John Herzfeld 15 Minuteswants to be provocative, but it exists in an alternate reality where rules of logic and credibility no longer apply. In his underrated film 2 Days in the Valley, writer-director John Herzfeld wryly exposed the underbelly of California's San Fernando Valley, but in the artificial New York City of 15 Minutes, he attempts a timely mixture of satire and social commentary that's only marginally convincing. Herzfeld's premise is both vivid and valid in addressing the deterioration of morals in American mass media, but in exploring the dark side of fame, the last few minutes of Taxi Driverhave more impact than this entire movie.

Robert De Niro stars as Eddie Flemming, a hotshot homicide detective whose current double-murder case teams him with arson investigator Jordy Warsaw (Edward Burns). Their investigation leads to a pair of Eastern European nut-jobs (one Czech, one Russian) who've embarked on an impromptu killing spree—all captured on video by the Russian, who fancies himself an auteur of the American dream. In a pileup of contrivances, a reporter (Melina Kanakaredes) is also Eddie's girlfriend, and a tabloid TV host (Kelsey Grammer) seeks the killers' video with the scruples of Adolf Hitler. Blink and you'll miss Charlize Theron in a throwaway role, but that's nothing compared to the killing of a major character—a scene devoid of emotion that's more grist for the media mill. With appalling bloodlust, 15 Minutessheds a sickening light on America's twisted character, but instead of illuminating, it only darkens the gloom. —Jeff Shannon

John Singleton Like the high-revving imports and American muscle cars that roar down the streets of its south Florida setting, 2 Fast 2 Furiousis tricked out to the max. While Vin Diesel opted for his XXXfranchise, this obligatory sequel to The Fast and the Furiousbenefits from Diesel's absence, allowing returning star Paul Walker to shine while forging a lively partnership with rising star Tyrese, who fulfills his sidekick duties with more vitality than Diesel could ever muster. The Miami/Dade locations are another bonus, lending colorful backdrop to the most dazzling street-racing sequences (both real and digitally composited) ever committed to film. The plot is disposable—former cop Walker and jailbird Tyrese are recruited by the FBI to dethrone a thuggish kingpin (Cole Hauser)—but director John Singleton keeps the adrenalin pumping, enlisting a rainbow coalition of costars (including rapper Ludacris and Chanel supermodel Devon Aoki) to combine a hip-hop vibe with full-blown action while showcasing hot babes, edgy humor, and some of the coolest cars that ever burned rubber. Heed the movie's warning, kids: Let the stuntmen do the driving. —Jeff Shannon

After seven years of talking vegetables, the creators of VeggieTalesgive us... flying penguins. A new mix of wackiness on a Christian-lite theme is dished out in this brightly colored, computer-animated show—the first in the made-for-video series. Siblings Michelle and Jason are not looking forward to a summer with grandmama in the Poconos. Luckily the attic provides a world of wonder, from the giant telescope to gadgets that their late grandpa kept. After an impatient Jason fights with his sister, toy penguins—in their mod spaceship—seemingly come to life, taking Jason on their adventure. Captain Zidgel, engineer Midgel, scientist Fidgel and, well, Kevin are four penguin space cadets who rush to planet Wait-Your-Turn to figure out why the planet is in chaos. A bebop score, dazzling animation, and catchy humor (Looney Tunesis definitely an inspiration) inject this show with the same good-natured vibe as VeggieTales. The Christian slant is a bit lighter (prayers instead of Bible stories) but the subtext is still centered on how kids can be more virtuous (patience is the topic this time). Not as fully formed as VeggieTales, but heck, it sure shows a ton of promise in this first 30-minute episode. (Ages 4 and up) —Doug Thomas

Zack Snyder Like Sin Citybefore it, 300brings Frank Miller and Lynn Varley's graphic novel vividly to life. Gerard Butler (Beowulf and Grendel, The Phantom of the Opera) radiates pure power and charisma as Leonidas, the Grecian king who leads 300 of his fellow Spartans (including David Wenham of The Lord of the Rings, Michael Fassbender, and Andrew Pleavin) into a battle against the overwhelming force of Persian invaders. Their only hope is to neutralize the numerical advantage by confronting the Persians, led by King Xerxes (Rodrigo Santoro), at the narrow strait of Thermopylae.

More engaging than Troy, the tepid and somewhat similar epic of ancient Greece, 300is also comparable to Sin Cityin that the actors were shot on green screen, then added to digitally created backgrounds. The effort pays off in a strikingly stylized look and huge, sweeping battle scenes. However, it's not as to-the-letter faithful to Miller's source material as Sin Citywas. The plot is the same, and many of the book's images are represented just about perfectly. But some extra material has been added, including new villains (who would be considered "bosses" if this were a video game, and it often feels like one) and a political subplot involving new characters and a significantly expanded role for the Queen of Sparta (Lena Headey). While this subplot by director Zack Snyder (Dawn of the Dead) and his fellow co-writers does break up the violence, most fans would probably dismiss it as filler if it didn't involve the sexy Headey. Other viewers, of course, will be turned off by the waves of spurting blood, flying body parts, and surging testosterone. (The six-pack abs are also relentless, and the movie has more and less nudity—more female, less male—than the graphic novel.) Still, as a representation of Miller's work and as an ancient-themed action flick with a modern edge, 300delivers. —David Horiuchi

James Mangold Here's hoping James Mangold's big, raucous, and ultrabloody remake of 3:10 to Yuma leads some moviegoers to check out Delmer Daves's beautifully lean, half-century-old original. That classic Western spun a tale of captured outlaw Ben Wade (Glenn Ford)—deadly but disarmingly affable—and the small-time rancher and family man, Dan Evans (Van Heflin), desperate enough to accept the job of helping escort the badman to Yuma prison. Wade, knowing that his gang will be along at any moment to spring him, works at persuading the ultimately lone deputy to accept a bribe, turn his back on "duty," and go home safe and rich to his family. That the outlaw has come to admire his captor intriguingly complicates the suspense. All of the above applies in the new 3:10, but it takes a lot more huffing and puffing to get Wade (Russell Crowe this time) and Evans (Christian Bale) into position for the showdown. Mostly, more is less. To Mangold's credit, his movie doesn't traffic in facile irony or postmodern detachment; it aims to be a straight-up Western and deliver the excitement and charisma the genre's fans are starved for. But recognizing that contemporary viewers might be out of touch with the bedrock simplicity and strength of the genre—not to mention its code of honor—Mangold has supplied both Evans and Wade with a plethora of backstory and "motivations." At the overblown action climax, the crossfire of personal agendas is almost as frenetic as the copious gunplay. (By that point the movie has killed more people than the Lincoln County War.) Best thing about the remake is Russell Crowe's Ben Wade, a Scripture-quoting career villain with an artist's eye and a curiously principled sense of whom and when to murder. As his second-in-command, Ben Foster fairly pirouettes at every opportunity to commit mayhem, and Peter Fonda contributes a fierce portrait of an old Wade adversary turned bounty hunter for the Pinkerton detective agency. —Richard T. Jameson 

