John McTiernan Michael Crichton What happened to The 13th Warrior? Directed by John McTiernan (Die Hard), it's the tale of young Arab ambassador Ahmahd ibn Fahdalan (Antonio Banderas), who's vanquished from his homeland for loving the wrong woman. On his journeys he associates with a ragtag group of Vikings who are traveling back to their homeland to confront a nefarious threat that's cloaked in such superstition they're forbidden to speak its name. It is prophesied by a witch doctor that 13 warriors must confront the evil; however, the 13th chosen man must not come from the north. Suddenly Banderas is forced into the breach, somewhat against his will. More poet than battle-worn warrior, he must not only fight the aggressors but come to terms with the unfamiliar Norse culture. What follows is a vigorous and brutal adventure reminiscent of Kurosawa's Seven Samurai. Sumptuous and invigorating battle sequences fill the screen from beginning to end as the brave Norsemen battle insurmountable odds.

Sounds good. So why did this film, once known as the Eaters of the Dead, sit on studio shelves for two years? Presumably because of the thoughtless editing that trimmed down the film to its bare bones, crafting an actionfest out of an epic. It's not often that you crave for a movie to be longer, but The 13th Warriorcould've benefited from fleshing out of its subplots and characters. On the surface it's good eye candy with some fine pulse-quickening moments, and Banderas and the accompanying cast turn in sympathetic performances, epitomizing camaraderie in the face of impending doom. However, if you're looking for a good thematic tale from the Dark Ages (akin to Braveheart), you may be disappointed. —Jeremy Storey

Mikael Håfström (Thriller) Based on a short story by Stephen King a man who specializes in debunking the paranormal checks into the infamous room 1408 in the Dolphin Hotel only to discover the terror is real.System Requirements:Run Time: 104 minutes Genre: HORROR UPC: 796019805308

John Herzfeld A seasoned homicide detective teams up with a young arson investigator to hunt down headline-hungry killers who dare to videotape their crimes. Special features: feature-length audio commentary with director john herzfeld deleted scenes with optional commentary by director john herzfeld and much more. Studio: New Line Home Video Release Date: 11/13/2007 Starring: Robert Deniro Kelsey Grammer Run time: 121 minutes Rating: R Director: John Herzfeld

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

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

James Cameron Meticulously crafted but also ponderous and predictable, James Cameron's 1989 deep-sea close-encounter epic reaffirms one of the oldest first principles of cinema: everything moves a lot more slowly underwater. Ed Harris and Mary Elizabeth Mastrantonio, as formerly married petroleum engineers who still have some "issues" to work out, are drafted to assist a gung-ho Navy SEAL (Michael Biehn) with a top-secret recovery operation: a nuclear sub has been ambushed and sunk, under mysterious circumstances, in some of the deepest waters on earth, and the petro-techies have the only submersible craft capable of diving down that far. Every image and every performance is painstakingly sharp and detailed (and the computerized water creatures are lovely) but the movie's lumbering pace is ultimately lethal. It's the audience that ends up feeling waterlogged. For a guy who likes guns as much as Cameron (his next film after all, was the body-count masterpiece Terminator 2: Judgment Day), it's interesting that the moral balance here is weighted heavily in favor of the can-do engineers; the military types are end-justifies-the-means amoralists, just like the weasely government bureaucrats in Aliens. —David Chute

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

Side a-high definition (r) 2hr 36min side b-standard definition (r 2hr 36min & ur 2hr 54min) Studio: Uni Dist Corp. (mca) Release Date: 02/19/2008 Starring: Denzel Washington Rating: R Director: Ridley Scott

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

Weitz, Chris A riotous and rowdy exploration of the most eagerly anticipated and ofter most humiliationg rite of adulthood losing ones virginity. In this hilarious lesson in life and libido a group of friends try a different but equally outrageous approach to scoring with the opposite sex. Studio: Uni Dist Corp. (mca) Release Date: 08/24/2004 Starring: Jason Biggs Tara Reid Run time: 110 minutes Rating: Ur Director: Paul Weitz

After their first year at college the guys reunite for another summer of fun. Jim continues his quest for sexual independence by seeking the help of his old prom date michele after an unexpected call from nadia who plans to visit jim. Meanwhile kev and vicky find themselves in an awkward situation. Studio: Uni Dist Corp. (mca) Release Date: 08/24/2004 Starring: Seann William Scott Jason Biggs Run time: 100 minutes Rating: R Director: J.b. Rogers

Rob Reiner What sounds like the high-concept romantic comedy pitch from hell—widower president falls for smart lobbyist while the world watches—is actually intelligent, charming, touching, and quite funny. Granted, it's wish fulfillment all the way (when was the last time you saw a president who was trulypresidential?), but in the capable hands of writer Aaron Sorkin (TV's Sports Night) and director Rob Reiner, The American Presidentis incredibly enjoyable entertainment with quite a few ideas about both romance and the government. Michael Douglas stars as the president, who after three years in office starts thinking about the possibility of dating. When he auspiciously encounters cutthroat environmental lobbyist Sydney Ellen Wade (Annette Bening), sparks begin to crackle and the two begin a tentative but heartfelt romance. Of course, his job gets in the way—their first kiss is interrupted by a Libyan bombing—but darn it if these two kids aren't going to try and make it work! However, they hadn't counted on the president's Republican antagonist (Richard Dreyfuss), who starts carping about family values. The predictable plot—Douglas finally goes to bat for his lady and his country—is leavened by Sorkin's wonderful, snappy dialogue and a light touch from the usually subtle-as-a-sledgehammer Reiner. Both manage to create a believable White House-office atmosphere (with a crack staff including Martin Sheen, Michael J. Fox, Anna Deavere Smith, and Samantha Mathis) as well as a plausible and funny dating scenario. The true success of the movie, though, rides squarely on Douglas and Bening; this is unequivocally Douglas's best comedic performance (ergo his best performance, period) and Bening, usually such a good bad girl, takes a standard career-woman role and fleshes it out magnificently. You can see in an instant why Douglas would fall for her. One of the best unsung romantic comedies of the '90s. —Mark Englehart

Jesse Dylan The third film in the american pie series deals with the wedding of jim and michelle and the gathering of their families and friends including jims old friends from high school and michelles little sister. Studio: Uni Dist Corp. (mca) Release Date: 06/28/2005 Starring: Jason Biggs Alyson Hannigan Run time: 104 minutes Rating: Ur Director: Jesse Dylan

Peter Segal After a misunderstanding aboard an airplane that escalates out of control the mild-mannered dave buznik is ordered by judge daniels to attend anger management sessions run by doctor buddy rydell which are filled with highly eccentric and volatile men and women. Studio: Sony Pictures Home Ent Release Date: 09/20/2005 Starring: Adam Sandler Marisa Tomei Run time: 106 minutes Rating: Pg13 Director: Peter Segal

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 It's a smashing shagadelic party as Mike Myers (Wayne's World 1 & 2 So I Married an Axe Murderer) and Elizabeth Hurley (Dangerous Ground) star in a non-stop hilarious comedy adventure. Frozen in the 60's secret agent Austin Powers (Myers) is thawed back into action to once again battle his archenemy Dr. Evil. With his sexy sidekick Ms. Kensington (Hurley) Austin must stop Dr. Evil's outrageous plot to control the world. But first this time-warped swinger must get hip quick and discover that there's no free love in the 90's! An all-star supporting cast including Michael York Robert Wagner Mimi Rogers and Carrie Fisher make Austin Powers a wacky far-out trip you won't forget.Running Time: 90 min.System Requirements:Starring: Mike Myers Elizabeth Hurley Michael York and Robert Wagner Director: M. Jay Roach Produced by Demi Moore Mike Myers Jennif; written by Mike Myers; running time of 90 minutes; Closed Captioned. Copyright: 1997 New Line Audio Commentary Cast/Crew Bios Interactive Menus Additional Footage Video Format: Widescreen 2.35:1 aspect ratio Standard 1.33:1 (4.3) Enhanced for 16x9 TVs Subtitles: French English Track Info: English: Dolby Digital 5.1 Surround French: Dolby Digital StereoFormat: DVD MOVIE Genre: COMEDY Rating: PG-13 UPC: 794043457722 Manufacturer No: N4577

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

Romantic drama about an aging playboy who falls for a sweet but terminally ill young woman. Special features: subtitles in french and spanish. Studio: Tcfhe/mgm Release Date: 04/15/2008 Starring: Richard Gere Winona Ryder Run time: 104 minutes Rating: Pg13 Director: Joan Chen

Jeremiah S. Chechik British secret agent john steed teams up with scientist emma peel to investigate dramatic changes discovered in the earths climate. The trail leads to ex-agent and arch villain sir agusut de wynter whose diabolical plan is to rule the world with his weather control machine. Studio: Warner Home Video Release Date: 02/03/2004 Starring: Ralph Fiennes Sean Connery Run time: 90 minutes Rating: Pg13 Director: Jeremiah Chechik

An epic biopic depicting the early years of legendary director and aviator Howard Hughes' career from the late 1920's to the mid-1940's.Format: DVD MOVIE Genre: DRAMA UPC: 085393893927

Alejandro González Iñárritu Tragedy strikes a married couple on vacation in the moroccan desert touching off an interlocking story involving six different families. Studio: Paramount Home Video Release Date: 02/20/2007 Starring: Brad Pitt Cate Blanchett Run time: 143 minutes Rating: R

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

Based on a true story of a heist gone wrong. Studio: Lions Gate Home Ent. Release Date: 07/15/2008 Starring: Jason Statham Run time: 110 minutes Rating: R Director: Roger Donaldson

