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

Nick Willing This is an impressive-looking version of Lewis Carroll's story originally produced for NBC-TV. Dreading a singing recital at her parents' lavish home, Alice falls into a strange world in pursuit of a large White Rabbit. The talented child actor Tina Majorino (Corrina, Corrina) plays Alice with all the good graces but mostly wanders through the story unquestioningly. Carroll's tale of whimsical, illogical adventures is a field day for designers Roger Hall and Alan Tomkins, costumer Charles Knode, Jim Henson's Creature Shop, and director Nick Willing (Photographing Fairies. Influenced by Time Banditsand Labyrinth(the latter also designed by the Henson company), the film has a splendid array of effects, many dealing with multiple perspectives as Alice constantly changes sizes. The highlight is Whoopi Goldberg as the Cheshire Cat, a seamless mix of cat and comic. Martin Short as the Hatter and Mirandra Richardson as the Queen of Hearts seem to be having the times of their lives. This is not the definitive version of Carroll's tale, and, like the popular Disney animated version, combines some elements of Carroll's sequel, Through the Looking Glass. It is perhaps better viewing for the fan that has seen another version of the tale or read the book. —Doug Thomas

Don Bluth Gary Goldman

Chris Noonan BRAND NEW, sealed, includes the original VHS tape, case, and paperwork, fast shipped, ask me for my VHS List! :D

Andy Knight Excellent condition, includes the original VHS tape, case, and paperwork, fast shipped, ask me for my VHS List!;

Brian Levant Put Charles Grodin together with a 200-pound Saint Bernard and you're likely to come up with some good laughs. In this popular family comedy from 1992 Grodin plays a beleaguered dad who reluctantly lets his kids keep the lost puppy they've adopted. The dog quickly grows into the huge and clever hound named Beethoven. In a marked departure from his nice-guy roles in several Disney comedies from the 1960s and '70s, Dean Jones plays the villainous veterinarian who abducts Beethoven to be a subject in his sadistic animal experiments. The kidnapping sets the stage for a raucous rescue and, of course, an inevitable sequel. Innocuous but harmlessly entertaining, Beethovenis one of those movies that some kids can't get enough of. —Jeff Shannon

Rod Daniel This 1993 sequel to the St. Bernard hit finds big, fluffy Beethoven now at home with gruff-but-lovable dad Charles Grodin, supermom Bonnie Hunt, and their three kids. The story continues with Beethoven falling for a female St. Bernard and having a litter, unbeknownst to Grodin, while the new dog's owner (Debi Mazar) starts angling for benefits from this union. The larger dog pool certainly adds more cuteness and laughs to this follow-up, and Grodin and Hunt—consummate professionals—don—don't let sequel-itis lower their energy or their wonderfully idiosyncratic way with dialogue. Mazar brings her own edge to the proceedings, too, but in the end, the film's accent is still very much on a feel-good experience for everyone. —Tom Keogh

Blake Edwards No film better utilizes Audrey Hepburn's flighty charm and svelte beauty than this romantic adaptation of Truman Capote's novella. Hepburn's urban sophisticate Holly Golightly, an enchanting neurotic living off the gifts of gentlemen, is a bewitching figure in designer dresses and costume jewelry. George Peppard is her upstairs neighbor, a struggling writer and "kept" man financed by a steely older woman (Patricia Neal). His growing friendship with the lonely Holly soon turns to love and threatens the delicate balance of both of their compromised lives. Taking liberties with Capote's bittersweet story, director Blake Edwards and screenwriter George Axelrod turn New York into a city of lovers and create a poignant portrait of Holly, a frustrated romantic with a secret past and a hidden vulnerability. Composer Henry Mancini earned Oscars for the hit song "Moon River" and his tastefully romantic score. The only sour note in the whole film is Mickey Rooney's demeaning performance as the apartment's Japanese manager, an offensively overdone stereotype even in 1961. The rest of the film has weathered the decades well. Edwards's elegant yet light touch, Axelrod's generous screenplay, and Hepburn's mix of knowing experience and naiveté combine to create one of the great screen romances and a refined slice of high society bohemian chic. —Sean Axmaker

Fran Rubel Kuzui Fran Rubel Kuzui's 1992 tongue-in-cheek vampire comedy is sugarcoated horror, an unusual mix of the cute and scary, with a splash of postmodern pop nonsense to give culture critics something to think about. Kristy Swanson plays a Valley Girl who learns she belongs to a line of ancient vampire killers. After training under the watchful eye of a mentor (Donald Sutherland), she becomes a spandex-wearing, kung-fu kicking, stake-stabbing babe and the mortal enemy of a narcissistic master vampire (Rutger Hauer). The accent is all on cheery attitude, though the action can be as authentically unnerving as any other halfway decent monster movie. Paul Reubens, formerly Pee-wee Herman, has a small role as Hauer's fanged familiar. —Tom Keogh

"FALLING HARE", THE WABBIT WHO CAME TO SUPPER WITH ELMER FUDD, A CORNEY CONCERTO WITH PORKY PIG, CASE OF THE MISSING HARE

John Korty

T. Hee Norman Ferguson Ford Beebe Jim Handley Hamilton Luske Samuel Armstrong Paul Satterfield Wilfred Jackson Bill Roberts Ben Sharpsteen James Algar Groundbreaking on several counts, not the least of which was an innovative use of animation and stereophonic sound, this ambitious Disney feature has lost nothing to time since its release in 1940. Classical music was interpreted by Disney animators, resulting in surreal fantasy and playful escapism. Leopold Stokowski and the Philadelphia Orchestra provided the music for eight segments by the composers Tchaikovsky, Moussorgsky, Stravinsky, Beethoven, Ponchielli, Bach, Dukas, and Schubert. Not all the sequences were created equally, but a few are simply glorious, such as "Night on Bald Mountain,""The Sorcerer's Apprentice," and "The Nutcracker Suite." The animation ranges from subtly delicate to fiercely bold. The screen bursts with color and action as creatures transmute and convention is thrust aside. The painstaking detail and saturated hues are unique to this film, unmatched even by more advanced technology. —Rochelle O'Gorman