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Peter Segal With generous amounts of good luck and good timing, 50 First Datesset an all-time box-office record for the opening weekend of a romantic comedy; whether it deserved such a bonanza is another issue altogether. It's a sweet-natured vehicle for sweet-natured stars Adam Sandler and Drew Barrymore, and their track record with The Wedding Singerno doubt factors in its lowbrow appeal. But while the well-matched lovebirds wrestle with a gimmicky plot (she has no short-term memory, so he has to treat every encounter as their first), director Peter Segal (who directed Sandler in Anger Management) ignores the intriguing potential of their predicament (think Mementomeets Groundhog Day) and peppers the proceedings with the kind of juvenile humor that Sandler fans have come to expect. The movie sneaks in a few heartfelt moments amidst its inviting Hawaiian locations, and that trained walrus is charmingly impressive, but you can't quite shake the feeling that too many good opportunities were squandered in favor of easy laughs. Like Barrymore's character, you might find yourself forgetting this movie shortly after you've seen it. —Jeff Shannon

Mark Christopher Saturday Night Feverit's not—call it more like Sunday Morning Leftovers. This portrait of the legendary Manhattan disco and its colorful cofounder, Steve Rubell, plays like the outtakes of a much more interesting film—where—where's the sex, the drugs, the classic disco music? (It shouldn't surprise viewers that Miramax and writer-director Mark Christopher had a falling-out over the final cut of the film; Miramax prevailed.) Considering that the essence of Studio 54 was about the rich and beautiful, it seems a bit unwise to focus on the poor and only-somewhat-beautiful, namely Shane (Ryan Phillippe), a Jersey boy who gets taken in by the razzle-dazzle of the disco era. Crossing the river, Shane finds another, more exciting life at Studio 54 as a shirtless bartender, and soon finds himself partying with the crème de la crème—and smitten with comely soap star Julie (Neve Campbell). The permutations of the story are familiar; if you've never seen VH1's Behind the Musicdocumentary take on Studio 54 you'll find this film enjoyable, but unlike that exhaustive portrait, too many elements are missing. Most of Phillippe's performance seems to have ended up on the cutting-room floor (although his chiseled torso gets maximum exposure), Campbell's role is basically a glorified cameo, and Breckin Meyer and Salma Hayek, as Phillippe's only true pals, are wasted. The one true gem of the film, though, is Mike Myers's take on the late Steve Rubell, an inspired high-wire performance that balances humor and tragedy without ever giving in to camp or pathos. Had this been a more well-received movie, he'd be remembered come Oscar time—his drunken proposition of Philippe is a minor treasure. The soundtrack does feature some unknown chestnuts and a few new remixes, including an inspired disco version of—believe it or not—Gordon Lightfoot's "If You Could Read My Mind."—Mark Englehart

Joel Schumacher This thoroughly unpleasant thriller from the hands of Joel Schumacher (Batman and Robin) offers very little in its lurid tour of snuff films and the seedy pornographic underworld. A wooden Nicolas Cage stars as a private detective hired by a tycoon's widow, who discovers in her dead husband's safe some 8mm footage of a young girl being sexually abused and slaughtered. Cage's job is to determine the veracity of the film and to find out the girl's identity, whether she be alive or dead. What could have been a taut, nerve-jangling thriller is instead a lumbering, overwrought but underwritten tale of vigilante justice. Screenwriter Andrew Kevin Walker also penned the imaginative and compelling Seven, but you wouldn't know it from this tired and monotonous script. Schumacher tries for echoes of both The Silence of the Lambsand Paul Schrader's Hardcore(which stars George C. Scott as a father trying to find his daughter in the seedy porn industry), but despite some slick camerawork, the film fails to draw the audience into either the mystery of the missing girl or Cage's supposed internal conflicts. It's not so much the unsavory subject matter as it is the sloppy and unimaginative filmmaking that makes the movie unbearable. Of the entire cast only Joaquin Phoenix, as a charismatic goth boy who works at an adult book store, comes away with a memorable performance. —Mark Englehart

A Beautiful Mindmanages to twist enough pathos out of John Nash's incredible life story to redeem an at-times goofy portrayal of schizophrenia. Russell Crowe tackles the role with characteristic fervor, playing the Nobel prize-winning mathematician from his days at Princeton, where he developed a groundbreaking economic theory, to his meteoric rise to the cover of Forbesmagazine and an MIT professorship, and on through to his eventual dismissal due to schizophrenic delusions. Of course, it is the delusions that fascinate director Ron Howard and, predictably, go astray. Nash's other world, populated as it is by a maniacal Department of Defense agent (Ed Harris), an imagined college roommate who seems straight out of Dead Poets Society, and an orphaned girl, is so fluid and scriptlike as to make the viewer wonder if schizophrenia is really as slick as depicted. Crowe's physical intensity drags us along as he works admirably to carry the film on his considerable shoulders. No doubt the story of Nash's amazing will to recover his life without the aid of medication is a worthy one, his eventual triumph heartening. Unfortunately, Howard's flashy style is unable to convey much of it. —Fionn Meade

John Lasseter Stanton, Andrew There was such a magic on the screen in 1995 when the people at Pixar came up with the first fully computer-animated film, Toy Story. Their second feature film, A Bug's Life, may miss the bull's-eye but Pixar's target is so lofty, it's hard to find the film anything less than irresistible.

Brighter and more colorful than the other animated insect movie of 1998 (Antz), A Bug's Lifeis the sweetly told story of Flik (voiced by David Foley), an ant searching for better ways to be a bug. His colony unfortunately revolves around feeding and fearing the local grasshoppers (lead by Hopper, voiced with gleeful menace by Kevin Spacey). When Flik accidentally destroys the seasonal food supply for the grasshoppers he decides to look for help ("We need bigger bugs!"). The ants, led by Princess Atta (Julia Louis-Dreyfus), are eager to dispose of the troublesome Flik. Yet he finds help—a hearty bunch of bug warriors—and brings them back to the colony. Unfortunately they are just traveling performers afraid of conflict.

As with Toy Story, the ensemble of creatures and voices is remarkable and often inspired. Highlights include wiseacre comedian Denis Leary as an un-ladylike ladybug, Joe Ranft as the German-accented caterpillar, David Hyde Pierce as a stick bug, and Michael McShane as a pair of unintelligible pillbugs. The scene-stealer is Atta's squeaky-voiced sister, baby Dot (Hayden Panettiere), who has a big sweet spot for Flik.