Paul Verhoeven A police detective is in charge of the investigation of a brutal murder in which a beautiful and seductive woman could be involved. Studio: Lions Gate Home Ent. Release Date: 02/01/2005 Starring: Michael Douglas George Dzunda Run time: 123 minutes Rating: R

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 late Anton Furst turns Batmaninto a visual feast, and Burton brilliantly establishes a darkly mythic approach to Batman's legacy. Danny Elfman's now-classic score propels the action with bold, muscular verve. —Jeff Shannon

Joel Schumacher Following Val Kilmer's portrayal of the caped crusader in Batman Forever, the fourth Batmanfeature stars George Clooney under the pointy-eared cowl, with Chris O'Donnell returning as Robin the Boy Wonder. This time the dynamic duo is up against the nefarious Mr. Freeze (Arnold Schwarzenegger), who is bent on turning the world into an iceberg, and the slyly seductive but highly toxic Poison Ivy (Uma Thurman), who wants to eliminate all animal life and turn the Earth into a gigantic greenhouse. Alicia Silverstone lends a hand as Batgirl, and Elle McPherson plays the thankless role of Batman/Bruce Wayne's fiancée. A sensory assault of dazzling colors, senseless action, and lavish sets run amok, this Batman & Robinoffers an overdose of eye candy, but it is strictly for devoted Bat-o-philes. —Jeff Shannon

Christopher Nolan In an effort to deal with the death of his parents years before, a young Bruce Wayne travels the world in search of answers and comes back to Gotham City with the skills necessary to fight the injustices around him.
Genre: Feature Film-Action/Adventure
Rating: PG13
Release Date: 14-FEB-2006
Media Type: DVD

Warner Brothers Batman Begins - HD-DVD
The origins of the CapedCrusader of Gotham City are finally brought to the big screen in this new adaptation of the perennially popular comic-book series. The young Bruce Wayne (Gus Lewis) leads a privileged life as the sonof wealthy, philanthropist parents, both of whom stress their commitment to improving the lives of the citizens of crime-ridden Gotham City. After his mother and father are murdered by a mugger, however, Wayne grows into an impudent young man (Christian Bale), full of rage and bent on retribution until encouraged by his childhood sweetheart, Rachel Dawes (Katie Holmes), to search for answers beyond his own personal vendettas. Wayne eventually finds discipline in the Far East under the tutelage of Henri Ducard (Liam Neeson), a member of the mysterious League of Shadows who guides him in the study of martial arts — and the ways in which an ordinary man can hone his senses to an almost superhuman acuity. After seven years away from Gotham, Wayne returns, determined to bring peace and safetyback to the city. With the help of his faithful manservant, Alfred Pennyworth (Michael Caine), and Lucius Fox (Morgan Freeman), a scientist at his late father's corporation, Wayne develops a secret identity as Batman, a masked fighter for justice. But when a shady psychiatrist (Cillian Murphy) joins forces with the criminal underworld, Wayne realizes that putting an end to their nefarious plans will be very difficult indeed. Batman Begins also features Gary Oldman as Lt. James Gordon and Tom Wilkinson as the crime boss Carmine Falcone.

Joel Schumacher Riddle me this, riddle me that, you'll find adventure on the wings of a bat! Brace for excitement as Val Kilmer (Batman), Tommy Lee Jones (Two-Face), Jim Carrey (the Riddler), Nicole Kidman (Dr. Chase Meridian) and chris O'Donnell (Robin) star in the third formidable film in Warner Bros.' Batman series. Joel Schumacher directs and Tim Burton co-produces this thrill-ride of a movie that thunders along on Batmobile, Batwing, Batboat, Batsub and bold heroics. Hang on!

DVD Features:
Additional Scenes
Audio Commentary:Commentary by Joel Schumacher
Documentaries:Riddle Me This: Why is Batman Forever? Shadows of the Bat: The Cinematic Saga of the Dark Knight, Part 4 Behind the Scenes Gallery
Featurette:Heroes and Villains Profiles
Music Video:Kiss from a Rose by Seal

Tim Burton The first Batmansequel takes a wicked turn with the villainous exploits of the freakish and mean-spirited Penguin (Danny DeVito), whose criminal collaboration with evil tycoon Max Shreck (Christopher Walken) threatens to drain Gotham City of its energy supply. As if that weren't enough, Batman (Michael Keaton) has his hands full with the vengeful Catwoman (Michelle Pfeiffer), who turns out to be a lot more dangerous than a kitten with a whip. As with the first Batmanfeature, director Tim Burton brings his distinct visual style to the frantic action, but this time there's a darker malevolence lurking beneath all that extraordinary production design. —Jeff Shannon

Lorne Greene Richard A. Colla Vince Edwards Donald P. Bellisario

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

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

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

Gary Trousdale The film that officially signaled Disney's animation renaissance (following The Little Mermaid) and the only animated feature to receive a Best Picture Oscar nomination, Beauty and the Beastremains the yardstick by which all other animated films should be measured. It relates the story of Belle, a bookworm with a dotty inventor for a father; when he inadvertently offends the Beast (a prince whose heart is too hard to love anyone besides himself), Belle boldly takes her father's place, imprisoned in the Beast's gloomy mansion. Naturally, Belle teaches the Beast to love. What makes this such a dazzler, besides the amazingly accomplished animation and the winning coterie of supporting characters (the Beast's mansion is overrun by quipping, dancing household items) is the array of beautiful and hilarious songs by composer Alan Menken and the late, lamented lyricist Howard Ashman. (The title song won the 1991 Best Song Oscar, and Menken's score scored a trophy as well.) The downright funniest song is "Gaston," a lout's paean to himself (including the immortal line, "I use antlers in all of my de-co-ra-ting"). "Be Our Guest" is transformed into an inspired Busby Berkeley homage. Since Ashman's passing, animated musicals haven't quite reached the same exhilarating level of wit, sophistication, and pure joy. —David Kronke —This text refers to an out of print or unavailable edition of this title.

John Moore Smart casting and sensible plotting make Behind Enemy Linesan above-average military thriller. Perfectly timed to bolster patriotism, the film is partly set (during a hypothetical "day after tomorrow") on the aircraft carrier U.S.S. Carl Vinson, which was on alert status in the Persian Gulf when this film was released. Proving his versatility as an unconventional movie star, Owen Wilson plays a navy navigator who is shot down over Bosnia during a reconnaissance mission. Pursued by rebel Serbian forces, Wilson must fight for survival while his commanding officer (Gene Hackman) plots a daredevil rescue. After a successful career in TV commercials, Irish director John Moore makes a promising feature debut on Slovakian locations, borrowing a few techniques from Saving Private Ryanwhile adding impressive flourishes of his own. The gung-ho ending's a foregone conclusion, but it works like a charm after the movie's exciting game of cat and mouse. —Jeff Shannon

Christopher Guest, the man behind Waiting for Guffman, turns his comic eye on another little world that takes itself a bit too seriously: the world of competitive dog shows. Best in Showfollows a clutch of dog owners as they prepare and preen their dogs to win a national competition. They include the yuppie pair (Parker Posey and Michael Hitchcock) who fear they've traumatized their Weimaraner by having sex in front of him; a suburban husband and wife (Eugene Levy and Catherine O'Hara) with a terrier and a long history of previous lovers on the wife's part; the Southern owner of a bloodhound (Guest himself) with aspirations as a ventriloquist; and many more. Following the same "mockumentary" format of Spinal Tapand Guffman, Best in Showtakes in some of the dog show officials, the manager of a nearby hotel that allows dogs to stay there, and the commentators of the competition (a particularly knockout comic turn by Fred Willard as an oafish announcer). The movie manages to paint an affectionate portrait of its quirky characters without ever losing sight of the ridiculousness of their obsessive world. Almost all of the scenes were created through improvisation. While lacking the overall focus of a written script, Best in Showcaptures hilarious and absurd aspects of human behavior that could never be written down. The movie's success is a testament to both the talent of the actors and Guest's discerning eye. —Bret Fetzer

Nora Ephron Isabel a beautiful witch decides to live without witchcraft & goes to hollywood looking for romance among mortals. Jack an actor convinces isabel to co-star in a remake of the original bewitched series in a move to resurrect his career. They fall in love causing the worlds of witches & mortals to collide. Studio: Sony Pictures Home Ent Release Date: 10/03/2006 Starring: Nicole Kidman Michael Caine Run time: 102 minutes Rating: Pg13 Director: Nora Ephron

Prepare to go even deeper into the breathtaking adventures of the Jurassic Park Trilogy! Highlighted by fascinating, never-seen-before footage from all three Jurassic Park films, this DVD offers an exclusive look at deleted sceenes, additional footage and other materials not shown on any theater screen!