Les Mayfield Disney couldn't resist the temptation to remake 1961's popular comedy The Absent Minded Professor, so they cast Robin Williams as Professor Philip Brainard (a role vaguely related to the character originated by Fred MacMurray), and the result is a comedy that, frankly, doesn't fully deserve its modest success. It's admittedly clever to a point, and certainly the digitally "flubberized" special effects provide the kind of movie magic that's entertaining for kids and parents alike. The professor can't even remember his own wedding day (much to the chagrin of his fiancée, played by Marcia Gay Harden), and now his academic rival (Christopher McDonald) is trying to steal his latest and purely accidental invention—flying rubber, or ... flubber. The green goo magnifies energy and can be used as an amazing source of power, but in the hands of screenwriter John Hughes it becomes just another excuse to recycle a lot of Home Alone-style slapstick humor involving a pair of bumbling would-be flubber thieves. There's also a floating robot named Weebo and some catchy music by Danny Elfman to accompany dancing globs of flubber, but the story's too thin to add up to anything special. Lightweight fun, but, given the title, it lacks a certain bounce. Of course, that didn't stop Disney's marketing wizards from turning it into a home-video hit. —Jeff Shannon

Mamoru Oshii The skillful blending of drawn animation and computer-generated imagery excited anime fans when this science fiction mystery was released in 1995: many enthusiasts believe Ghostsuggests what the future of anime will be, at least in the short term. The film is set in the not-too-distant future, when an unnamed government uses lifelike cyborgs or "enhanced" humans for undercover work. One of the key cyborgs is The Major, Motoko Kusanagi, who resembles a cross between The Terminator and a Playboy centerfold. She finds herself caught up in a tangled web of espionage and counterespionage as she searches for the mysterious superhacker known as "The Puppet Master."

Mamoru Oshii directs with a staccato rhythm, alternating sequences of rapid-fire action (car chases, gun battles, explosions) with static dialogue scenes that allow the characters to sort out the vaguely mystical and rather convoluted plot. Kusanagi's final quote from I Corinthians suggests that electronic evolution may compliment and eventually supplant organic evolution. The minor nudity, profanity, and considerable violence would earn Ghost in the Shellat least a PG rating. —Charles Solomon

Black comedies don't come much blacker than this cult favorite from 1972, and they don't come much funnier, either. It seemed that director Hal Ashby was the perfect choice to mine a mother lode of eccentricity from the original script by Colin Higgins, about the unlikely romance between a death-obsessed 19-year-old named Harold (Bud Cort) and a life-loving 79-year-old widow named Maude (Ruth Gordon). They meet at a funeral, and Maude finds something oddly appealing about Harold, urging him to "reach out" and grab life by the lapels as opposed to dwelling morbidly on mortality. Harold grows fond of the old gal—she—she's a lot more fun than the girls his mother desperately matches him up with—and together they make Harold & Maudeone of the sweetest and most unconventional love stories ever made. Much of the earlier humor arises from Harold's outrageous suicide fantasies, played out as a kind of twisted parlor game to mortify his mother, who's grown immune to her strange son's antics. Gradually, however, the film's clever humor shifts to a brighter outlook and finally arrives at a point where Harold is truly happy to be alive. Featuring soundtrack songs by Cat Stevens, this comedy certainly won't appeal to all tastes (it was a box-office flop when first released), but if you're on its quirky wavelength, it might just strike you as one of the funniest movies you've ever seen. —Jeff Shannon

Bronwen Hughes This feature production from Nickelodeon is based on a popular kids' book from the 1960s by Louise Fitzhugh, and stars Michelle Trachtenberg as an 11-year-old wannabe journalist who writes all her observations about friends in a diary. When the book is stolen and read by her peers, she's ostracized. The film is hard to watch for all its sensory overload (rapid cuts, kooky camera angles), but its theme of finding a balance between a commitment to one's voice and one's obligations to others is fairly wise stuff. With Rosie O'Donnell and Eartha Kitt. —Tom Keogh

Gerald Potterton Jimmy T. Murakami As long as there is a need for adolescent male sexual fantasy, there will be an audience for Heavy Metal. Released in 1981 and based on stories from the graphic magazine of the same name (possibly the greatest publication to simultaneously provoke imagination and masturbation), the film has since become the most popular single title in Columbia/TriStar's entire film library. That's an amazing fact considering just how silly and senseless the movie really is—an aimless, juvenile amalgam of disjointed stories and clashing visual styles, employing hundreds of animators from around the world with a near-total absence of creative cohesion. It remains, for better and worse, a midnight-movie favorite for the stoner crowd—a movie best enjoyed by randy adolescents or near-adults in an altered state of consciousness.

With a framing story about a glowing green orb claiming to be the embodiment of all evil, the film shuttles through eight episodic tales of sci-fi adventure, each fueled by some of the most wretched rock music to emerge from the 1980s. The most consistent trademark is an abundance of blood-splattering violence and wet-dream sex, the latter involving a succession of huge-breasted babes who shed their clothes at the drop of a G-string. It's all quite fun in its rampantly brainless desire to fuel the young male libido, and for all its incoherence Heavy Metalremains impressive for the ambitious artistry of its individual segments. Courtesy of producer Ivan Reitman (who'd just scored a hit with Stripes), voice talents include several Canadian veterans of Second City comedy, including John Candy, Harold Ramis, Eugene Levy, and Joe Flaherty. —Jeff Shannon

