rabid fans—the film's writers (including Jackson) discuss why they created events that weren't in the book. Providing variety are animatics, rough footage, countless sketches, and a sound-mixing demonstration. Again, the most interesting commentary tracks are by Jackson and writers Fran Walsh and Philippa Boyens and by 16 members of the cast (eight of whom didn't appear in the first film, and even including John Noble, whose Denethor character only appears in this extended cut). The first two installments of Peter Jackson's trilogy have established themselves as the best fantasy films of all time, and among the best film trilogies of all time, and their extended-edition DVD sets have set a new standard for expanding on the already-epic films and providing comprehensive bonus features. —David Horiuchi

Joel Schumacher This 1987 thriller was a predictable hit with the teen audience it worked overtime to attract. Like most of director Joel Schumacher's films, it's conspicuously designed to push the right marketing and demographic buttons, and granted, there's some pretty cool stuff going on here and there. Take Kiefer Sutherland, for instance. In Stand by Mehe played a memorable bully, but here he goes one step further as a memorable bully vampirewho leads a tribe of teenage vampires on their nocturnal spree of bloodsucking havoc. Jason Patric plays the new guy in town, who quickly attracts a lovely girlfriend (Jami Gertz), only to find that she might be recruiting him into the vampire fold. The movie gets sillier as it goes along, and resorts to a routine action-movie showdown, but it's a visual knockout (featuring great cinematography by Michael Chapman) and boasts a cast that's eminently able (pardon the pun) to sink their teeth into the best parts of an uneven screenplay. —Jeff Shannon

Joel Coen Ethan Coen For all of its late-1940s cold war paranoia, pulp fiction dialogue, and frenzied greed, Joel and Ethan Coen's The Man Who Wasn't Thereis their most cool and collected film since Blood Simple. An unassuming barber with a scheming wife (Frances McDormand) and a serious smoking habit, Ed Crane (Billy Bob Thornton) is an onlooker to his own life, a ghostly presence set against a silver-toned film noir backdrop. Only when he decides to alter his fate by blackmailing his wife's lover (James Gandolfini) in order to invest with a traveling salesman (Jon Polito) touting the wave of the future—dry cleaning—do we begin to hear the full extent of Ed's understated, existential lament. As his lawyer (Tony Shalhoub) says in Ed's defense at his eventual trial for murder, "He is modern man." Thornton's deadpan eloquence and cinematographer Roger Deakins's precision lighting offer the perfect counterbalance to the requisite one-liners, plot twists, and false endings that have come to characterize recent Coen brothers films. Almost in spite of the obsessive cultural references (flying saucers, Nabokov's Lolita, Heisenberg's uncertainty principle), Ed Crane steps neatly from the fray as one of cinema's most memorably disenchanted characters. —Fionn Meade

Larry Wachowski Andy Wachowski By following up their debut thriller Boundwith the 1999 box-office smash The Matrix, the codirecting Wachowski brothers—Andy and Larry—annihilated any suggestion of a sophomore jinx, crafting one of the most exhilarating sci-fi/action movies of the 1990s. Set in the not too distant future in an insipid, characterless city, we find a young man named Neo (Keanu Reeves). A software techie by day and a computer hacker by night, he sits alone at home by his monitor, waiting for a sign, a signal—from what or whom he doesn't know—until one night, a mysterious woman named Trinity (Carrie-Anne Moss) seeks him out and introduces him to that faceless character he has been waiting for: Morpheus (Laurence Fishburne). A messiah of sorts, Morpheus presents Neo with the truth about his world by shedding light on the dark secrets that have troubled him for so long: "You've felt it your entire life, that there's something wrong with the world. You don't know what it is, but it's there, like a splinter in your mind, driving you mad." Ultimately, Morpheus illustrates to Neo what the Matrix is—a reality beyond reality that controls all of their lives, in a way that Neo can barely comprehend.

Neo thus embarks on an adventure that is both terrifying and enthralling. Pitted against an enemy that transcends human concepts of evil, Morpheus and his team must train Neo to believe that he is the chosen champion of their fight. With mind-boggling, technically innovative special effects and a thought-provoking script that owes a debt of inspiration to the legacy of cyberpunk fiction, this is much more than an out-and-out action yarn; it's a thinking man's journey into the realm of futuristic fantasy, a dreamscape full of eye candy that will satisfy sci-fi, kung fu, action, and adventure fans alike. Although the film is headlined by Reeves and Fishburne—who both turn in fine performances—much of the fun and excitement should be attributed to Moss, who flawlessly mixes vulnerability with immense strength, making other contemporary female heroines look timid by comparison. And if we were going to cast a vote for most dastardly movie villain of 1999, it would have to go to Hugo Weaving, who plays the feckless, semipsychotic Agent Smith with panache and edginess. As the film's box-office profits soared, the Wachowski brothers announced that The Matrixis merely the first chapter in a cinematically dazzling franchise—a chapter that is arguably superior to the other sci-fi smash of 1999 (you know... the one starring Jar Jar Binks). —Jeremy Storey

Larry Wachowski Andy Wachowski Considering the lofty expectations that preceded it, The Matrix Reloadedtriumphs where most sequels fail. It would be impossible to match the fresh audacity that made The Matrixa global phenomenon in 1999, but in continuing the exploits of rebellious Neo (Keanu Reeves), Morpheus (Laurence Fishburne), and Trinity (Carrie-Anne Moss) as they struggle to save the human sanctuary of Zion from