Gosh—kids. You gotta love 'em, right? Well, not necessarily— particularly if you're Adam Sandler. But Big Daddyis about paternal devotion in its own oblique way. Sandler plays Sonny Koufax, a law-school grad who has been milking an accident settlement to cover his living expenses, while he continues to slack his way through life. But when his girlfriend threatens to dump him, he decides to show her he's serious about their relationship and pretends to adopt a little boy (in fact, his roommate's son from a one-night stand several years earlier, who shows up on their doorstep just after the roommate leaves town on a job). But after taking care of the tyke for a couple of days, Sonny finds that it's a little like feeding that stray dog that followed you home: Before you know it, you've grown attached to the little fella—and then what are you going to do? By turns crude and maudlin, Big Daddyhas its share of laughs and will certainly entertain fans who like Adam Sandler best when he plays the case of arrested development with a smart-aleck retort for everything. —Marshall Fine

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

Tamra Davis For Adam Sandler fans only, this dopey comedy features the former Saturday Night Livestar as an overindulged rich guy whose father insists he repeat grades 1 through 12 before taking over the family business. The scenario is perfect for Sandler's infantile leanings (which he has fortunately outgrown in more recent movies), and for the most part the jokes about being too old and too big for the experiment are obvious. Chris Farley and Steve Buscemi turn up in uncredited cameo appearances, but otherwise the film is pretty dismissible, except for those diehards who can't get enough of Sandler. —Tom Keogh

Mike Nichols The great improvisational comedy team of Mike Nichols and Elaine May reunited to (respectively) direct and write this update of the French comedy La Cage Aux Folles. Robin Williams stars as a gay Miami nightclub owner who is forced to play it straight and ask his drag-queen partner (Nathan Lane) to hide out when Williams's son invites his prospective—and highly conservative—in-laws and fiancée to a meet-and-greet dinner party. Gene Hackman and Dianne Wiest play the straight-laced senator and his wife, and Calista Flockhart (from television's Ally McBeal) plays their daughter in a culture-clash with outrageous consequences. May's witty screenplay incorporates some pointed observations about the political landscape of the 1990s and takes a sensitive approach to the comedy's underlying drama. Topping off the action is Hank Azaria in a scene-stealing role as Williams's and Lane's flamboyant housekeeper, "Agador Spartacus."—Jeff Shannon

Ridley Scott Ridley Scott's Black Hawk Downconveys the raw, chaotic urgency of ground-force battle in a worst-case scenario. With exacting detail, the film re-creates the American siege of the Somalian city of Mogadishu in October 1993, when a 45-minute mission turned into a 16-hour ordeal of bloody urban warfare. Helicopter-borne U.S. Rangers were assigned to capture key lieutenants of Somali warlord Muhammad Farrah Aidid, but when two Black Hawk choppers were felled by rocket-propelled grenades, the U.S. soldiers were forced to fend for themselves in the battle-torn streets of Mogadishu, attacked from all sides by armed Aidid supporters. Based on author Mark Bowden's bestselling account of the battle, Scott's riveting, action-packed film follows a sharp ensemble cast in some of the most authentic battle sequences ever filmed. The loss of 18 soldiers turned American opinion against further involvement in Somalia, but Black Hawk Downmakes it clear that the men involved were undeniably heroic. —Jeff Shannon

Ridley Scott From Oscar®-nominated director Ridley Scott (Gladiator) comes this stylish star-powered crime thriller that crackles with heart-pounding action and taut suspense.Academy Award®-winner Michael Douglas is electrifying as Nick Conklin a rough-and-tumble NYC detective under investigation for corruption. Ordered to escort a cold-blooded killer named Sato back to his native Japan Nick and his partner Charlie (Oscar® nominee Andy Garcia) unwittingly deliver Sato into the hands of his own gang. With assistance from a by-the-book Japanese cop (Ken Takakura) and a beautiful club hostess (Kate Capshaw) the American cops chase Sato through Osaka's seamy underworld as Nick fights to recapture something as important as the criminal he lost: his honor.Features:Commentary by Director Ridley ScottBlack Rain The Script The CastMaking The Film: Part 1Making The Film: Part 2Black Rain Post - ProductionTheatrical TrailerSystem Requirements:Run Time: 125 mins Format: DVD HD Genre: ACTION/ADVENTURE Rating: R UPC: 097363222019 Manufacturer No: 322201

John Stockwell With refreshing energy, Blue Crushis the kind of movie that girls and young women deserve to see more of. It's mostly for them (although nice tans and bikinis will attract the guys), and it rejuvenates the surf-movie tradition by showing real girls with real friendships, coping with absent parents, borderline poverty, rocky romance, and the challenge of raising a kid sister. For young Hawaiian Anne Marie (Kate Bosworth), those responsibilities are motivations to excel as a champion-class surfer... if she can overcome the fear of drowning, which she nearly did in a previous wipeout. Supportive friends (Girlfight's Michelle Rodriguez, and Sanoe Lake) help her reach the climactic competition on Oahu's infamous Bonzai Pipeline, and like Saturday Night Fever, this engaging film uplifts the working class without condescension, riding high toward the joy of achievement. Himself an amateur surfer, director John Stockwell (Crazy/Beautiful) captures the extreme thrill of the sport while respecting the forces of nature and human behavior. —Jeff Shannon

Ben Burtt The IMAX film Blue Planetoffers an eloquent reminder—and a cautionary warning—that the planet Earth is a delicate living organism, constantly reshaped and rejuvenated by the awesome forces of nature. The film targets a grade-school audience but will prove informative to anyone fascinated by our home planet's evolution. Hurricanes, glaciers, volcanoes, thunderstorms, asteroid impacts, undersea furnace vents, and earthquakes are all explored as a system of interconnected forces that ensure the planet's survival. The difference between this and other nature films is that the Earth's delicacy is emphasized by stunning views from space, filmed in the IMAX format by NASA astronauts in orbit 200 miles above the Earth's surface. With astonishing clarity, this orbital perspective supports the film's ultimate purpose: to reveal the awesome beauty of the Earth, and to emphasize that we, the custodians of this miraculous gift, are also the greatest threat to the planet's delicate health. Proof of man's destructive influence offers a sobering reminder that our responsibility toward nature is perpetual, essential, and routinely abused.

Blue Planetcombines state-of-the-art sound and image, principally directed by Ben Burtt, the Oscar-winning sound designer whose credits include the original Star Wars trilogy. No home-theater system could do full justice to the film's technical achievement, but the sights and sounds of Blue Planetare awesome nonetheless, and it's impossible to overstate the importance of the film's message and its hopeful emphasis on the potentially wondrous future of our one and only home. —Jeff Shannon

Alastair Fothergill Eighty minutes of behind-the-scenes footage - one 10-minute featurette for each episodeInterviews with producer Alastair Fothergill, cameraman Doug Allan and researcher Penny AllenDeep Trouble - A compelling exploration of the impact of civilization on the oceansPhoto GalleriesFact FilesAll New Bonus 5th Disc:Amazon Abyss - Discover an amazing array of astonishing creatures living in the depths of the AmazonDive to Shark Volcano - Venture to Cocos Island, an underwater volcano whose waters are a haven for sharksBetween the Tides - Explore the distinctive sights and sounds of an estuary in winter, featuring many natural spectacles caused by the tideAntarctica - Survey the cold, desolate continent of Antartica

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

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

Paul Thomas Anderson Even if the notorious 1970s porn-filmmaking milieu doesn't exactly turn you on, don't let it turn you off to this movie's extraordinary virtues, either. Boogie Nightsis one of the key movies of the 1990s, and among the most ambitious and exuberantly alive American movies in years. It's also the breakthrough for an amazing new director, whose dazzling kaleidoscopic style here recalls the Robert Altman of Nashvilleand the Martin Scorsese of GoodFellas. Although loosely based on the sleazy life and times of real-life porn legend John Holmes, at heart it's a classic Hollywood rise-and-fall fable: a naive, good-looking young busboy is discovered in a San Fernando Valley disco by a famous motion picture producer, becomes a hotshot movie star, lives the high life, and then loses everything when he gets too big for his britches, succumbs to insobriety, and is left behind by new times and new technology. Of course, it ain't exactly A Star Is Bornor Singin' in the Rain. Writer-director Paul Thomas Anderson (in only his second feature!) puts his own affectionately sardonic twist on the old showbiz biopic formula: the ambitious upstart changes his name and achieves stardom in porno films as "Dirk Diggler." Instead of drinking to excess, he snorts cocaine (the classic drug of '70s hedonism); and it's the coming of home video (rather than talkies) that helps to dash his big-screen dreams. As for the britches ... well, the controversial "money shot" explains everything. And the cast is one of the great ensembles of the '90s, including Oscar nominees Burt Reynolds and Julianne Moore, Mark Wahlberg (who really can act—from the waist up, too!), Heather Graham (as Rollergirl), William H. Macy, John C. Reilly, and Ricky Jay. —Jim Emerson

Don Roos A man switches plane tickets with another man who dies in that plane when it crashes. The man falls in love with the deceased mans wife. Studio: Buena Vista Home Video Release Date: 01/04/2005 Starring: Gwyneth Paltrow Ben Affleck Run time: 106 minutes Rating: Pg13 Director: Don Roos

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

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

Paul Greengrass Re-enter the shadowy world of expert assassin jason bourne who continues to find himself plagued by the splintering nightmares from his former life. The stakes are now higher for the agent as he maneuvers through the dangerous waters of international espionage. Studio: Uni Dist Corp. (mca) Release Date: 08/22/2006 Starring: Matt Damon Brian Cox Run time: 109 minutes Rating: Pg13

Paul Greengrass Studio: Uni Dist Corp. (mca) Release Date: 12/11/2007 Run time: 116 minutes Rating: Pg13

Billy Ray Inspired by true events this takes you deep inside the halls of the fbi for a top-secret investigation to uncover the greatest breach in the history of u.S. Intelligence. Studio: Uni Dist Corp. (mca) Release Date: 01/27/2009 Starring: Chris Cooper Ryan Phillipe Run time: 111 minutes Rating: Pg13

Billy Ray Is a mystery really mysterious when the end isn't a secret? Is espionage still thrilling when you know beforehand that the cloak has been pulled back and the dagger revealed? If it's a film as good as Breach, the answer is a resounding yes. Here is a true story that's genuinely stranger than fiction: FBI agent Robert Hanssen spent over 20 years selling government secrets to the Russians, making him the most egregious traitor in U.S. history. He was an Opus Dei Catholic and a devout churchgoer who was also a sexual deviant, a straitlaced company man so trusted by his employers that they once appointed him to lead an investigation designed to reveal who the spy was—when in fact it was Hanssen himself. And in the end, he was brought down in part by 26-year-old Eric O'Neill, an agent-in-training who worked with him for just two months. Chris Cooper, a 2003 supporting actor Oscar winner for Adaptation, is brilliant in the lead role, playing Hanssen as a dour, cold, ultraconservative cipher (women in pantsuits are just one of his peeves) whose conversations more closely resemble interrogations. Ryan Phillippe is also excellent as O'Neill, who's initially kept in the dark by the superior (Laura Linney) who assigned him to help expose Hanssen's treachery; thinking he's been brought in only to gather evidence about his boss' sexual transgressions, O'Neill finds himself caught in a profound moral conundrum, grudgingly admiring Hanssen even as his own marriage is severely tested by the older man's creepy and hypocritical intrusion into their lives, not to mention the FBI's strict rules against discussing the case. 