4 Heckle & Jeckle color cartoons

Philip Kaufman Anaïs Nin (Maria de Medeiros) is a young woman in 1930s Paris whose husband is slowly defecting from art to working in a bank, leaving her very bored. When the then-unpublished Brooklyn writer Henry Miller (Fred Ward) enters her life, she embarks on a journey of seduction and sexual exploration that eventually leads from the writer to his wife, June (Uma Thurman), who finances her husband's life in Paris so he may praise her beauty in his writing. Unhappy with her husband's writing and her lovers' affair, June enters a jealous rage, forcing Henry into suffering-artist mode and Nin back to her husband. Despite having one of the more erotic scenes of the 1990s, between Nin and June, the film does not live up to its subject, largely due to a mediocre screenplay and flawed direction. The strength of the original material and Medeiros's decidedly unflawed performance, however, make it worth viewing. —James McGrath

Neil Jordan Peter O'Toole (Lawrence of Arabia, My Favorite Year) gives an exuberant performance in High Spirits. Peter Plunkett (O'Toole) hopes to save his mortgaged castle by turning it into a tourist attraction—the most haunted castle in Ireland. When American tourists arrive—among them Jack (Steve Guttenberg) and Sharon (Beverly D'Angelo), a couple whose marriage is rapidly disintegrating—Plunkett—Plunkett's tomfoolery arouses the real ghosts, who decide to give these interlopers everything they're asking for. But when Jack accidentally helps a beautiful ghost named Mary (Daryl Hannah), she decides he's the man to help her break the curse she's been suffering for 200 years. High Spiritsis an odd foray into comedy by director Neil Jordan (The Crying Game, Interview with the Vampire). The special effects are clumsy, but the strong supporting cast includes Jennifer Tilly, Peter Gallagher, and Liam Neeson as Mary's murderous 200-year-old husband. —Bret Fetzer

David R. Ellis This movie follows the unwritten law of sequels: bring back the same characters and put them in similar jeopardy with slightly tweaked circumstances. Instead of a cross-country journey, this time the pet trio must get from the San Francisco airport across the Golden Gate Bridge to their suburban home. Michael J. Fox and Sally Field return as the voices of Chance the bulldog and Sassy the cat, with Ralph Waite replacing the late Don Ameche as the elderly golden retriever. Their journey features dogfights, house fires, an epic battle with a pair of petnappers, and a love affair for Chance with a stray from the other side of the bridge (Carla Gugino). Sinbad voices another dog who guides them through the mean streets of the city by the bay, and Robert Hays stars as the father, but, frankly, that hardly matters. What does is the animals' banter, and they're funny. (Ages 3 and up) —Kimberly Heinrichs

Gary Trousdale The misconception about this animated film from Disney was that it was a movie for kids—something Victor Hugo never had in mind. In fact, despite a cute brace of singing gargoyles who are Quasimodo's (Tom Hulce) best friends, this version of Hugo's classic tale is really adult entertainment, with a strong set of songs by Alan Menken. The story remains mostly the same (though tricked out with a happier ending than Hugo's): Quasimodo, the ward of repressive monk Frollo, falls for a gypsy girl named Esmerelda (Demi Moore)—though she loves one of the king's guards (Kevin Kline). But they are all put in jeopardy by the wicked Frollo, whose secret passion for Esmerelda leads him to seek her death. At times too dark and even a shade kinky, something that may scare younger viewers. —Marshall Fine

Jonathan Dayton Valerie Faris

Ian Barry

Includes: Hector's Hectic Life; Christmas Night starring The Little King; Snowtime Serenade and The King's Tailor

Joe Johnston After the success of Jurassic Parkin 1993, the floodgates opened for digital special effects, and Jumanjiis nothing if not a showcase for computer-generated creepiness guaranteed to give young children a nightmare or two. Whether that was the filmmakers' intention is up for debate, since this is a PG-rated adventure revolving around a mysterious board game that unleashes a terrifying jungle world upon its players, including gigantic spiders, huge mosquitoes, a stampede of rhinos, elephants, and every other jungle beast you can imagine. Robin Williams plays a man-child who's been trapped in the world of "Jumanji" for 26 years until he's freed by two kids who've discovered the game and released its parade of dangerous horrors. A chaotic and misguided attempt at family entertainment, the movie does offer a few good laughs, and the effects are frequently impressive, if not entirely convincing to the eye. —Jeff Shannon

John Guillermin Before John Hughes claimed the mantle of Hollywood's antichrist, that title was firmly held by producer Dino De Laurentiis, whose middle name may have been "hubris." He vowed that this remake of the 1933 horror classic would be a bigger hit than Jawsand that his Kong would be more sympathetic than the shark. But for all the money he spent on trying to make this monkey look real, the biggest special effect was making Jeff Bridges look like a monkey—and nearly destroying Jessica Lange's acting career before it started. The film was noteworthy mostly for how cheesy the ape looks, though this was one of the first films to be shot at the then-new World Trade Center. Even Charles Grodin, as the villainous promoter, can't get laughs in this idiotic film. —Marshall Fine

3 Little Audrey cartoons! Tarts & Flowers, Butterscotch & Soda, and Song of the Birds

Lost Soulsis certainly one of the most gorgeous-looking movies to come out in 2000. The cinematography has a striking, visual texture reminiscent of old photographs, all the color bleeding out into rich and evocative shades of grey and black. The movie doesn't quite live up to its look, though it's not without its pleasures. The broader outlines of its story—about a true-crime writer (Ben Chaplin) who discovers, through the efforts of a former victim of possession (Winona Ryder), that he's about to become the Antichrist—lack any surprises or ingenuity. But individual scenes are largely well-written, spookily directed, and acted with commitment and intensity. Chaplin is particularly good, Ryder does her best, and a crew of superb character actors (including John Hurt, Elias Koteas, and Philip Baker Hall) flesh out the skeletally scripted supporting characters with skill and intelligence. Some of the special effects go a little overboard, but the movie is surprisingly free of the cheesy, demonic posturing and portentous speeches that afflict too many religious thrillers. Fans of The Exorcistor The Omenmay find Lost Soulsto be a modest but flavorful variation on the "devil-is-coming-to-get-you" genre. —Bret Fetzer