More gentle and kid-friendly than Antz, A Bug Life'sstill has some good suspense and a wonderful demise of the villain. However, the film—a giant worldwide hit—will be remembered for its most creative touch: "outtakes" over the end credits à la many live-action comedy films. These dozen or so scenes (both "editions" of outtakes are contained here) are brilliant and deserve a special place in film history right along with 1998's other most talked-about sequence: the opening Normandy invasion in Saving Private Ryan.

The video also contains Pixar's delightful Oscar-winning short, Geri's Game. Box art varies. —Doug Thomas

Bill Melendez This half-hour Christmas show is one of the truly lovable animated specials in TV history, a status proved by its annual network telecast since 1965. A Charlie Brown Christmaswas the first, and best, of a series of programs based on the Charles M. Schulz cartoon strip "Peanuts." Hapless hero Charlie Brown finds himself depressed at Christmastime, searching for the true meaning of the holiday amidst the glitz and commercialism of the modern age. Appointed director of the school holiday pageant, Charlie Brown ventures out with Linus to buy "a great, big, shiny aluminum Christmas tree." Instead they bring back a miserable tree—a real one. A Charlie Brown Christmasshows off the "Peanuts" gang doing what they do best: Lucy is bossy, Snoopy is crazy, Linus is sweet, and Pig Pen is, well, filthy. Instead of using adult actors trying to sound like kids, the production features real children providing the voices, an endearing effect. The jazz music score, composed by Vince Guaraldi, has become a classic in its own right; like so much about this program, it's an unexpected but perfectly right choice. —Robert Horton

This sweet, heartwarming 1973 offering from the Peanuts gang (and Charles Schultz) once again shows Charlie Brown in a pickle, as his erstwhile friends impose upon the hapless would-be-host to provide a memorable and traditional Thanksgiving feast. And as much as Charlie Brown would rather forget the whole thing, he just can't help but try for fear of being labeled a failure. Ultimately it's up to Snoopy and Woodstock to save Charlie from certain embarrassment, and it falls to Linus to impart to all assembled the true meaning of Thanksgiving. This very special Emmy Award-winning cartoon features the usual sweet unassuming humor that only the Peanuts can provide, along with the melodic Vince Guaraldi score, and is one of those childhood classics meant to be enjoyed again and again. —Robert Lane

David Hugh Jones Standing out in the crowded field of screen adaptations of the classic Dickens novel A Christmas Carolis hard to do, but this version pulls it off. When a transparent Jacob Marley walks through Ebenezer Scrooge's apartment door, you know you're seeing something both timeless and contemporary. Other strategically placed special effects—a funnel cloud that transports Scrooge and the ghost of Christmas present, the hollow specter of Christmas future—keep you riveted without slipping into anachronism.

But, as good as the technology is, the performances are what really power this 93-minute TNT interpretation. Patrick Stewart brings a depth to Scrooge that allows the character to go beyond the cartoonish qualities that have made him a Christmas mainstay. That doesn't mean he's any less heartless with his hapless employee Bob Cratchit (Richard E. Grant) or any less dismissive of his well-meaning nephew. A frail-looking Joel Grey makes an excellent ghost of Christmas past, and a superb British cast ably fill the remaining roles.

Director David Jones, shooting on location in England and at London's Ealing Studios, has achieved a balance of science and sentiment that will help this version hold up for many years to come. —Kimberly Heinrichs

Rob Reiner A U.S. soldier is dead, and military lawyers Lieutenant Daniel Kaffee and Lieutenant Commander JoAnne Galloway want to know who killed him. "You want the truth?" snaps Colonel Jessup (Jack Nicholson). "You can't handle the truth!" Astonishingly, Jack Nicholson's legendary performance as a military tough guy in A Few Good Menreally amounts to a glorified cameo: he's only in a few scenes. But they're killer scenes, and the film has much more to offer. Tom Cruise (Kaffee) shines as a lazy lawyer who rises to the occasion, and Demi Moore (Galloway) gives a command performance. Kevin Bacon, Kiefer Sutherland, J.T. Walsh, and Cuba Gooding Jr. (of Jerry Maguirefame) round out the superb cast. Director Rob Reiner poses important questions about the rights of the powerful and the responsibilities of those just following orders in this classic courtroom drama. —Alan Smithee

Dito Montiel A film adaptation of Dito Montiel's memoir of the same name, A Guide to Recognizing Your Saintsis a compelling, thoughtful movie based on Montiel's childhood growing up in 1980s Queens. A writer and director who understands his limitations, Montiel wisely left the acting to the pros. Shia LaBeouf (Holes) plays him during his adolescence, while Robert Downey Jr. (Good Night, and Good Luck, Wonder Boys) portrays the grown-up Dito. Never mind that there is absolutely no physical resemblance between the two actors; LaBeouf and Downey are so convincing in their roles it doesn't matter. Switching effortlessly from present day (where Dito is a successful author) to the past (where he is a tough little kid trying to figure out if there is life beyond New York), A Guide to Recognizing Your Saintstackles Dito's complicated relationship with his parents (Chazz Palminteri and Dianne Wiest), as well as the friends he left behind. Eric Roberts is magnificent in a small role as one of Dito's tough, childhood buddies. His powerful performance makes viewers remember there was a time when Roberts was better known for his acting skills than for being Julia's big brother. Montiel—a first-time filmmaker—won the Director's Award at the 2006 Sundance Film Festival for his autobiographical movie. Raw, gritty, and honest, Saints) makes a strong impact and leaves the viewer curious as to how the rest of Montiel's life will work out. —Jae-Ha Kim

Penny Marshall Penny Marshall's popular 1992 comedy sheds light on a little-known chapter of American sports history with its story of a struggling team in the All-American Girls Professional Baseball League. The league was formed when the recruiting of soldiers during World War II resulted in a shortage of men's baseball teams. The AAGPBL continued after the war (until 1954), and Marshall's movie depicts the league in full swing, beginning when a savvy baseball scout (Jon Lovitz) finds a pair of promising new players in small-town Oregonian sisters (Geena Davis, Lori Petty). The sisters are signed to play for the Rockford Peaches near Chicago, whose new manager (Tom Hanks) is a former home-run king who wrecked his career with alcoholism. They're all a bunch of underdogs, and Marshall (with a witty script by Lowell Ganz and Babaloo Mandel) does a fine job of establishing a colorful team of supporting players including Madonna and (in her movie debut) Rosie O'Donnell. It's a conventional Hollywood sports story (Marshall's never been one to take dramatic risks), but the stellar cast is delightful, and the movie's filled with memorable moments, witty dialogue, and agreeable sentiment. And just remember: there's no crying in baseball! —Jeff Shannon

With only an estimated 1,600 living in the wild, the Giant Panda's survival depends on the fruitful reproduction of each member of the species. To that end, naturalists and zoologists worldwide have dedicated themselves to stabilizing and encouraging the endangered creature's notoriously low birthrate. Follow two topsy-turvy seasons of panda mating at the Smithsonian National Zoo, where female Mei Xiang and her mate, Tian Tian, finally succeed in giving birth to a panda cub. And watch as the littlest member of the family, Tai Shan, learns to feed, play and explore his strange, new world.