Director Billy Ray (whose previous feature was also a true story: Shattered Glass, about the young writer who fabricated stories for The New Republic) and co-screenwriters Adam Mazer and William Rotko do an extraordinary job of maintaining the tension as the story leads to the conclusion that's been revealed in the first few frames (i.e., Hanssen's arrest in February 2001); the exquisite torture of O'Neill's having to keep Hanssen distracted while Bureau technicians search the latter's car is but one example. Moreover, notwithstanding the plot developments, the filmmakers manage to keep their focus on the personal interactions that are the film's key element: the relationships that O'Neill maintains with Hanssen, his father (a cameo by Bruce Davison), his wife (Caroline Dhavernas), and others are entirely credible. At once fascinating and horrifying, Breach is inarguably one of the best films of 2007. —Sam Graham

Adam Shankman The pleasingly contrasting comic styles of Queen Latifah and Steve Martin bring some energy to Bringing Down the House, a hopelessly formulaic comedy. Martin plays Peter, an uptight lawyer too obsessed with work to spend quality time with his kids. Into his life comes Queen Latifah as Charlene, an escaped convict who threatens to wreck his relationship with a wealthy but arch-conservative client (Joan Plowright, in high dudgeon) if Peter won't take up her case. Of course, Latifah's exuberant ways enchant his kids and bring out a looser, livelier side of Peter, all in a series of scenes so standard they hardly register. Thank goodness for Eugene Levy; as one of Peter's law partners with a taste for Charlene's bodacious brand of sexy, Levy's ingenious transformation from nebbish to loverman is the movie's secret weapon, stealthily planting comic explosions amidst the modest rice-krispie-crackle of the stale plot. —Bret Fetzer

Ang Lee A sad, melancholy ache pervades Brokeback Mountain, Ang Lee's haunting, moving film that, like his other movies, explores societal constraints and the passions that lurk underneath. This time, however, instead of taking on ancient China, 19th-century England, or '70s suburbia, Lee uses the tableau of the American West in the early '60s to show how two lovers are bound by their expected roles, how they rebel against them, and the repercussions for each of doing so—but the romance here is between two men. Ennis Del Mar (Heath Ledger) and Jack Twist (Jake Gyllenhaal) are two itinerant ranchers looking for work in Wyoming when they meet and embark on a summer sheepherding job in the shadow of titular Brokeback Mountain. The taciturn Ennis, uncommunicative in the extreme, finds himself opening up around the gregarious Jack, and the two form a bond that surprisingly catches fire one cold night out in the wilderness. Separating at the end of the summer, each goes on to marry and have children, but a reunion years later proves that, if anything, their passion for each other has grown significantly. And while Jack harbors dreams of a life together, the tight-lipped Ennis is unable to bring himself to even consider something so revolutionary. 

Its open, unforced depiction of love between two men made Brokebackan instant cultural touchstone, for both good and bad, as it was tagged derisively as the "gay cowboy movie," but also heralded as a breakthrough for mainstream cinema. Amidst all the hoopla of various agendas, though, was a quiet, heartbreaking love story that was both of its time and universal—it was the quintessential tale of star-crossed lovers, but grounded in an ever-changing America that promised both hope and despair. Adapted by Larry McMurtry and Diana Ossana from Annie Proulx's short story, the movie echoes the sparse bleakness of McMurtry's The Last Picture Showwith its fading of the once-glorious West; but with Lee at the helm, it also resembles The Ice Storm, as it showed the ripple effects of a singular event over a number of people. As always, Lee's work with actors is unparalleled, as he elicits graceful, nuanced performances from Michelle Williams and Anne Hathaway as the wives affected overtly and subliminally by their husbands' affair, and Gyllenhaal brings surprising dimensions to a character that could have easily just been a puppy dog of a boy. It's Ledger, however, who's the breakthrough in the film, and his portrait of an emotionally repressed man both undone and liberated by his feelings is mesmerizing and devastating. Spare in style but rich with emotion, Brokeback Mountainearns its place as a classic modern love story. —Mark Englehart

John Woo John Travolta is Vic Deakins, a bomber pilot who launches a devilish plan to hijack two nuclear missiles for big-time extortion. Vic never sweats, spews out great one-liners, knocks off money men with glee, toys with killing half a million people... he even smokes!

If you giggled at his "Ain't it cool" line from the trailer, you're in the right frame of mind for this comedic action film. Never as gritty or semi-realistic—or for that matter as heart-thumping—as the original Die Hard, Broken Arrowstill delivers. If Travolta is cast against type, everyone else is by the numbers; Christian Slater as Hale, the earnest copilot looking to foil the plot, Samantha Mathis as the brave park ranger caught in the middle, Frank Whaley as an eager diplomat, Delroy Lindo as a right-minded colonel. As with his previous script (the superior Speed), writer Graham Yost moves everything quickly along as Hale and the ranger try to cut off Deakins's plan over a variety of terrains. We have plane crashes, car chases, a pursuit through an abandoned mine, a helicopter-train shootout, and lots of fighting between boys. Each time Hale finds himself perfectly in place to foil Deakins. You're suppose to laugh at the unbelievable situations. That's where Arrowis deceptive: its tone is right for the laughter compared to the mean-spirited Schwarzenegger and Stallone action films with labored jokes. Hong Kong master director John Woo (The Killer, Hard Target) pulls out all the stops—slow motion of Hale and Deakins's gymnastic gun play, nifty stunts, countdowns to doomsday. Woo may know action, but he needs more guidance in creating unique and stunning special effects. This is action entertainment at its cheesiest. Travolta and Woo later reteamed for Face/Off. —Doug Thomas

Greg Berlanti After viewing the gay ensemble film The Broken Hearts Club—the subtitle of which helpfully points out that it's "a romantic comedy"—you might feel as if you've been offered a discussion conundrum not unlike the kind that Mike Myers's Linda "Coffee Talk" Richman would put forward: "The Broken Hearts Clubis neither romantic nor comedic. Discuss." What it is, rather, is a gay male version of Steel Magnolias, right down to the funeral scene and hospital visit. While decidedly less melodramatic than that Southern chick flick, it still aspires to a kind of big-group love-in feeling that's only vaguely comic. And romance? Well, there's some somewhere, when the characters aren't carping about how the only thing they're good at is being gay. They all wrestle with their Big Issues—should Patrick (Ben Weber) donate sperm so his sister can have a baby with her lesbian lover? Will cynical Dennis (Timothy Olyphant) finally admit he loves just-out-of-the-closet Kevin (Andrew Keegan)? How will love-'em-and-leave-'em Cole (Dean Cain) feel when he's rejected by the closeted movie star?—but to little effect, despite some snappy one-liners and occasional keen observances of gay culture. Writer-director Greg Berlanti's screenplay still feels about two or three drafts away from completion, and when faced with stalling action, he opts for a montage set to one of many Carpenters' songs (covers, not the actual hits themselves). Kudos go to the acidic Weber for infusing what could have been a whiny character with a dry, intelligent wit, and the surprisingly charming Cain, who makes Cole someone you can't really hate too much despite all his faults—it would be like hating a puppy. If only all the characters were half as appealing. —Mark Englehart

Robert Walker (VII) Aaron Blaise When an impulsive boy named kenai is magically transformed into a bear he must literally walk in anoterhs footsteps until he learns some valuable life lessons. His courageous & often zaney journey introduces him to a forest full of wild-life. Studio: Buena Vista Home Video Release Date: 02/15/2008 Starring: Joaquin Phoenix Rick Moranis Run time: 85 minutes Rating: G

This is the story of four african-american yuppies a banker a doctor a lawyer and a playboy who call themselves the brothers. When the playboy gets engaged the other three friends find themselves having to come to terms with their own issues of commitment and honesty. Studio: Sony Pictures Home Ent Release Date: 09/27/2005 Starring: Morris Chestnut Shemar Moore Run time: 102 minutes Rating: R Director: Gary Hardwick

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

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

John Lasseter There's an extra coat of hot wax on Pixar's vibrant, NASCAR-influenced comedy about a world populated entirely by cars. Lightning McQueen (voiced by Owen Wilson) is the slick rookie taking the Piston Cup series by storm when the last race of the season (the film's high-octane opening) ends in a three-way tie. On the way to the tie-breaker race in California, Lightning loses his way off Route 66 in the Southwest desert and is taught to stop and smell the roses by the forgotten citizens of Radiator Springs. It's odd to have such a slim story from the whizzes of Pixar, and the film pales a bit from their other films (though can that be a fair comparison?). Nonetheless, Carsis another gleaming ride with Pixar founder John Lasseter, who's directing for the first time since Toy Story 2. There's the usual spectrum of excellent characters teamed with appropriate voice talent, loads of smooth humor for kids and parents alike, knockout visuals, and a colorful array of sidekicks, including a scene-stealing baby blue forklift named Guido. Lightning's plight is changed with the help of former big-city lawyer Sally Carrera (Pixar veteran Bonnie Hunt), the town's patriarch Doc Hudson (Paul Newman), and kooky tow truck Mater (Larry the Cable Guy). The Incredibleswas the first Pixar film to break the 100-minute barrier, but had enough story not to suffer;Cars, at 116 minutes (including some must-see end credit footage), is not as fortunate, plus it never pierces the heart. Trivia fans should have bonanza with the frame-by-frame DVD function; the movie is stuffed with in-jokes, some appearing only for an instant. Ages 5 and up. —Doug Thomas