John Lounsbery Wolfgang Reitherman Disney's 1977 The Many Adventures of Winnie the Poohmay be the last word on (animated) Pooh because it so faithfully honors the first word on Pooh, penned in the 1920s by British storyteller A.A. Milne. Gently paced, subtly humorous, and blessedly understated, this adaptation reflects Walt Disney's original vision to develop the beloved British bear for a wider audience. The film is essentially a collection of the original Pooh shorts, "The Honey Tree,""The Blustery Day," and "Winnie the Pooh and Tigger Too." These storybooks are presented in seamless "chapters," narrated by the timeless Sebastian Cabot. The familiar musical score and original voices of Sterling Holloway as Pooh, and Paul Winchell as Tigger, cap this enchanting keepsake. (Ages 2 and up). —Lynn Gibson

Robert Stevenson There is only one word that comes close to accurately describing the enchanting Mary Poppins, and that term was coined by the movie itself: supercalifragilisticexpialidocious! Even at 2 hours and 20 minutes, Disney's pioneering mixture of live action and animation (based on the books by P.L. Travers) still holds kids spellbound. Julie Andrews won an Oscar as the world's most magically idealized nanny ("practically perfect in every way," and complete with lighter-than-air umbrella), and Dick Van Dyke is her clownishly charming beau, Bert the chimney sweep. The songs are also terrific, ranging from bright and cheery ("A Spoonful of Sugar") to dark and cheery (the Oscar-winning "Chim-Chim Cheree") to touchingly melancholy ("Feed the Birds"). Many consider Mary Poppinsto be the crowning achievement of Walt Disney's career—and it was the only one of his features to be nominated for a best picture Academy Award until Beauty and the Beastin 1991. —Jim Emerson

Chuck Russell Sometimes it's hard to tell if The Mask(or Jim Carrey's in-your-face mugging in general) is actually funny, or just bizarre and grotesque. And sometimes it just doesn't matter. Carrey plays a shy, Jerry Lewis-like nerd who discovers an ancient mask that magically transforms him into a green-faced, zoot-suited Tex Avery cartoon character with no inhibitions. As Roger Ebert said of Carrey in Ace Ventura: Pet Detective, the actor performs "as if he's being clocked on an Energy-O-Meter, and paid by the calorie expended." If that's your kind of humor, you'll love The Mask; if not, you may need a valium or two to sit through this one. Digital video disc extras include two deleted scenes and a commentary track from director Charles Russell. —Jim Emerson

Danny DeVito's adaptation of the Roald Dahl book for children is mostly just fine, helped along quite a bit by the charming performance of Mara Wilson (Mrs. Doubtfire) as young Matilda, a brilliant girl neglected by her stupid, self-involved parents (DeVito and Rhea Perlman). Ignored at home, Matilda escapes into a world of reading, exercising her mind so much she develops telekinetic powers. Good thing, too: sent off to a school headed by a cruel principal, Matilda needs all the help she can get. DeVito takes a highly stylized approach that is sometimes reminiscent of Barry Sonnenfeld (director of Get Shorty, a DeVito production), and his judgment is not the best in some matters, such as letting the comic-scary sequences involving the principal go on too long. But much of the film is delightful and funny. The DVD release has a pan-and-scan, full-screen presentation only, plus Dolby sound and optional French and Spanish soundtracks. —Tom Keogh

Steve Barron What kind of guy was the wizard Merlin, anyway? He lives a long time, raises a boy to be a king, props up a Utopian empire with his magic and wisdom, and then watches as it all crumbles under such banal forces as vengeance and betrayal. This four-hour miniseries re-tells the story of Camelot and King Arthur from the perspective of the magic man who sacrifices a great deal to guide mortals toward a better destiny. Sam Neill plays Merlin as an accessible, flesh-and-blood fellow of real passion, powerless to undo the spell of a rival (Rutger Hauer) who has virtually imprisoned Merlin's great love, Nimue (Isabella Rossellini), but gifted enough to counter the treachery of Morgan Le Fey (Helena Bonham Carter) and the wicked Queen Mab (Miranda Richardson). The battle sequences and special effects are striking and original, and it is great fun to see such art-house movie actors as Richardson, Carter, Neill, etc., in fantasy entertainment the whole family can enjoy. (An unrecognizable Martin Short must be singled out, however, for a wonderful, largely dramatic performance as Mab's sidekick, Frik.) Directed by Steve Barron (The Adventures of Pinocchio), Merlinis a nice bit of glossy revisionism of a beloved legend. —Tom Keogh

Fritz Lang Fritz Lang's most famous silent film uses science fiction and spectacular special effects to tell a story of biting social criticism. In a futuristic time and place, an above ground city of lightness, culture and respectability is kept going only by the enslaved proletariat laboring beneath in the underground city, a nightmarish, cruel, and dark place. An innovative and influential film in its day and now considered one of the hippest films of the sci-fi genre. Running time: 115 min. Recorded in the highest quality EP mode. Silent with beautiful musical score.