A lyrical and nostalgic film from director Robert Redford (Quiz Show, Ordinary People), based on the popular autobiographical novel by Norman MacLean, A River Runs Through Itshows the best that modern filmmaking has to offer. The film chronicles two brothers coming of age in early-20th-century Missoula, Montana, under the stern tutelage of their minister father, played by Tom Skerritt (Top Gun). Their father instills in them a love of fly fishing, which for one brother (Brad Pitt) becomes a lifelong passion even as he sets out to become a newspaperman and struggles with his addiction to gambling. The other brother, Norman (Craig Sheffer), dreams of exploring the world outside of Missoula as he falls in love with a local girl (Emily Lloyd) who also dreams of broader horizons. Soon one brother must discover the true meaning of family loyalty when the other finds himself in deeper trouble than ever before. Redford, who also narrates the film, does a masterful job in re-creating the period and in drawing out affecting performances from his young cast. An Oscar winner for Philippe Rousselot's luminescent cinematography, this is a poignant and special film. —Robert Lane

John Glen (II) Roger Moore's last outing as James Bond is evidence enough that it was time to pass the torch to another actor. Beset by crummy action (an out-of-control fire engine?) and featuring a fading Moore still trying to prop up his mannered idea of style, the film is largely interesting for Christopher Walken's quirky performance as a sort-of supervillain who wants to take out California's Silicon Valley. Grace Jones has a spookily interesting presence as a lethal associate of Walken's (and who, in the best Bond tradition, has sex with 007 before trying to kill him later), and Patrick Macnee (Steed!) has a warm if brief bit. Even directed by John Glen, who brought some crackle to the Moore years in the Bond franchise, this is a very slight effort. —Tom Keogh

History will place an asterisk next to A.I.as the film Stanley Kubrick mighthave directed. But let the record also show that Kubrick—after developing this project for some 15 years—wanted Steven Spielberg to helm this astonishing sci-fi rendition of Pinocchio, claiming (with good reason) that it veered closer to Spielberg's kinder, gentler sensibilities. Spielberg inherited the project (based on the Brian Aldiss short story "Supertoys Last All Summer Long") after Kubrick's death in 1999, and the result is an astounding directorial hybrid. A flawed masterpiece of sorts, in which Spielberg's gift for wondrous enchantment often clashes (and sometimes melds) with Kubrick's harsher vision of humanity, the film spans near and distant futures with the fairy-tale adventures of an artificial boy named David (Haley Joel Osment), a marvel of cybernetic progress who wants only to be a real boy, loved by his mother in that happy place called home.

Echoes of Spielberg's Empire of the Sunare clearly heard as young David, shunned by his trial parents and tossed into an unfriendly world, is joined by fellow "mecha" Gigolo Joe (played with a dancer's agility by Jude Law) in his quest for a mother-and-child reunion. Parallels to Pinocchiointensify as David reaches "the end of the world" (a Manhattan flooded by melted polar ice caps), and a far-future epilogue propels A.I.into even deeper realms of wonder, even as it pulls Spielberg back to his comfort zone of sweetness and soothing sentiment. Some may lament the diffusion of Kubrick's original vision, but this is Spielberg's A.I.(complete with one of John Williams's finest scores), a film of astonishing technical wizardry that spans the spectrum of human emotions and offers just enough Kubrick to suggest that humanity's future is anything but guaranteed. —Jeff Shannon

Chris Weitz Paul Weitz A box-office smash in England, About a Boywent on to charm the world as another fine adaptation (following High Fidelity) of a popular Nick Hornby novel. While High Fidelitytransplanted its London charm to Chicago, this irresistible comedy was directed by Americans Chris and Paul Weitz (American Pie) with its British pedigree intact. Better yet, Hugh Grant is perfectly cast as Will, a self-absorbed trust-fund slacker who tries to improve his romantic odds by preying on desperate single mothers. His cynical strategy backfires when he recruits the misfit son (Nicholas Hoult) of a suicidal mother (Toni Collette) to pose as his own son, thus proving his parental prowess to his latest single-mom target (Rachel Weisz). The kid has a warming effect on this ultimate cad, and what could have been a sappy tearjerker turns into a subtle, frequently hilarious portrait of familial quirks and elevated self-esteem. From start to finish, it's a genuine treat. —Jeff Shannon

Carl Schultz Once again our beloved young Indiana Jones finds himself enticed by adventure. On this occasion he's on the trail of a 140-carat diamond that once belonged to Alexander the Great. He also has to dodge World War II-style German bad guys, who are hot on his heels, as he treks across the world from France to Egypt to Indonesia. On top of all this he also must fashion a way to woo a lovely woman he encounters en route.

As in all good Indy movies, there are gorgeous shots of archaeological ruins, educational references to classical history, an ancient document written in an obscure dialect of Egyptian hieroglyphics, and an Indy movie trademark: a red line moving across an old map to depict travel. As Indy, Sean Patrick Flanery (Powder, Suicide Kings) is delightful. He emulates Harrison Ford's portrayal of Professor Jones very well, by accentuating Ford's mannerisms and speech inflections with flare and panache. This movie is enormous fun and a fantastic adventure. —Samantha Allen Storey

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David Westheimer Ray Austin Georg Fenady Bernard L. Kowalski Don Medford Hip spy shows with covert agencies within agencies—like Aliasand 24—are missing only one thing: A super-duper armor-plated helicopter with "nuclear-tipped shrike missiles." In the action series Airwolf, a mysterious national security agency called the Firm constructs a "Mach-one-plus chopper that can kick butt," only to have it stolen by the nefarious scientist who designed it (David Hemmings, Blowup, Barbarella). Desperate, the Firm turns to Stringfellow Hawke (Jan Michael Vincent), a soulful, cello-playing, art-loving, eagle-watching, guilt-ridden master pilot. Hawke refuses to help unless the Firm searches for his brother, who went MIA in 'Nam. Of course, he succeeds in his mission, but until the Firm fulfills its side of the bargain, he keeps the chopper—but also agrees to fly covert missions in exchange for tips about government efforts to retrieve Airwolf.