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

The most successful invigoration of a cinematic franchise since Batman Begins, Casino Royaleoffers a new Bond identity. Based on the Ian Fleming novel that introduced Agent 007 into a Cold War world, Casino Royaleis the most brutal and viscerally exciting James Bond film since Sean Connery left Her Majesty's Secret Service. Meet the new Bond; not the same as the old Bond. Daniel Craig gives a galvanizing performance as the freshly minted double-0 agent. Suave, yes, but also a "blunt instrument," reckless, and possessed with an ego that compromises his judgment during his first mission to root out the mastermind behind an operation that funds international terrorists. In classic Bond film tradition, his global itinerary takes him to far-flung locales, including Uganda, Madagascar, the Bahamas (that's more like it), and Montenegro, where he is pitted against his nemesis in a poker game, with hundreds of millions in the pot. The stakes get even higher when Bond lets down his "armor" and falls in love with Vesper (Eva Green), the ravishing banker's representative fronting him the money.

For longtime fans of the franchise, Casino Royaleoffers some retro kicks. Bond wins his iconic Astin-Martin at the gaming table, and when a bartender asks if he wants his martini "shaken or stirred," he disdainfully replies, "Do I look like I give a damn?" There's no Moneypenny or "Q," but Dame Judi Dench is back as the exasperated M, who one senses, admires Bond's "bloody cheek." A Bond film is only as good as its villain, and Mads Mikkelsen as Le Chiffre, who weeps blood, is a sinister dandy. From its punishing violence and virtuoso action sequences to its romance, Casino Royaleis a Bond film that, in the words of one character, makes you feel it, particularly during an excruciating torture sequence. Double-0s, Bond observes early on, "have a short life expectancy." But with Craig, there is new life in the old franchise yet, as well as genuine anticipation for the next one when, at last, the signature James Bond theme kicks in following the best last line ever in any Bond film. To quote Goldie Hawn in Private Benjamin, now I know what I've been faking all these years. —Donald Liebenson

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Robert Zemeckis Cast Awayis a good movie that wants to be much better. While director Robert Zemeckis's earlier film Contactachieved a kind of mainstream spiritual significance, Cast Awayfalls just short of that goal. That may explain why the film's most emotionally powerful scene involves the loss of an inanimate object, even as it presents a heart-rending dilemma in its very human final act.

It's three movies in one, beginning when punctuality-obsessed Federal Express systems engineer Chuck Noland (Tom Hanks) departs on Christmas Eve to escort an ill-fated flight of FedEx packages. Following a mid-Pacific plane crash, movie number two chronicles Chuck's four-year survival on a remote island, totally alone save for a Wilson volleyball (aptly named "Wilson") that becomes Chuck's closest "friend." Movie number three leads up to Chuck's rescue and an awkward encounter with his ex-girlfriend Kelly (Helen Hunt, in a thankless role), for whom Chuck has seemingly risen from the grave.

It's fascinating to witness Chuck's emerging survival skills, and Hanks's remarkable physical transformation is matched by his finely tuned performance. With slow, rhythmic camera moves and brilliant use of sound, Zemeckis wisely avoids the postcard prettiness of The Black Stallionand The Blue Lagoonto emphasize the harshness of Chuck's ascetic solitude, and this stylistic restraint allows Cast Awayto resonate more than one might expect. Even the final scene—which feels like a crowd-pleasing compromise—offers hope without shoving it down our throats. You may not feel the emotional rush that you're meant to feel, but Cast Awayremains a respectable effort. —Jeff Shannon

Nicholas Hytner The primary appeal of dance movies is the dancing, with some added emphasis on the romance the art expresses. Center Stagewins on these counts, despite its reveling in overly familiar characters and formula plotting. Or maybe this reveling is responsible for what goofy fun this film is. The arduous task of becoming a professional ballet dancer is incarnated by many good-looking teens, all stock dance-film characters affectionately portrayed mostly by newcomers. But center stage holds Jody Sawyer (Amanda Schull), who may never be a great ballerina, but she's certainly one sexy jazz dancer. Then there's the arrogant genius (Ethan Stiefel), the dictatorial impresario (Peter Gallagher), the demanding instructor, the bulimic, the stage mother, etc. As we follow these characters, the message develops that one should let go and do what feels good. Jody may not be ballet material, but she scorches the stage when she's uninhibited. And that's really the fun of this movie, which is never seriously interested in ballet to begin with. One ludicrous scene depicts one of the dancers quitting because she realizes she never wanted to be a dancer to begin with but was pushed into it by her overbearing mother. She stands up to mom in the lobby of the auditorium where she's supposed to be performing, the music of her piece providing a syrupy backdrop to her little drama. When she's finished talking, she walks off to the audience's unwitting applause. The scene is so ham-handed you can't help but laugh at its audacity, if that's what it is. The rest of the film is not so overdone, but it's all fun. —Jim Gay

Andrew Davis Two researchers in a green alternative energy project are put on the run when they are framed for murder and treason. Studio: Tcfhe Release Date: 02/20/2007 Starring: Keanu Reeves Rachel Weisz Run time: 106 minutes Rating: Pg13

Impeccably crafted and smarter than your average thriller, Changing Lanesproves that revenge is a dish best served cold. A high-powered attorney (Ben Affleck) learns that lesson the hard way after he flees the scene of an accident involving an insurance salesman (Samuel L. Jackson) who holds a powerful advantage in his retaliatory strike against the lawyer's arrogant behavior. Affleck has everything to gain if he can retrieve a lost document from Jackson, who has everything to lose (wife, family, savings) when threatened with financial sabotage. To his versatile credit, Notting Hilldirector Roger Michell never plays the race card in this escalating battle of wills, focusing instead on the percolating resentments of men at opposite ends of the economic scale. As he did in Eyes Wide Shut, actor-director Sydney Pollack chillingly embodies the venal elite in a pivotal supporting role, and Changing Lanespotently illustrates the wisdom of heeding a guilty conscience. —Jeff Shannon

Tim Burton Fantasy Adventure. Acclaimed director Tim Burton brings his vividly imaginative style to the beloved Roald Dahl classic Charlie and the Chocolate Factory, about eccentric chocolatier Willy Wonka (Depp) and Charlie, a good-hearted boy from a poor family who lives in the shadow of Wonka's extraordinary factory. Long isolated from his own family, Wonka launches a worldwide contest to select an heir to his candy empire. Five lucky children, including Charlie, draw golden tickets from Wonka chocolate bars and win a guided tour of the legendary candy-making facility that no outsider has seen in 15 years. Dazzled by one amazing sight after another, Charlie is drawn into Wonka's fantastic world in this astonishing and enduring story.

Running Time: 115 min.

Format: DVD MOVIE

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

McG For every TV-into-movie success like The Fugitive, there are dozens of uninspired films like The Mod Squad. Happily—and surprisingly—this breezy update of the seminal '70s jiggle show falls into the first category, with Cameron Diaz, Drew Barrymore (who also produced), and Lucy Liu starring as the hair-tossing, fashion-setting, kung fu-fighting trio employed by the mysterious Charlie (voiced by the original Charlie, John Forsythe). When a high-tech programmer (Sam Rockwell) is kidnapped, the angels seek out the suspects, with the daffy Bosley (Bill Murray in a casting coup) in tow. A happy, cornball popcorn flick, Charlie's Angelsis played for laughs with plenty of ribbing references to the old TV show as well as modern caper films like Mission: Impossible. McG, a music video director making his feature film debut (usually a death warrant for a movie's integrity), infuses the film with plenty of Matrix-style combat pyrotechnics, and the result is the first successful all-American Hong Kong-style action flick. Plenty of movies boast a New Age feminism that has their stars touting their sexuality while being their own women, but unlike something as obnoxious as Coyote Ugly, Angelssucceeds with a positive spin on Girl Power for the new millennium (Diaz especially sizzles in her role of crack super agent/airhead blonde). From the send-up of the TV show's credit sequence to the outtakes over the end credits, Charlie's Angelsis a delight. —Doug Thomas

McG Charlie's Angels: Full Throttleis a big, fun, bubble-brained mess of a movie, and that's exactly as it should be. Its popular 2000 predecessor got the formula right: gorgeous babes, throwaway plots, and as many current pop-cultural trends as you could stuff into a candy-coated dollop of Hollywood mayhem. This sequel goes one "better": The plot's even more disposable (if that's possible), the babes, cars, and fashions even more outlandish, and the stuntwork (heavily digital, heavily absurd) reaches astonishing heights of cartoon silliness. Reprising their titular (and shamelessly titillating) roles, Cameron Diaz, Drew Barrymore, and Lucy Liu are having the time of their lives, especially when sparring with ultra-buff rogue angel Demi Moore (looking better at 40 than most women half her age) and Justin Theroux as a sleazy Irish mobster. Bernie Mac replaces Bill Murray as angel-sidekick Bosley (they're step-brothers, don'cha know), which is one more indication of McG's intentionally reckless stewardship of an intentionally reckless franchise. Our advice: sit back, relax, and get jiggly with it. —Jeff Shannon