Clint Eastwood Readers of John Berendt's bestselling novel were bound to be at least somewhat disappointed by this big-screen adaptation, but despite mixed reaction from critics and audiences, there's still plenty to admire about director Clint Eastwood's take on the material. Readers will surely miss the rich atmosphere and societal detail that Berendt brought to his "Savannah story," and the movie can only scratch the surface of Georgian history, tradition, and wealthy decadence underlying Berendt's fact-based murder mystery. Still, Eastwood maintains an assured focus on the wonderful eccentrics of Savannah, most notably a gay Savannah antiques dealer (superbly played by Kevin Spacey), who may or may not have killed his friend and alleged lover (Jude Law). John Cusack plays the Town & Countryjournalist who arrives in Savannah to find much more than he bargained for—including the city's legendary drag queen Lady Chablis (playing "herself")—and John Lee Hancock's smoothly adapted screenplay succeeds in bringing Berendt's characters vividly to life with plenty of flavorful dialogue. In similar fashion to Warner's acclaimed DVD of L.A. Confidential, this classy DVD includes a behind-the-scenes documentary titled The Real People in the Gardenand an interactive map tour of Savannah and its most celebrated (or notorious) citizens. The original theatrical trailer is also included. —Jeff Shannon

Martin Gates (II)

Brian Henson Brian Henson directs his late father's creations in the Charles Dickens classic, the best known (and most oft-filmed) Christmas story of all time. Michael Caine plays the old miser Scrooge with Kermit as his long-suffering but ever-hopeful employee Bob Cratchit, Miss Piggy as Cratchit's wife, and a host of Muppets (including the Great Gonzo as an unlikely Charles Dickens) taking other primary roles in this bright, playful adaptation of the somber tale. Or at least it starts brightly enough—the anarchic humor soon settles into mirthful memories and a sense of melancholy as the ghosts of Christmas past, present, and future take Scrooge on a journey of his lonely, wasted life. Michael Caine makes a wonderful Scrooge, delightfully rediscovering the meaning of life as fantastic creations from Henson's Creature Shop (developed specially for this film) take the reins as the three ghosts. While the odd mix of offbeat humor and somber drama undercuts the power of Dickens's drama, this kid-friendly retelling makes an excellent family drama that adults and children alike can enjoy. —Sean Axmaker

Mario Andreacchio

John Sparey

Color and Black & White

We can hardly imagine how shocking this film was when it first broke into the film scene in 1968. There's never been anything quite like it again, though there have been numerous pale imitations. Part of the terror lies in the fact that it is shot in such a raw and unadorned fashion that it feels like a home movie, and is all the more authentic because of that. It draws us into its world gradually, content to establish a merely spooky atmosphere before leading us through a horrifically logical progression that we hardly could have anticipated. The story is simple: Radiation from a fallen satellite has caused the dead to walk, and hunger for human flesh. Once bitten, you become one of them. And the only way to kill one is by a shot or blow to the head. We follow a group holed up in a small farmhouse who are trying to fend off the inevitable onslaught of the dead. The tension between the members of this unstable, makeshift community drives the film. Night of the Living Deadestablishes savagery as a necessary condition of life. Marked by fatality and a grim humor, the film gnaws through to the bone, then proceeds on to the marrow. —Jim Gay

Pixote Hunt Joe Johnston Maurice Hunt A blend of live-action and animation, this film centers on a fearful young boy (Macaulay Culkin) afraid to experience life because he's calculated the odds of an accident for every known activity. Chased by bullies, he winds up at the local library, where a bump on the head sends him into an animated universe, where his best friends are walking, talking books voiced by, among others, Patrick Stewart and Whoopi Goldberg. The Pagemaster (Christopher Lloyd) points the way to the exit, but the boy must first traverse the adventures of literary history, encountering everyone from Dr. Jekyll to Captain Ahab to Long John Silver. The animation is middling, but a worthy message makes this better children's entertainment than you'd expect. How can you fault a movie that encourages kids to pick up a book? —Marshall Fine

Bill Melendez Excellent condition, plays great, includes the original VHS, case, and paperwork, fast shipped, ask me for my VHS List! :D

Tom Ellery Bradley Raymond Disney's direct-to-video sequel to their 1995 hit places Pocahontas in harm's way in London, where she is almost tossed into jail and has some other mishaps. She's not alone, however: a cute raccoon named Meeko does a nice job as the obligatory funny animal. The songs are about as memorable as those in the first film, but the art and animation maintain far higher standards than most animated sequels dumped onto tape. If you don't drive yourself nuts thinking about the appalling historical revisionism at work here, this is passable family entertainment. —Tom Keogh

Griffin Dunne Actor Griffin Dunne improves a bit on his first film as a director, Addicted to Love, with this drama-comedy about a family of witches. Nicole Kidman and Sandra Bullock play spell-casting sisters of different temperaments: the former is a high-living, free-spirited sort, while Bullock's character is a homebody who can't get around a family curse that kills the men in their lives. A widowed single mom, Bullock gets into a jam with an abusive Bulgarian (Goran Visnjic) and is helped out by her sibling, but the result brings a good-looking, warm, inquisitive cop (Aidan Quinn) into their lives. The film has a variety of tonal changes—cute, scary, glum—that Dunne can't always effectively juggle. But the female-centric, celebratory nature of the film (the fantasies, the sharing, the witchy bonds) is infectious, and supporting roles by Dianne Wiest and Stockard Channing as Kidman and Bullock's magical aunts are a lot of fun. —Tom Keogh

József Gémes

Chuck Sheetz Disney's Recess: School's Outdipped in and out of theaters faster than fans of the cable TV show could snap their lunch boxes shut—kind of nice for parents whose idea of grown-up detention is sitting through such fly-by-night kiddie features. Now that home screenings are an option, though, plan for the ages 5-and-older set to settle in for reruns. Also plan to get sucked in yourself—if the screwball plot doesn't do it, the soundtrack will. While TJ and Principal Prickly (the latter the unfortunate bearer of the "saggy butt" that becomes this movie's clunkiest running gag) bust in on a crew of fiendish would-be teachers during summer break, slices of vintage grooviness—Steppenwolf—Steppenwolf's "Born to be Wild," Strawberry Alarm Clock's "Incense and Peppermints," and Robert Goulet's "Green Tambourine" among them—get you cheering along, whether you're 3 or 43. The reason for all the retro funkiness revolves around the chief bad guy, Phil Benedict, a one-time educational visionary and former Prickly schoolmate. Back in the day, Benedict was a radical school revolutionary, but his manifesto for better test scores misfired when it called for a ban on recess, a concept so barbaric it got him canned from a cushy government job. Now, undeterred in his mission to make life miserable for kids, he's hatching a switcheroo scheme that will forever pull the shade on summer and thus summer vacation. Predictably, right at trigger time, TJ, Prickly, and the gang roar in to the rescue. It's an ending that's as pat as any on the TV show, but so what—this is a movie that aims for summer-linen lightness. Just as the Fifth Dimension promise on the soundtrack, it lets the sunshine, as well as a few well-timed chuckles, in. —Tammy La Gorce