This elaborate setup proves surprisingly durable. The combat scenes in Airwolfare clumsily edited, but the scripts—though firmly in the cheesy techno-thriller vein of Robert Ludlum and Tom Clancy—are pleasantly zippy. While Vincent may have gone on to a straight-to-video career (appearing in such sterling titles as Hidden Obsession, Indecent Behavior, and Animal Instincts), he's a persuasive and sexy pilot; he's got the same kind of rangy, athletic physicality that makes Kevin Costner convincing as an athlete. Add to this mix the ever-zesty Ernest Borgnine (Marty, The Wild Bunch) and it's clear why Airwolfoutlived the similar series Blue Thunder. Most episodes feature international skullduggery with foreign agents trying to steal Airwolf and sell it to the Soviets or Libya, but there are enough clever details to keep you from objecting to the larger absurdity of the all-powerful helicopter. Guest stars include Shannen Doherty (Beverly Hills 90210) and David Carradine (Kill Bill). It's too bad Hemmings didn't become a regular; his sadistic, lecherous traitor gave the two-hour pilot some real juice. —Bret Fetzer

Ron Clements John Musker Disney's 1992 animated feature is a triumph of wit and skill. The high-tech artwork and graphics look great, the characters are strong, the familiar story is nicely augmented with an interesting villain (Jafar, voiced by Jonathan Freeman), and there's an incredible hook atop the whole thing: Robin Williams's frantically hilarious vocal performance as Aladdin's genie. Even if one isn't particularly moved by the love story between the title character (Scott Weinger) and his girlfriend Jasmine (Linda Larkin), you can easily get lost in Williams's improvisational energy and the equally entertaining performances of Freeman and Gilbert Gottfried (as Jafar's parrot). —Tom Keogh

Oliver Stone For better or worse (and in this case, it's mostly for better), Oliver Stone's Alexander Revisitedshould stand as the definitive version of Stone's much-maligned epic about the great Asian conqueror. Following the DVD release of his previous Director's Cut, Stone offers a video introduction here, explaining why he felt a thirdand final attempt at refining his film was necessary. Essentially, he's using this opportunity to re-create the "road show" format of the Biblical epics of the 1950s and '60s, with a three-and-a-half-hour running time (with an intermission at the two-hour mark) including 45 minutes of previously unseen footage. Stone has also significantly restructured the film, resulting in substantial (if not exactly redemptive) improvements in its narrative flow. Alexander (played in a torrent of emotions by Colin Farrell) is dying as the film opens, his final moments serving to bookend the film's epic story, which incorporates flashback sequences to flesh out the Macedonian king's back-story involving the turbulent battle of fate between his father, King Philip (Val Kilmer) and his scheming sorceress mother Olympia (Angelina Jolie, ridiculous accent and all), who insists that Alexander is literally a child of the gods.

In Stone's final cut, epic battles remain chaotic (although Alexander's strategy is somewhat easier to follow, with on-screen titles indicating left, right, and center during his army's greatest maneuvers) and the ultra-violent battles are more graphically gory than ever (hence their "unrated" status). The animalistic lovemaking of Alexander and his barbarian bride Roxana (Rosario Dawson) is slightly extended (with Dawson as ravishing as ever), and Stone's additional footage also improves the overall arc of Alexander's relationship with his closest generals and male companions, although his most intimate homosexual encounters remain mostly discreet. As Alexander Revisitedmakes clear, the film's weaknesses remain unavoidable, but Stone deserves credit for recognizing how a longer running time, and more disciplined narrative structure, would bring Alexandercloser to the respect it never earned from critics and filmgoers alike. This is unquestionably a better film than it used to be, leaving us to wonder why it took three separate efforts to shape Alexanderinto its best possible presentation. —Jeff Shannon

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

Ridley Scott puts on his "sweeping saga" gameface again, this time not for the sci-fi vistas of Blade Runneror the ancient world of Gladiator but for an urban epic. American Gangstergives the story of Frank Lucas (Denzel Washington), a real-life Harlem crime lord who built an empire on Southeast Asian heroin in the 1970s. Running parallel to Lucas's somewhat standard story is the investigation led by a persistent New Jersey cop, Richie Roberts (Russell Crowe). Roberts is a more interesting character than Lucas—too honest for his own good, unlucky in his personal life—and this kind of character, easily patronized by others, fits Crowe like a polyester shirt. Scott's tendency to hit his points square on the noggin is much in evidence here, including the typecasting of the supporting roles and the predictable Serpico atmosphere of the whole thing. (And speaking of supporting actors, the film needs more Chiwetel Ejiofor, whose role as a Lucas sidekick feels cut down.) It succeeds as a kind of chewy entertainment, fueled by the presence of two big stars working their muscles. Both Washington and Crowe look pretty brawny here. —Robert Horton

Stills from American Gangster(Click for larger image)

Weitz, Chris Anyone who's watched just about any teenage film knows that the greatest evil in this world isn't chemical warfare, ethnic cleansing, or even the nuclear bomb. The worst crime known to man? Why, virginity, of course. As we've learned from countless films—from Summer of '42to Risky Business—virginity is a criminal burden that one must shed oneself of as quickly as possible. And while many of these films have given the topic a bad name, American Piequietly sweeps in and gives sex some of its dignity back. Dignity, you may say? How can a film that highlights intercourse with fruit pies, premature ejaculation broadcasted across the Internet, and the gratuitous "gross-out" shots restore the dignity of a genre that's been encumbered with such heavyweights as Porky'sand Losin' It? The plot may be typical, with four high school friends swearing to "score" by prom, yet the film rises above the muck with its superior cast, successful and sweet humor, and some actually rather retro values about the meaning and importance of sex. Jason Biggs, Chris Klein, Thomas Ian Nicholas, and Eddie Kaye Thomas make up the odd quartet of pals determined to woo, lie, and beg their way to manhood. The young women they pursue are wary girlfriend Vicky (Tara Reid), choir girl Heather (Mena Suvari), band geek Michelle (Alyson Hannigan), and just about any other female who is willing and able. Natasha Lyonne as Jessica, playing a similar role as in Slums of Beverly Hills, is the general adviser to the crowd (when Vicky tells her "I want it to be the right time, the right place," Jessica responds, "It's not a space shuttle launch, it's sex"). The comedic timing hits the mark—especially in the deliberately awkward scenes between Jim (Biggs) and his father (Eugene Levy). And, of course, lessons are learned in this genuinely funny film, which will probably please the adult crowd even more than it will the teenage one. —Jenny Brown

To the horror of prudes everywhere, American Pie 2is even funnier than its popular predecessor, pushing the R rating with such unabashed ribaldry that you'll either be appalled or surprised by its defiant celebration of the young-adult male libido. Females will be equally shocked or delighted, because like American Piethis appealing, character-based comedy puts the women in control while offering a front-row view of horny guys in all their dubious glory. Which is to say, American Pieis mostly about sex—or, to be more specific, breasts, genitalia, "potential" lesbianism, blue silicone sex toys, crude methods of seduction, "the rule of three" (just watch the movie), a shower of "champagne," phone sex, tantric sex, and, oh yeah... superglue.