If her 2002 tour really was her last—and after being "an evil frickin' diva for 40 frickin' years," as she puts it, she just might mean it—Cher has definitely left us something to remember her by. In the course of this 92-minute concert (plus loads of extra features), she wears enough different costumes and wigs to outfit a small (if rather odd) town, surrounds herself with dancers and acrobats galore, shows clips from her old TV series, and even plays all the roles in a delightful mini-version of West Side Story(one of the extras). Oh, and she sings too, covering everything from the Sonny & Cher years to her early solo career and her renaissance as a disco diva via "Believe." Bottom line: The Farewell Touris a dynamic, sometimes silly, always entertaining show. As Cher herself notes, Britney, J-Lo, and all the others have a tough act to follow. —Sam Graham

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

Lasse Hallström With movies like Chocolat, it's always best to relax your intellectual faculties and absorb the abundant sensual pleasures, be it the heart-stopping smile of chocolatier Juliette Binoche as she greets a new customer, an intoxicating cup of spiced hot cocoa, or the soothing guitar of an Irish gypsy played by Johnny Depp. Adapted by Robert Nelson Jacobs from Joanne Harris's popular novel and lovingly directed by Lasse Hallström, the film covers familiar territory and deals in broad metaphors that even a child could comprehend, so it's no surprise that some critics panned it with killjoy fervor. Their objections miss the point. Familiarity can be comforting and so can easy metaphors when placed in a fable that's as warmly inviting as this one.

Driven by fate, Vianne (Binoche) drifts into a tranquil French village with her daughter Anouk (Victoire Thivisol, from Ponette) in the winter of 1959. Her newly opened chocolatier is a source of attraction and fear, since Vianne's ability to revive the villagers' passions threatens to disrupt their repressive traditions. The pious mayor (Alfred Molina) sees Vianne as the enemy, and his war against her peaks with the arrival of "river rats" led by Roux (Depp), whose attraction to Vianne is immediate and reciprocal. Splendid subplots involve a battered wife (Lena Olin), a village elder (Judi Dench), and her estranged daughter (Carrie-Anne Moss), and while the film's broader strokes may be regrettable (if not for Molina's rich performance, the mayor would be a caricature), its subtleties are often sublime. Chocolatreminds you of life's simple pleasures and invites you to enjoy them. —Jeff Shannon

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

Lasse Hallström In adapting his own novel The Cider House Rulesfor the screen, John Irving sacrificed at least some of the depth and detail that made his humanitarian themes resonate, while the film—directed with Scandinavian sobriety by Lasse Hallström—is often vague about the complex issues (abortion, incest, responsibility) that lie at its core. Allowing for this ambiguity (which is arguably intentional), the film retains much of what made Irving's novel so admired, and like Hallström's earlier feature What's Eating Gilbert Grape?, it's blessed with a generous, forgiving spirit toward the mistakes, foibles, and desires of its many engaging characters.

Central to the story (set during World War II) is Homer (Tobey Maguire), a young man raised in a Maine orphanage, where the ether-sniffing Dr. Larch (Michael Caine) rules with benevolent grace while performing safe but illegal abortions. To expand his horizons, Homer follows a young couple (Charlize Theron, Paul Rudd) to do fieldwork on an apple farm, where his innocent eyes are opened to the good and evil of the world—and to the realization that not all rules are steadfast in all situations. By the time Homer returns to the orphanage, The Cider House Rules—which features one of Caine's finest performances—is memorable more for its many charming and insightful moments than for any lasting dramatic impact. Is Homer fated to come full circle in his kindhearted journey? It's left to the viewer to decide. —Jeff Shannon

Dirk Shafer From Director Dirk Schafer, whose "Man of the Year" pulled women's magazine centerfolds out of the closet, comes this sultry hyper-kinetic drama set in the sex-and-pecs, music and steroid world of the circuit party scene-where drugs flow and inhibitions fall on the sweaty dance floor. John is a closeted small-town cop who moves to L.A., where he is quickly seduced into a new lifestyle. As John falls deeper and deeper into a spiral of drugs and carousing, his one chance for redemption lies in the arms of his new boyfriend.

A welcome throwback to the cop dramas of the '70s, City by the Seais an average film improved by its cast. Robert De Niro stars as veteran New Jersey detective Vincent LaMarca, lamenting the once glorious Asbury Park boardwalk, now dilapidated from the decay of changing times. A good cop but a regrettable father, LaMarca must confront past mistakes and repressed memories when his estranged son (James Franco) becomes the prime suspect in the killing of LaMarca's partner (George Dzundza). There's a nagging inevitability to Ken Hixon's otherwise intelligent screenplay, but De Niro and Frances McDormand—as LaMarca's compassionate neighbor and part-time girlfriend—turn this simmering drama into something deeper than it is. McDormand's role would be thin without the depth and humanity she brings to it, and both De Niro and Franco mine gold from their troubling father-son legacy. Based on a true story, City by the Seahas that kernel of authenticity that good actors thrive on. —Jeff Shannon

Tom carver is an ex-cop who now makes his living cleaning up crime scenes. His life of order & control is suddenly turned upside down when one of his jobs hits too close to home. Studio: Sony Pictures Home Ent Release Date: 11/25/2008 Starring: Samuel L Jackson Ed Harris Run time: 89 minutes Rating: R Director: Renny Harlin

Phillip Noyce The third installment in the cinematic incarnation of Tom Clancy's CIA analyst Jack Ryan and the second starring Harrison Ford, this follow-up to Patriot Gamesis a more complex, rewarding, and bolder film than its predecessor. Ford returns as Ryan, this time embroiled in a failed White House bid to wipe out a Colombian drug cartel and cover up the mess. The script, by Clancy and John Milius (Red Dawn), has an air of true adventure about it as Ryan places himself in harm's way to extract covert soldiers abandoned in a Latin American jungle. There are a couple of remarkable set pieces expertly handled by Patriot Gamesdirector Phillip Noyce, especially a shocking scene involving an ambush on Ryan's car in an alley. The supporting cast is superb, including Willem Dafoe as the soldiers' leader, Henry Czerny as Ryan's enemy at the CIA, Joaquim de Almeida as a smooth-talking villain, Ann Magnuson as an unwitting confederate in international crime, and James Earl Jones as Ryan's dying boss. The DVD release has a widescreen presentation, theatrical trailer, closed captioning, optional French soundtrack, and optional Spanish subtitles. —Tom Keogh

Mike Nichols A witty romantic and very dangerous love story about chance meetings instant attractions and casual betrayals. A critically acclaimed look at four strangers - with one thing in common: each other. Studio: Sony Pictures Home Ent Release Date: 04/25/2006 Starring: Julia Roberts Natalie Portman Run time: 104 minutes Rating: R Director: Mike Nichols

Anthony Minghella Freely adapted from Charles Frazier's beloved bestseller, Cold Mountainboasts an impeccable pedigree as a respectable Civil War love story, offering everything you'd want from a romantic epic except a resonant emotional core. Everything in this sweeping, Odyssean journey depends on believing in the instant love that ignites during a verybrief encounter between genteel, city-bred preacher's daughter Ada (Nicole Kidman) and Confederate soldier Inman (Jude Law), who deserts the battlefield to return, weary and wounded, to Ada's inherited farm in the rural town of Cold Mountain, North Carolina. In an epic (but dramatically tenuous) case of absence making hearts grow fonder, Inman endures a treacherous hike fraught with danger (and populated by supporting players including Philip Seymour Hoffman, Natalie Portman, and others) while the struggling, inexperienced Ada is aided by the high-spirited Ruby (Renée Zellweger), forming a powerful farming partnership that transforms Ada into a strong, lovelorn survivor. The film's episodic structure slightly weakens its emotional impact, and it's fairly obvious that director Anthony Minghella is striving to repeat the prestigious romanticism of his Oscar®-winning hit The English Patient. For the most part it works, especially in the dynamic performances of Zellweger and Kidman, and the explosive 1864 battle of Petersburg, Virginia, is recreated with violent, percussive intensity. Those who admired Frazier's novel may regret some of the changes made in Minghella's adaptation (the ending is particularly altered), but Cold Mountainremains a high-class example of grand, old-fashioned filmmaking, boosted by star power of the highest order. —Jeff Shannon

Michael Mann Collateraloffers a change of pace for Tom Cruise as a ruthless contract killer, but that's just one of many reasons to recommend this well-crafted thriller. It's from Michael Mann, after all, and the director's stellar track record with crime thrillers (Thief, Manhunter, and especially Heat) guarantees a rich combination of intelligent plotting, well-drawn characters, and escalating tension, beginning here when icy hit-man Vincent (Cruise) recruits cab driver Max (Jamie Foxx) to drive him through a nocturnal tour of Los Angeles, during which he will execute five people in a 10-hour spree. While Stuart Beattie's screenplay deftly combines intimate character study with raw bursts of action (in keeping with Mann's directorial trademark), Foxx does the best work of his career to date (between his excellent performance in Aliand his title-role showcase in Ray), and Cruise is fiercely convincing as an ultra-disciplined sociopath. Jada Pinkett-Smith rises above the limitations of a supporting role, and Mann directs with the confidence of a master, turning L.A. into a third major character (much as it was in the Mann-produced TV series Robbery Homicide Division). Collateralis a bit slow at first, but as it develops subtle themes of elusive dreams and lives on the edge, it shifts into overdrive and races, with breathtaking precision, toward a nail-biting climax. —Jeff Shannon