Louis J. Gasnier Although it was made in 1936, Reefer Madnessdidn't become a cult hit until 1972 when the National Organization for the Reform of Marijuana Laws (NORML) rescued it from the Library of Congress film archive. Thereafter, it was a mainstay on the midnight movie circuit. And it's easy to see why. The ostensible story involves a group of upstanding young high school students who succumb to the allure of the "killer weed." What follows, as if by natural progression, is a catalog of crimes that includes hit-and-run driving, loose morals, rape, murder, suicide, and my personal favorite, permanent insanity!The action is at times so hysterical, in both senses, that you may forget to inhale. Honors go to the wild-eyed, cackling hophead David O'Brien; his performance reaches a raw intensity that is hard to imagine. One measure of this film's pervasive influence is the extent to which its title continues to be invoked in news stories about decriminalization and medical marijuana. Such posterity for unintentional humor must be rare. A great film to see stoned, man. —Jim Gay

Alan Zaslove Toby Shelton Tad Stones This 1994, direct-to-video follow-up to Aladdin(it's actually four episodes of the Aladdintelevision program, back-to-back) is a wash-out compared to the Robin Williams-driven animation feature that kicked off the franchise. The story partially involves the villainous Jafar's parrot—Iago—trying to leave his master and befriend Aladdin and Jasmine. Williams is nowhere to be found, unfortunately; the genie's voice is provided by Dan Castellaneta, and the difference shows. —Tom Keogh

Bob Rueland (David Duchovny) and Grace Briggs (Minnie Driver) have very little in common. Granted, they both live in Chicago and they're both a bit lovelorn, but that's about it. Still, fate has something in mind for these two somewhat-depressed souls (a construction worker and budding artist, respectively), who've both recently had brushes with death—he—he's a recent widower, she's just recovered from a heart transplant—and are a little more serious than their friends and relatives. After a series of misbegotten blind dates and almost-meetings, though, these two finally get together, and find that they fit seamlessly with each other. Despite their differences, they have a lot in common—in fact, quitea lot. It seems that the heart that now beats inside Grace's chest once belonged to Bob's wife (Joely Richardson), who died in a car crash. Coincidence? We think not.

A gentle, pleasing romantic comedy, Return to Memarks the directorial debut of Bonnie Hunt, an acclaimed actress known most famously for her role as Renee Zellweger's sister in Jerry Maguire. A shining, happy bright spot in whatever role she's in, Hunt has also invested the film with her trademark brand of humor: dry but sincere, sarcastic but not caustic, and with a deep current of humanity and romance. In the midst of all the permutations that fate surrounds them with, Driver and Duchovny make a pleasantly low-key couple; the triumph of the film is that despite all the contrived angst, the romance is never overly saccharine. They provide a quiet center in a film that has a fair amount of chaos in it, particularly due to Driver's extended family of Irish andItalian relatives (which occasionally tips the film into cutesy territory) and most hilariously to Driver's best friend, played by director Hunt . As a harried mother with innumerable kids and a likable oaf of a husband (James Belushi), Hunt again steals scenes effortlessly; Belushi is a comic revelation, better than he's been in years. You'll have the pleasant memories of both of these couples—one falling in love, one together for years—with you a long while after seeing this film. —Mark Englehart

Victor Andrianko

Tom Stoppard Tom Stoppard's modern stage classic finds a pair of film actors worthy of its verbal japery and existential bewilderment: Gary Oldman and Tim Roth are deliciously locked in as the title characters of Rosencrantz and Guildenstern are Dead. And yet it remains difficult to tell which one is Rosencrantz and which Guildenstern—even they seem unsure—a clever part of Stoppard's ingenious design. Focusing on a pair of unremarkable characters from Hamlet, Stoppard sees the great play from their confused perspective. Now and again the action of Hamletsweeps them up, but most of the time R&G are left wondering where they are, what they have been sent for, and why they can't remember anything that happened before the beginning of the play. Richard Dreyfuss (fittingly grandiloquent) is the Player King, who seems to know more about the ominous workings of fiction and tragedy than the heroes do. Stoppard's first outing as a film director is handsomely shot but uncertainly paced—although any time Oldman and Roth go into one of their tennis-match debates on probability, identity, or death, the movie crackles. Rosencrantz and Guildenstern may be the "indifferent children of the earth," but for this brief moment they deserve center stage. —Robert Horton

"America's #1 Christmas Classic" Rudolph the Red-Nose Reindeer was directed by Max Fleisher. Tape also features two other rare animated classics shorts "Christmas Comes But Once A Year" and "Christmas Toyshop".

Michael Mullen (II) Toni Vian Jim Duffy (II)

Jeff McGrath (II) Norton Virgien Toni Vian The Rugrats go to Las Vegas, where they are less interested in Rat Pack legacies than in liberating the "kitties in prison" they've seen in photographs. Those kitties, actually Siberian tigers cared for by the performance team Heimlich and Bob, are soon set free in this particularly funny installment. —Tom Keogh

Michael Mullen (II) Toni Vian Jim Duffy (II) In the title story, Tommy and his friends fear Santa breaking into their homes after hearing from others about his M.O. That crisis aside, Tommy and the gang try to get to the North Pole with their broken toys in "The Blizzard." This inevitable Christmas special deserves to be one of those seasonal classics from the animated world. —Tom Keogh