In the case of college freshman Jim (Jason Biggs), performance anxiety plagues his upcoming reunion with sexy Czech exchange student Nadia (Shannon Elizabeth), but his buddies from American Piehave a solution: rent a Lake Michigan beach house for the summer, throw wild parties to lure the local "hotties," and score big-time. Beach Partythis ain't: blessed with a complete cast reunion from AP1(including Eugene Levy as Jim's dad), this sequel is anything but innocent, and with the exception of drugs (which are conspicuously absent), pretty much anything goes. The gags are almost nonstop, and director J.B. Rogers (recovering from his debut debacle Say It Isn't So) handles them with laudable precision, allowing his young cast (particularly Biggs, who epitomizes comedic good sportsmanship) to run with lines that most people wouldn't dare utter aloud. The result is a liberating and eminently good-natured comedy that needn't apologize for its one-track mind. —Jeff Shannon

Jesse Dylan The producers of the American Piemovies pushed their luck with a third slice of their lucrative raunchy comedy franchise, and American Weddingcooked up surprisingly well. It's the sourest serving of Pie, with half of the original cast missing, and there's something undeniably desperate about comedic highlights (involving dog poop, a lusty old lady, two strippers to offset the absence of Shannon Elizabeth, and the ill-advised use of a trimming razor) that arise more from obligation than inspiration, on the assumption that anotherpenile mishap is guaranteed to please. And yet, that's just what this movie does for devoted Pie-munchers: It gives 'em what they want, especially when the notorious Stifler (Seann William Scott) nearly ruins the frantic nuptials of Jim (Jason Biggs) and his band-camping sweetheart Michelle (Alyson Hannigan). Eugene Levy and Eddie Kaye Thomas also return for some reliable comic relief, but the one who's laughing most is three-time Piewriter Adam Herz—laughing loudly and often, all the way to the bank. —Jeff Shannon

With its brisk 83-minute running time, An American Hauntingis compact enough to be recommended as an occasionally spooky sampling of historical horror. Based on Brent Monahan's novel The Bell Witch: An American Haunting, which in turn was inspired by the only known case (from 1818-20) in which the U.S. government officially acknowledged a death by supernatural forces, writer-director Courtney Solomon's film is a well-crafted 19th-century case study involving Tennessee land-owner John Bell (Donald Sutherland), his worried wife Lucy (Sissy Spacek), and the terrifying abuse of their daughter Betsy (Rachel Hurd-Wood) by a malicious poltergeist. Intensified by excessive sound effects and a nerve-jangling score, these nightly hauntings won't scare anyone who's seen The Exorcist, and they grow increasingly repetitious even as Spacek and Sutherland make the most of their underwritten roles. Solomon (who previously brought Dungeons and Dragonsto the big screen) seems more interested in visceral terror than fleshing out the details of this interesting story of dark secrets and child abuse, and his over-used bag of tricks includes time-lapse footage, flashes of negative images, black-and-white (to signal an imminent haunting), and a variety of physical effects designed to keep your adrenaline flowing. It works, to a point (although the present-day framing scenes are completely unnecessary), and An American Hauntingmakes a good double-feature with The Exorcism of Emily Rose, a far better film with similar subject matter. This good-looking, bleakly moody fright-fest is also noteworthy as the next-to-last screen credit for Adrian Biddle, the esteemed cinematographer of such high-profile hits as Aliens, Thelma & Louise, The Mummy, and V for Vendetta, the latter completed just prior to Biddle's fatal heart attack in December 2005.—Jeff Shannon

Peter Segal The irresistible pairing of Jack Nicholson and Adam Sandler is the best reason to see Anger Management, a comedy that might loosely be called The Funny and the Furious. Nicholson and especially Sandler have screen personas that partially rely on pent-up anxieties, so there's definite potential in teaming them as a mild-mannered designer of pet clothing for chubby cats (Sandler) who's been ordered to undergo anger-management therapy with a zany counselor (Nicholson) prone to occasional tantrums and devious manipulation. Surely this meandering comedy looked better on the page; director Peter Segal scores a few lucky scenes (particularly Sandler's encounter with a Buddhist monk, played by John C. Reilly), but a flood of cameos (Heather Graham, Woody Harrelson, Rudolph Giuliani, and others) can't match the number of laughs that fall flat. As Sandler's understanding girlfriend, Marisa Tomei plays a pivotal role in a happy ending that leaves everyone smiling, with the possible exception of the audience. —Jeff Shannon

John Huston Charmless and dull, this adaptation of the Broadway hit stars Aileen Quinn as the depression-era moppet, Albert Finney as Daddy Warbucks, Carol Burnett as the cruel headmistress at an orphanage, and Tim Curry as a villain. The film never gets its legs, and there is no sense of setting; it's almost as if the whole thing is happening in a void. John Huston nominally directed—no doubt to make money between his smaller, cheaper masterpieces—but one would have thought he would invest something of himself in here. —Tom Keogh

The term suspension of disbeliefwas invented for the idea that Ryan Phillippe could be a computer genius. As Milo, a slacker brainiac recruited by smilingly ominous software giant Gary Winston (Tim Robbins) to help build a global communications system, Phillippe still looks like a million bucks. He is also still doing the clenched, pouty grown-up voice that he always uses to show that he means business in this acting stuff (he's nothing if not earnest), and a pair of designer glasses completes the transformation. He's well matched in Antitrustby Claire Forlani, who, in turn, spends time pursing her lips and squinting her dewy eyes as Milo's troubled girlfriend, an artist who proves to be a liability when Milo discovers that Winston is killing off clever competitors like a dot-com führer. Robbins, looking like David Letterman, seems willing to either take his role dead seriously or goof around a bit, but director Peter Howitt doesn't know how to play any of it (the actor was better used as a grinning madman in another flawed paranoid thriller, the underseen Arlington Road). Without any underlying menace or enough satirical bite to keep it interesting, the whole thing slips by passively in a mindless matinee kind of way until the over-the-top finale. Production designer Catherine Hardwicke has had some big, glossy fun creating Winston's campus and ornate private kingdom, and there's the cheapest of kicks in seeing Robbins's Bill Gates taken down publicly, but the film is definitely junior league. —Steve Wiecking