Arnold schwarzenegger delivers a nail-biting excitement and bold one-man heroics as a los angeles fireman who seeks revenge after his wife and son are killed in a terrorist bombing. Schwarzenegger tracks the man responsible from colombia to washington d.C. In a race to stop him before he strikes again. Studio: Warner Home Video Release Date: 02/08/2005 Starring: Arnold Schwarzenegger John Leguizamo Run time: 109 minutes Rating: R Director: Andrew Davis

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

What is it about director Richard Donner that Mel Gibson enjoys so much that he's appeared in five of Donner's films? Is it the on-set pranks? Could it be the big-budget perks and $20-million paychecks? Or is it just a well-stocked catering table? Whatever the case, the Lethal Weaponstar and director teamed up again, along with fellow superstar Julia Roberts, for this typically glossy, entertaining but ultimately hokey thriller. Gibson plays New York cab driver Jerry Fletcher, whose wacky belief in conspiracies finally hits on a coincidental truth involving an evil figure named Jonas (Patrick Stewart) and a secret program of government-funded mind control. Roberts plays the Justice Department attorney who finally believes in Jerry's paranoid ramblings. With a plot (from LA. Confidentialcowriter Brian Helgeland) that's a lot of fun as long as you don't think about it too critically, Conspiracy Theorybenefits immeasurably from the charisma of its high-magnitude stars. —Jeff Shannon

Robert Zemeckis The opening and closing moments of Robert (Forrest Gump) Zemeckis's Contactastonish viewers with the sort of breathtaking conceptual imagery one hardly ever sees in movies these day—each is an expression of the heroine's lifelong quest (both spiritual and scientific) to explore the meaning of human existence through contact with extraterrestrial life. The movie begins by soaring far out into space, then returns dizzyingly to earth until all the stars in the heavens condense into the sparkle in one little girl's eye. It ends with that same girl as an adult (Jodie Foster)—her search having taken her to places beyond her imagination—turning her gaze inward and seeing the universe in a handful of sand. Contacttraces the journey between those two visual epiphanies. Based on Carl Sagan's novel, Contactis exceptionally thoughtful and provocative for a big-budget Hollywood science fiction picture, with elements that recall everything from 2001to The Right Stuff. Foster's solid performance (and some really incredible alien hardware) keep viewers interested, even when the story skips and meanders, or when the halo around the golden locks of rising-star-of-a-different-kind Matthew McConaughey (as the pure-Hollywood-hokum love interest) reaches Milky Way-level wattage. Ambitious, ambiguous, pretentious, unpredictable—Contactis all of these things and more. Much of it remains open to speculation and interpretation, but whatever conclusions one eventually draws, Contactdeserves recognition as a rare piece of big-budget studio filmmaking on a personal scale. —Jim Emerson

Bruce Beresford The only thing standing between an assassin and his target is a father who must protect his son.

While on a hiking trip to reconnect with his son after the death of his wife, Ray Keene (John Cusack) stumbles into a nightmare scenario of paid assassins and ex-military guns-for-hire. Frank Cardin (Morgan Freeman) is attempting to fulfill a contract to assassinate a high profile businessman when things go arwy and he ends up in the custody of the U.S. Marshalls. After an ill-fated attempt by his compatriots to free him Frank finds himself in the custody of ex-lawman Ray and his son (Jamie Anderson). As the trio tries to make their way back to civilization they are relentlessly pursued by Frank's friends who are intent on freeing their leader in order to collect on the contract. But one pursuer may be more foe than friend.

Kevin Reynolds Revenge rarely gets sweeter than it does in The Count of Monte Cristo, a rousing, impeccably crafted adaptation of Alexandre Dumas père's literary classic. Filmed countless times before, the story is revitalized by director Kevin Reynolds (rallying after Waterworld) and screenwriter Jay Wolpert, who wisely avoid the action-movie anachronisms that plagued 2001's dubious Dumas-inspired The Musketeer. Leading a superior cast, Jim Caviezel (Frequency) expresses a delicate balance of obsession and nobility as Dantes, the wrongly accused Frenchman who endures 13 years of prison and torment, then uses a hidden treasure to finance elaborate vengeance on those who wronged him. Memento's Guy Pearce is equally effective as Dantes's betraying nemesis, and Richard Harris tops his Harry Potterwizardry with a humorous turn as Dantes's fellow prisoner and mentor. Filmed on stunning locations in Ireland and Malta, The Count of Monte Cristoeasily matches Rob Royfor intelligent swashbuckling entertainment. —Jeff Shannon

Edward Zwick A year after a devastating friendly fire incident during the Gulf War, Lt. Colonel Nathaniel Serling (Denzel Washington) is in a Washington, D.C., desk job assigned the rudimentary task of overseeing a Medal of Honor candidate who died in the war. However, the case and soldier in question are a political hot potato—Captain Karen Walden (Meg Ryan) is America's first female soldier to be killed in combat.

Serling soon finds discrepancies in the case of a downed Medevac helicopter in the rocky Kuwait territory. What unfolds in flashback are several versions of Walden's tactics (à la Kurosawa's Rashomon) to rescue the soldiers and survive the downing. As with Glory, Director Edward Zwick's cast of unknown and famous faces always comes off as the real article. Walden's crew is especially convincing. Matt Damon as the medic comes off as the giddy scaredy-cat when telling his story to Washington. In battle he's a flawed, humorous soldier. The most surprising work in the movie is done by Lou Diamond Phillips (as the group's gunman), whose career had been headed to straight-to-video oblivion.

Then there's Ryan. She has done well with dramatic work in the past (When a Man Loves a Woman, Flesh and Bone) but has never been able to escape the romantic-comedy image. With dyed hair, a light accent, and the dramatics of the situation, Ryan finally has an enduring dramatic film. Even though she has half of Washington's screen time, her brave and ultimately haunting performance makes Couragesomething special, right down to its curious but rewarding final scene. —Doug Thomas

Renny Harlin

David McNally (II) As a producer, Jerry Bruckheimer makes movies for guys, mostly action films like Top Gunand Gone in 60 Seconds. The ones he makes that feature women, such as Flashdanceand now Coyote Ugly, broaden their appeal with a fondness for "strong women." For Bruckheimer, that means self-determined, attractive women who don't need men to get what they want. Is there anything sexier than that? In Coyote Ugly, the charming young waif Piper Perabo stars as Violet, a New Jersey waitress who moves to New York to make it big as a songwriter. She has absolutely no idea how the music business works, relying instead on her faith in her own abilities. In order to make ends meet, she gets a job in a bar called Coyote Ugly, where the bartenders are scantily clad women who dance on the bar and order around their mostly male clientele. Really, they are strippers who don't have to take off their clothes. In fact, the owner (Maria Bello) orders them to enact the first rule of strip clubs: "Appear available but never be available." Bruckheimer is smart enough to focus on the naive girl instead of the seamier side of the story, following her as she realizes her dream and picks up a disposable but nice man along the way. Further "empowering" the female figures in the film, Zoe (Tyra Banks), the bartender whom Violet is replacing, leaves in order to go to law school. See? They're as smart as they are sexy! Then there's John Goodman, who turns in an absolutely charming performance as Violet's concerned father. This is a sweet and inoffensive film as long as you don't think too much about it. —Andy Spletzer

Tony Scott You can almost hear the studio pitch meeting echoing throughout Crimson Tidelike the sonar on the soundtrack: "It's The Cain Mutinyon a nuclear submarine!" When radio communications problems aboard the USS Alabamaprevent the sub from receiving its orders clearly during a tense confrontation with Russian warships, Navy officer Denzel Washington faces a huge ethical dilemma: countermand the orders of legendary Captain Ramsey (Gene Hackman) to fire nuclear missiles, or follow his command and risk launching an unprovoked nuclear war. It's really an actors' picture, and the fun is in the fireworks between Washington and Hackman, each of whose characters articulates solid reasoning behind his decision. There are no easy villains, and there's no easy way to tell right from wrong—that—that's what makes the nuclear stakes so terrifying. Director Tony Scott (who directed Quentin Tarantino's True Romancescript) called in Tarantino to punch up the dialogue, which is why, for example, the sailors talk about Silver Surfer comic books. The digital video disc is in anamorphic widescreen; the sonorous underwater rumblings on the Dolby Digital 5.1 soundtrack will provide you with a good opportunity to show off your system's bass response. —Jim Emerson

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

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

Roger Kumble This modern-day teen update of Les Liaisons Dangereusessuffered at the hands of both critics and moviegoers thanks to its sumptuous ad campaign, which hyped the film as an arch, highly sexual, faux-serious drama (not unlike the successful, Oscar-nominated Dangerous Liaisons). In fact, this intermittently successful sudser plays like high comedy for its first two-thirds, as its two evil heroes, rich stepsiblings Kathryn (Sarah Michelle Gellar) and Sebastian (Ryan Phillippe), blithely ruin lives and reputations with hearts as black as coal. Kathryn wants revenge on a boyfriend who dumped her, so she befriends his new intended, the gawky Cecile (Selma Blair), and gets Sebastian to deflower the innocent virgin. The meat of the game, though, lies in Sebastian's seduction of good girl Annette (a down-to-earth Reese Witherspoon), who's written a nationally published essay entitled "Why I Choose to Wait." If he fails, Kathryn gets his precious vintage convertible; if he wins, he gets Kathryn—in the sack. When the movie sticks to the merry ruination of Kathryn and Sebastian's pawns, it's highly enjoyable: Gellar in particular is a two-faced manipulator extraordinaire, and Phillippe, usually a black hole, manages some fun as a hipster Eurotrash stud. Most pleasantly surprising of all is Witherspoon, who puts a remarkably self-assured spin on a character usually considered vulnerable and tortured (see Michelle Pfeiffer in Dangerous Liaisons). Unfortunately, writer-director Roger Kumble undermines everything he's built up with a false ending that's true to neither the reconceived characters nor the original story—revenge is a dish best served cold, not cooked up with unnecessary plot twists. —Mark Englehart

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

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

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

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

Beyond The Da Vinci Code

The Films of Tom Hanks

The Films of Ron Howard

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

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

Mark Steven Johnson Story of matthew murdock who is struck blind by a radioactive isotope. He gains a super radar ability & uses his powers to fight crime in new york. Studio: Tcfhe Release Date: 05/13/2008 Starring: Jennifer Garner Colin Farrell Run time: 103 minutes Rating: R Director: Mark Steven Johnson

Exclusive f.y.e. 2 disc Special Edition Widescreen steelbook.