Billy Wilder Audrey Hepburn is the delightful, young, eponymous Sabrina, the daughter of a chauffeur who is hopelessly in love with David Larrabee (William Holden), the playboy younger son in the rich Long Island household her father works for. In order to help her forget her woes, Sabrina is shipped off to cooking school in Paris. While there, she befriends a baron who provides a bit of culture—and the encouragement to snip off her childlike ponytail. Upon her return to New York, Sabrina is transformed into a sophisticated woman, and David is entranced by her. However, his older brother Linus (Humphrey Bogart) has arranged David's marriage to Elizabeth Tyson in order to seal a business merger and thus must steer David away from Sabrina. To do this, Linus takes on the task of wooing her for himself. Full of great dialogue ("A woman happy in love, she burns the soufflé; a woman unhappy in love, she forgets to turn on the oven") and wonderful performances, this film is a romantic masterpiece. Also enjoyable is the 1995 remake, starring Julia Ormond and Harrison Ford. —Jenny Brown

Jeannot Szwarc The producers of the Supermanmovies took a shot at revitalizing the myth of Santa Claus with this 1985 feature. Unfortunately, the results were much less compelling than the flagship Supermanfeature, despite a script by one of the latter's key writers (David Newman) and a story structure that is essentially a carbon copy of the Man of Steel's movie. The first half of Santa Claus: The Movieis a ponderous origins tale, in which we learn that Santa was actually a woodcutter saved from certain death by elves and taken to the North Pole to begin life as the chimney-dropping hero of children everywhere. The second half involves a world-class villain (John Lithgow) who recruits an outcast elf (Dudley Moore) in a scheme to sabotage old St. Nick. While it aims to become a Christmas classic in the hearts and minds of generations to come, the film never really engages an audience, partially because Santa himself is merely a supporting player in the drama. Jeannot Szwarc (Supergirl, Jaws II) directs with a disabling lack of vision, and the special effects are terrible for such an expensive production. Sorry, but it's coals in the stocking for this flick. —Tom Keogh

Includes: Santa's Surprise, Ginger Nutt's Christmas Circus, Somewhere in Dreamland, Snow Foolin'

Scooby, Scrappy, and the gang are helping out Tiny Tina and the other young residents of a children's home put on a Christmas pageant when they are interrupted by a spooky apparition. Is it the work of the dastardly businessman who would do anything to buy the home? Or is someone else after the emerald hidden on the premises? You can bet the canine-human team will find the answers inside of 23 minutes—and wind up in tutus on skis to boot. Next, Scooby, Scrappy and Shaggy scare up a monster in Alaska in the seven-minute short "Alaskan King Coward." Filling out the 45-minute tape are two other shorts: an episode of Squiddly Diddly, Hanna Barbera's ghostly version of The Flintstones, and Cartoon Network's Shake & Flick, a mostly wordless caper about a dog and a flea doing battle in the Colosseum and other historic locales in Rome. The first three are fine for kids 2 and older, but the loud violence of the fourth cartoon is for slightly older audiences. —Kimberly Heinrichs

David Hand One of the brightest nuggets from Disney's golden age, this 1937 film is almost dizzying in its meticulous construction of an enchanted world, with scores of major and minor characters (including fauna and fowl), each with a distinct identity. When you watch Snow White's intricate, graceful movements of fingers, arms, and head all in one shot, it is not the technical brilliance of Disney's artists that leaps out at you, but the very spirit of her engaging, girl-woman character. When the wicked queen's poisoned apple turns from killer green to rose red, the effect of knowing something so beautiful can be so terrible is absolutely elemental, so pure it forces one to surrender to the horror of it. Based on the Grimm fairy tale, Snow White is probably the best family film ever to deal, in mythic terms, with the psychological foundation for growing up. It's a crowning achievement and should not be missed. —Tom Keogh

Jack Clayton Ray Bradbury adapted his own novel for Something Wicked This Way Comes, Jack Clayton's beautiful rendering of the turn-of-the-century fantasy of a mysterious carnival that literally blows into a small town to taunt and tempt the inhabitants. Jonathan Pryce (Brazil), the handsome but demonic proprietor of Dark's Pandemonium Carnival, preys upon the vanities, the delusions, and the regrets of the townspeople by granting their wishes at the expense of their souls. Jason Robards, as the meek librarian Charles Halloway, becomes his unlikely nemesis when his son Will, with his best friend Jim Nightshade (a deliciously dark name in its own right), discovers the secret of Dark's nightmarish carnival. When they become hunted by Dark's minions (including Pam Grier as the beautiful and mysterious Dust Witch), Halloway must confront his own fears and regrets to save the boys. Clayton captures the idyll of childhood in the fall with rich autumnal colors, his camera gliding along with the energetic boys as they tear through field and forests. The climax, however, gets lost in a cacophony of competing special effects, imaginatively visualized but never very terrifying, as if producer Disney resisted the uneasy undercurrent of the story. It's more dark fantasy than horror, a nightmarish adventure filtered through the memory of a man remembering his childhood in mythic terms. —Sean Axmaker

Although at first glance it looks like a movie dreamed up by a marketing committee (and in some respects it probably was), Space Jamactually defies the odds against it to become a dazzling display of family entertainment. There's a kind of demented genius to the idea of casting NBA superstar Michael Jordan in a live-action and animated movie costarring the beloved characters from Warner Bros.' Looney Tunes cartoons. They play off each other like seasoned veterans of vaudeville, and Jordan never falls into the kind of awkward, amateurish showmanship that you might expect from a sports idol. He's comfortable in the cartoon land of his costars, who include Bugs Bunny and sexy newcomer Lola Bunny, Daffy Duck, Porky Pig, Elmer Fudd, Sylvester & Tweety, Speedy Gonzalez, the Tazmanian Devil, Foghorn Leghorn, and Yosemite Sam. They've all been hijacked to an outer-space amusement park run by the Nerdlucks, who strike a Faustian bargain with the Looney heroes: if Bugs and Co. can defeat the Nerdluck "Monstars" in a basketball game, they'll win back their freedom; if they lose, they'll be doomed to stay there forever as enslaved entertainers. So they kidnap Jordan as their coach and "secret weapon" while the nefarious Nerdlucks suck out the basketball skills from such stellar victims as Charles Barkley and Patrick Ewing. It all leads to reckless abandon on the basketball court, and Bill Murray pops in for some hilarious support. Combining traditional animation and computer-generated Nerdlucks with its live-action cast, Space Jamwas made in the anarchic spirit of the Looney Tunes cartoons, where anything goes as long as it's funny and off-the-wall (or the ceiling, or the door, or the floor...). Technically astounding, it's also witty enough to entertain adults and kids alike. —Jeff Shannon