Eric Darnell Tim Johnson Woody Allen as a worker ant with an inferiority complex? Sylvester Stallone as an affable soldier ant who discovers that digging tunnels is cool? The animation playground we all knew so well is turning into a theme park full of in-jokes for grownups. Antzexplores age-old topics (one person—err, insect—can make a difference, individuality and social responsibility must exist side by side, war is hell) with comic asides and Woody Allen's funniest quips this side of PG (adults will chuckle at the socialist slogans bandied about as he campaigns for workers' rights). Sharon Stone voices the rebellious princess with a fun-loving streak that doesn't quite overcome her royal bearing and court training, but she can learn. Gene Hackman is all teeth (ants have teeth?) and menacing grins as the Army general plotting insect-icide. This bug's-eye view of life on Earth gives Allen's neurotic nonconformist an epic adventure of microscopic proportions: a devastating war with a termite colony, an odyssey to the fabled land of plenty (a picnic ground), and a race to save his fellow workers from certain death. Other voices include Anne Bancroft as the Queen, Christopher Walken, Jennifer Lopez, Danny Glover, Dan Aykroyd, Jane Curtin, and John Mahoney. The computer animation isn't exactly realistic but feels as solid and contoured as puppet animation with the smoothness and slickness of traditional cel cartoons, and the character designs and animation offer a marvelous range of expressions. The PG rating includes a gritty battle sequence that may frighten youngsters. —Sean Axmaker

Ron Howard NASA's worst nightmare turned into one of the space agency's most heroic moments in 1970, when the Apollo 13crew was forced to hobble home in a disabled capsule after an explosion seriously damaged the moon-bound spacecraft. Tom Hanks, Kevin Bacon, and Bill Paxton play (respectively) astronauts Jim Lovell, Jack Swigert, and Fred Haise in director Ron Howard's intense, painstakingly authentic docudrama. The Apollo 13crew and Houston-based mission controllers race against time and heavy odds to return the damaged spacecraft safely to Earth from a distance of 205,500 miles. Using state-of-the-art special effects and ingenious filmmaking techniques, Howard and his stellar cast and crew build nail-biting tension while maintaining close fidelity to the facts. The result is a fitting tribute to the Apollo 13mission and one of the biggest box-office hits of 1995. —Jeff Shannon

From the blockbuster-making team who produced and directed PEARL HARBOR and THE ROCK (Jerry Bruckheimer and Michael Bay) comes the biggest movie of 1998 — ARMAGEDDON! Starring the explosive talents of Bruce Willis (DIE HARD), Academy Award(R)-winners Ben Affleck (GOOD WILL HUNTING) and Billy Bob Thornton (SLING BLADE), Liv Tyler (INVENTING THE ABBOTTS), Steve Buscemi (CON AIR), and Will Patton (INVENTING THE ABBOTTS), ARMAGEDDON is a meteor storm of action-adventure moviemaking that has you on the edge of your seat forgetting to breathe! When NASA's executive director, Dan Truman (Thornton), realizes the Earth has 18 days before it's obliterated by a meteor the size of Texas, he has only one option — land a ragtag team of roughneck oil drillers on the asteroid and drop a nuclear warhead into its core. Spectacular special effects, laugh-out-loud humor, great characters, riveting storytelling, and heartfelt emotion make ARMAGEDDON an exhilarating thrill ride you'll want to experience like there's no tomorrow.

Kirk Wise Gary Trousdale The Disney Studio was built on innovation in animation, so it seems ironic that Atlantisis both a bold departure and highly derivative, borrowing heavily from anime, video games, and graphic novels. Instead of songs and fuzzy little animals, the artists offer an action-adventure set in 1914: nerdy linguist Milo Thatch (Michael J. Fox) believes he's found the location of the legendary Lost Continent. An eccentric zillionaire sends Milo out to test his hypothesis with an anachronistic crew that includes tough Puerto Rican mechanic Audrey (Jacqueline Obradors), demolition expert Vinnie (Don Novello), and butt-kicking blond adventurer Helga (Claudia Christian). When they find Atlantis, its culture is dying because the people can no longer read the runes that explain their mysterious power source—but Milo can. Nasty Commander Rourke (James Garner) attempts to steal that power source, leading to the requisite all-out battle.

Atlantisoffers some nifty battle scenes, including an attack on a Jules Verne-esque submarine by a giant robotic trilobite and fishlike flying cars. But the film suffers from major story problems. If Princess Kida (Cree Summer) remembers her civilization at its height, why can't she read the runes? Why doesn't Milo's crew notice that the Atlanteans live for centuries? The angular designs are based on the work of comic book artist Mike Mignola (Hellboy), and the artists struggle with the characters' stubby hands, skinny limbs, and pointed jaws. The result is a film that will appeal more to 10-year-old boys than to family audiences.

Suitable for ages 8 and up: violence, scary imagery, tobacco use, and a difficult-to-follow story. —Charles Solomon

There?s music in the wind and sky. Can you hear it? And there?s hope. Can you feel it? The boy called August Rush can. The music mysteriously draws him penniless and alone to New York City in a quest to find ? somehow someway ? the parents separated from him years earlier. And along the way he may also find the musical genius hidden within him. Experience the magic of this rhapsodic epic of the heart starring Freddie Highmore (as August) Keri Russell Jonathan Rhys Meyers Terrence Howard and Robin Williams. ?I believe in music the way some people believe in fairy tales? August says. Open your heart and listen. You?ll believe too.Format: DVD HD Genre: DRAMA/CHILDHOOD DRAMA UPC: 085391138907 Manufacturer No: 113890

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

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

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

Jay Roach Despite symptoms of sequelitis, Austin Powers in Goldmemberis must-see lunacy for devoted fans of the shagadelic franchise. Unfortunately, the law of diminishing returns is in full effect: for every big-name cameo and raunchy double-entendre, there's an equal share of redundant shtick, juvenile scatology, and pop-cultural spoofery. All is forgiven when the hilarity level is consistently high, and Mike Myers—returning here as randy Brit spy Austin, his nemesis Dr. Evil, the bloated Scottish henchman Fat Bastard, and new Dutch disco-villain Goldmember—thrives by favoring comedic chaos over coherent plotting. Once they've tossed Austin into the disco fever of 1975 (where he's sent to rescue his father, gamely played by Michael Caine), Myers and director Jay Roach seem vaguely adrift with old and new characters, including Verne Troyer's Mini-Me and pop star Beyoncé Knowles as Pam Grier-ish blaxpo-babe Foxxy Cleopatra. A bit tired, perhaps, but Powers hasn't lost his mojo. —Jeff Shannon