George Lucas Again? Yes. Even though no other movie has been released as many times on video as Star Wars(except for its sequels, The Empire Strikes Backand Return of the Jedi), George Lucas and the folks at 20th Century Fox have actually released a slightly different film this time. This video followed the mega-successful 20th-anniversary theatrical rerelease, in which Lucas personally remastered the image and sound quality of his baby. Other revisions are more obvious, if hardly radical. Lucas enhanced several special effects with updated computer technology—most noticeable are the explosions and removal of matte lines during the Death Star battle finale. And the creatures that populate Mos Eisley's spaceport—though meticulous—are aesthetically superior improvements. The inclusion of extra scenes (originally outtakes), however, is not an improvement. Both the meeting between Jabba the Hutt and Han Solo, and Luke talking with his childhood pal Biggs, do nothing to enhance character development or theme, and serve only as distractions that preoccupy the waiting viewer. And, really couldn't Lucas find something better to do with his time than mess around with a national treasure? As for the video, this boasts both visual and sound enhancements. But since Star Warshas been available with these tweaks numerous times before, the decision whether to purchase this latest new version depends on how badly you want to see Lucas's cosmetic surgery. —Dave McCoy

Irvin Kershner The middle film in George Lucas's enormously popular Star Warsscience fiction trilogy is a darker, more somber entry, considered by many fans as the best in the series. Gone is the jaunty swashbuckling of the first film; the rebellion led by Princess Leia (Carrie Fisher) suffers before the superior forces of the Empire, young hero Luke Skywalker (Mark Hamill) faces his first defeats as he attempts to harness the Force under the tutelage of Jedi master Yoda (voiced by Frank Oz), and cocky Han Solo (Harrison Ford) is betrayed by former ally Lando Calrissian (Billy Dee Williams). In the tradition of the great serials, this film is left with a hefty cliffhanger. The leap in special effects technology in the three years since Star Warsresults in an amazing array of effects, including a breathtaking chase through an asteroid field and a dazzling, utopian Cloud City, where Luke faces the black-clad villain Darth Vader (David Prowse, voice of James Earl Jones) in a futuristic sword fight and learns the secret of his Jedi father. Veteran director Irvin Kershner (The Eyes of Laura Mars, Never Say Never Again) took the directorial reins from creator and producer Lucas and invested the light-speed adventure with deeper characters and a more emphatic sense of danger. The special edition expands Luke's encounter with the Abominable Snowman-esque wampa and establishes the creature as a tangibly more terrifying beast, in addition to refining many of the existing effects. The trilogy is concluded in The Return of the Jedi.—Sean Axmaker

The high-energy, special-effects-laden conclusion to George Lucas's ambitious Star Warstrilogy delivers the final confrontation between Luke Skywalker (a more confident and mature Mark Hamill) and his nemesis-father, Darth Vader (David Prowse, voice of James Earl Jones), as the rebel alliance makes its last stand against the evil Empire. The film opens with an impressive set piece in the cave of the monstrous Jabba the Hut, who holds both Han Solo (Harrison Ford) and Princess Leia (Carrie Fisher) for his decadent pleasure until Skywalker comes to the rescue. The final battle pits an enormous armada of rebel ships against the rebuilt Death Star, the planet-killing weapon of the first film, while guerrilla forces battle Empire soldiers on the planet below with the help of a cuddly army of pint-sized, teddy-bear-like creatures known as Ewoks (Lucas's one concession to merchandising) and Skywalker confronts Vader and the emperor on the Deathstar. Director Richard Marquand invests the tale with plenty of humor and a vigorous sense of adventure without losing the seriousness of Skywalker's mission. The special edition adds, among other effects, more creatures and a bouncy song-and-dance number to the Jabba the Hut scenes, and an extended celebration that literally encompasses the galaxy at the film's jubilant conclusion. —Sean Axmaker

Gary Goldman Don Bluth Ranking just behind the best of animator Don Bluth's films (Anastasiaand The Secret of NIMH), Thumbelinais a bubble-light version of Hans Christian Andersen's fairy tale. The finger-sized heroine goes about the old-fashioned trials of trying to find a good man, but the film is clever enough to make it endearing for the 3-6 set and more than passable for adult viewers. Barry Manilow provides much of the song score, which helps immensely. The ballad "Let Me Be Your Wings" is as good as Disney's best. Carol Channing and Charo have a good ol' time with their songs too. The voice of Thumbelina is none other than Jodi Benson, who gave voice to Ariel in Disney's The Little Mermaid. —Doug Thomas

Dave Unwin If you ever feel like falling into a beautiful comic-book story—in the same way one falls back into a warm field of grass—reach for Michel Plessix's lush adaptation of Kenneth Grahame's Wind in the Willows. The artwork is an aquarelle, with thin, precise, detailed lines. It's no wonder he received numerous awards for his previous effort, Julien Boisvert, a contemporary take on the Tintin character type. In Wind in the Willows, Plessix breathes life into Mole, Rat, and Toad (of Toad Hall) as they picnic on the riverbank, indulge in Toad's latest fad, and get lost in Wild Wood. The pacing is masterful: each panel lingers just long enough to make you appreciate the simple pleasures of life.

This review refers to ISBN 1561631965.