Autumn in New Yorkis a by-the-numbers love story, right down to its opening shot of, yes, autumn in New York. Richard Gere stars as restaurateur/lady's man Will, while Winona Ryder plays the airy-fairy, oh-too-delicate-for-this-world Charlotte. Will is 48, Charlotte is 22, and it just keeps getting creepier: Will actually used to hang out with Charlotte's mom. She plays artily with beads and sparkly things, he notices how elfin and differentshe is (inspiring such stomach-churning dialogue as "I find you completely unprecedented and therefore utterly unpredictable"), and soon they're in love. Ah, but it's doomed: she has a tumor in her heart (just in case you missed the significance, Charlotte says "I'm sickin my heart!"). Does Charlotte have enough time left to teach Will to truly love? While Gere does a stoic job, Ryder spends a lot of time being darling and winsome, aided by the fact that Charlotte has managed to catch one of those special movie diseases where you never look bad or get tubes stuck up your nose. Director Joan Chen doesn't have much of a script to work with, but at least she knows how to pick a cinematographer; the whole movie is shot in gorgeous fall-leaf colors. Several excellent supporting actors are trapped in this movie: Jill Hennessey and Anthony LaPaglia do their very best, but what can they do in the face of such a sweeping, creepy love? Autumn in New Yorkis nothing if not an earnest movie, and it certainly means well. Much like Charlotte, it seems to cry, "Can you let me love you? Please?" No. —Ali Davis

Alejandro González Iñárritu Paramount Babel - HD DVD

In "Babel," a tragic incident involving an American couple in Morocco sparks a chain of events for four families in different countries throughout the world. In the struggle to overcome isolation, fear, and displacement, each character discovers that it is family that ultimately provides solace. In the remote sands of the Moroccandesert, a rifle shot rings out? detonating a chain of events that will link an American tourist couple's frantic struggle to survive, two Moroccan boys involved in an accidental crime, a nanny illegally crossing into Mexico with two American children and a Japanese teen rebel whose father is soughtby the police in Tokyo. Separated by clashing cultures and sprawling distances, each of these four disparate groups of people are nevertheless hurtling towards a shared destiny of isolation and grief. In the course of just a few days, they will eachface the dizzying sensation of becoming profoundly lost ? lost in the desert, lost to the world, lost to themselves ? as they are pushed to the farthest edges of confusion and fear as well as to the very depths of connection and love. In this mesmerizing, emotional film that was shot in three continents and four languages ? and traverses both the deeply personal and the explosively political ? acclaimed director Alejandro Gonzalez Inarritu ("21 Grams,""Amores Perros") explores with shattering realism the nature of the barriers that seem to separate humankind. In doing so, he evokes the ancient concept of "Babel" and questions its modern dayimplications: the mistaken identities, misunderstandings and missed chances for communication that,though often unseen, drive our contemporary lives. Brad Pitt, Cate Blanchett, Gael Garcia Bernal, Koji Yakusho, Adriana Barraza and Rinko Kikuchi lead an international ensemble of actors and non-professional actors from Morocco, Tijuana and Tokyo, who enrich "Babel's" take on cultural diversity andenhance its pow

Ron Howard A somewhat contrived screenplay doesn't stop this thriller from serving up some of the most spectacular fire sequences ever committed to film. Like any Ron Howard production Backdraftis impressively slick and boasts a stellar cast, including Kurt Russell and William Baldwin. The actors play sibling rivals who have been at odds since the death of their firefighter father years earlier. Robert De Niro is the veteran fire inspector who is tracking a series of mysterious and deadly arsons, and Donald Sutherland is effectively creepy as the former arsonist who understands the criminal psychology of pyromaniacs. Rebecca De Mornay, Scott Glenn, and Jennifer Jason Leigh are featured in supporting roles. Backdraftis a triumph of stunt work and flaming special effects. —Jeff Shannon

Tim Story With enough lively banter to keep its customers happy for years, Barbershopis a loose, lanky comedy with its heart—and its humor—in all the right places. Ice Cube plays Calvin, reluctant heir to his late father's barbershop on Chicago's South Side—a neighborhood institution that seems like a trap for a guy with bigger dreams. But Calvin is devoted to his employees and local customers, and when he makes an ill-considered deal with a loan shark (Keith David), the future of the barbershop hangs in the balance. There's a goofy subplot involving a stolen cash machine, but what gives Barbershopits abundant charm is its compassionate, feel-good vibe for its likable characters—not just scene-stealer Cedric the Entertainer (as Eddie the veteran barber, whose shaving lesson is a shining pearl of wisdom), but the entire well-chosen cast. It may seem like a lot of casual rap, but look and listen closely, and Barbershopwill reward you with its danceable rhythms of life. —Jeff Shannon

Paul Verhoeven Michael Douglas stars as Nick Curran, a tough but vulnerable detective. Sharon Stone costars as Catherine Tramell, a cold, calculating, and beautiful novelist with an insatiable sexual appetite. Catherine becomes a prime suspect when her boyfriend is brutally murdered - a crime she had described in her latest novel. Obsessed with cracking the case, Nick descends into San Francisco's forbidden underground where suspicions mount, bodies fall, and he finds within himself an instinct more basic than survival.

Special Features*:

16.9 Newly remastered Widescreen

5.1 Newly remastered English Dolby Surround

2.0 English Dolby Digital Audio

"Blonde Poison" - Documentary on the making of the film

"Cleaning up Basic Instinct" - A montage comparing the TV version to the theatrical version

Commentary with feminist critic Camille Paglia

Photo Gallery

Digitally Mastered

Storyboard Comparisons

Theatrical Trailer

Interactive Menus

Scene Access

Production Notes

Cast and Crew Information

English, French and Spanish subtitles

System Requirements:
Starring: Micael Douglas, Sharon Stone, George Dzundza, and Jeanne Tripplehorn
Directed By: Paul Verhoeven
Running Length: 127 minutes, color
This film is presented in "Widescreen" format

Format: DVD MOVIE

Tim Burton Thanks to the ambitious vision of director Tim Burton, the blockbuster hit of 1989 delivers the goods despite an occasionally spotty script, giving the caped crusader a thorough overhaul in keeping with the crime fighter's evolution in DC Comics. Michael Keaton strikes just the right mood as the brooding "Dark Knight" of Gotham City; Kim Basinger plays Gotham's intrepid reporter Vicki Vale; and Jack Nicholson goes wild as the maniacal and scene-stealing Joker, who plots a takeover of the city with his lethal Smilex gas. Triumphant Oscar-winning production design by the l