Ivan Reitman A heartwarming story of mistaken identity and idealism, director Ivan Reitman (Ghostbusters) takes on the political establishment in this fresh, funny comedy. Kevin Kline (Sophie's Choice, A Fish Called Wanda) plays Dave Kovic, a sweet man with a big heart running an employment agency. Dave happens to be a dead ringer for the current president of the United States, and he hires himself out as an impersonator for parties and mall openings. When the real president has a stroke while in bed with an aide, his ambitious chief of staff (Frank Langella) decides to hold onto the White House by appealing to Dave's sense of patriotism and having him pose as the president. Soon, however, Dave is running the country in a way contrary to what the chief of staff would like, even as he finds himself falling in love with the unsuspecting first lady (Sigourney Weaver). The movie's unbridled optimism is its best asset, and it makes this a pleasant comedy worth seeing. —Robert Lane

Roland Emmerich When global warming triggers the onset of a new ice age a tidal wave engulfs ny city tornadoes flatten la & the entire northern hemisphere begins to feeeze solid. Now climatologist jack hall his son & a small band of survivors must ride out the superstorm & face a most powerful enemy - mother nature! Studio: Tcfhe Release Date: 06/12/2007 Starring: Dennis Quaid Emmy Rossum Run time: 123 minutes Rating: Pg13

Researchers ont he undersea lab aquatica have genetically altered the brains of captive sharks to develop a potential cure for alzheimers disease. Theres an unexpected side effect: the critters got smarter and meaner. Studio: Warner Home Video Release Date: 05/31/2005 Starring: Thomas Jane Michael Rapaport Run time: 105 minutes Rating: R Director: Renny Harlin

Tony Scott In his most effective thriller since Enemy of the State, Tony Scott makes time travel seem plausible. It helps that his New Orleans hero, ATF agent Doug Carlin (Denzel Washington in his third go-round with the director), spends more time in the present than the past. In order to catch a terrorist, FBI Agent Pryzwarra (Val Kilmer) invites Carlin to join forces. They have the technology to see the past. He has the expertise to interpret the data. Unfortunately, the bomb has already gone off and hundreds of ferry passengers have died. Then there's the body of a beautiful woman, Claire Kuchever (Paula Patton, Idlewild), that turns up in the vicinity of the blast. Evidence indicates she was killed beforehand. Since the FBI enables him to observe Claire prior to her murder, Carlin gets to know what she was like and finds himself falling in love. He becomes convinced that the only way to solve the case—and prove her innocence—is to travel to the past. But as Pryzwarra's colleague, Denny (Adam Goldberg), argues, "You cannot go back in time. It's physically impossible." Or so he says. Déjà Vuis constructed around a clever script and executed by a top-notch cast, notably Washington, Patton, and an eerie Jim Caviezel (miles away from Passion of the Christ). In shedding the excesses of recent years—the sadism of Man on Fireand weirdness of Tarantino favorite Domino—Scott re-affirms his rep as one of the action movie's finest practitioners. —Kathleen C. Fennessy

Martin Scorsese Martin Scorsese makes a welcome return to the mean streets (of Boston, in this case) with The Departed, hailed by many as Scorsese's best film since Casino. Since this crackling crime thriller is essentially a Scorsese-stamped remake of the acclaimed 2002 Hong Kong thriller Infernal Affairs, the film was intensely scrutinized by devoted critics and cinephiles, and while Scorsese's intense filmmaking and all-star cast deserve ample acclaim, The Departedis also worthy of serious re-assessment, especially with regard to what some attentive viewers described as sloppy craftsmanship (!), notably in terms of mismatched shots and jagged continuity. But no matter where you fall on the Scorsese appreciation scale, there's no denying that The Departedis a signature piece of work from one of America's finest directors, designed for maximum impact with a breathtaking series of twists, turns, and violent surprises. It's an intricate cat-and-mouse game, but this time the cat and mouse are both moles: Colin Sullivan (Matt Damon) is an ambitious cop on the rise, planted in the Boston police force by criminal kingpin Frank Costello (Jack Nicholson). Billy Costigan (Leonardo DiCaprio) is a hot-tempered police cadet who's been artificially disgraced and then planted into Costello's crime operation as a seemingly trustworthy soldier. As the multilayered plot unfolds (courtesy of a scorching adaptation by Kingdom of Heavenscreenwriter William Monahan), Costigan and Sullivan conduct a volatile search for each other (they're essentially looking for "themselves") while simultaneously wooing the psychiatrist (Vera Farmiga) assigned to treat their crime-driven anxieties.

Such convenient coincidences might sink a lesser film, but The Departedis so electrifying that you barely notice the plot-holes. And while Nicholson's profane swagger is too much "Jack" and not enough "Costello," he's still a joy to watch, especially in a film that's additionally energized by memorable (and frequently hilarious) supporting roles for Alec Baldwin, Mark Wahlberg, and a host of other big-name performers. The Departedalso makes clever and plot-dependent use of cell-phones, to the extent that it couldn't exist without them. Powered by Scorsese's trademark use of well-chosen soundtrack songs (from vintage rock to Puccini's operas), The Departedmay not be perfect, but it's one helluva ride for moviegoers, proving popular enough to become the biggest box-office hit of Scorsese's commercially rocky career. —Jeff Shannon

Barbet Schroeder Two powerful stars go head-to-head in this intriguing thriller about a cop who must protect a murderer in order to save his dying son. Scorching suspense and keatons high-octane performance make for a killer combination. Studio: Sony Pictures Home Ent Release Date: 09/20/2005 Starring: Michael Keaton Run time: 100 minutes Rating: R Director: Barbet Schroeder

Phyllis Ferguson James Neihouse Gail Singer Ben Burtt Travel alongside the astronauts as they deploy and repair the Hubble Space Telescope, soar above Venus and Mars, and find proof of new planets and the possibility of other life forming around distant stars.

DVD Features:
Documentary
Theatrical Trailer

David Frankel This clever, funny big-screen adaptation of Lauren Weisberger's best-seller takes some of the snarky bite out of the chick lit book, but smoothes out the characters' boxy edges to make a more satisfying movie. There's no doubt The Devil Wears Pradabelongs to Meryl Streep, who turns in an Oscar-worthy (seriously!) strut as the monster editor-in-chief of Runway,

an elite fashion magazine full of size-0, impossibly well-dressed plebes. This makes new second-assistant Andrea (Anne Hathaway), who's smart but an unacceptable size 6, stick out like a sore thumb. Streep has a ball sending her new slave on any whimsical errand, whether it's finding the seventh (unpublished) Harry Potter book or knowing what type she means when she wants "skirts." Though Andrea thumbs her nose at the shallow world of fashion (she's only doing the job to open doors to a position at The New Yorkersomeday), she finds herself dually disgusted yet seduced by the perks of the fast life. The film sends a basic message: Make work your priority, and you'll be rich and powerful... and lonely. Any other actress would have turned Miranda into a scenery-chewing Cruella, but Streep's underplayed, brilliant comic timing make her a fascinating, unapologetic character. Adding frills to the movie's fun are Stanley Tucci as Streep's second-in-command, Emily Blunt (My Summer of Love) as the overworked first assistant, Simon Baker as a sexy writer, and breathtaking couture designs any reader of Voguewould salivate over. — Ellen A. Kim

Beyond The Devil Wears Prada

The Devil Wears Prada: A Novel

The Devil Wears PradaSoundtrack

Prada Handbags

Stills from The Devil Wears Prada(click for larger image)

Taylor Hackford Too old for Hamlet and too young for Lear—what—what's an ambitious actor to do? Play the Devil, of course. Jack Nicholson did it in The Witches of Eastwick; Robert De Niro did it in Angel Heart(as Louis Cyphre—get it?). In The Devil's AdvocateAl Pacino takes his turn as the great Satan, and clearly relishes his chance to raise hell. He's a New York lawyer, of course, by the name of John Milton, who recruits a hotshot young Florida attorney (Keanu Reeves) to his firm and seduces him with tempting offers of power, sex, and money. Think of the story as a twist on John Grisham's The Firm, with the corporate evil made even more explicit. Reeves is wooden, and therefore doesn't seem to have much of a soul to lose, but he's really just our excuse to meet the devil. Pacino's the main attraction, gleefully showing off his—and the Antichrist's—chops at perpetrating menace and mayhem. The film was directed by Taylor Hackford (Against All Odds, Dolores Claiborne), who provides alternate-track commentary for the movie itself, plus a dozen deleted scenes. Also note: due to a settlement with artist Frederick Hart over the movie's use of a sculpture resembling his Ex Nihiloin Washington's National Cathedral, future releases of the film will be altered. —Jim Emerson

Alan J. Pakula Any movie starring Brad Pitt and Harrison Ford has got to be worth seeing, right? That's as close to a guarantee as this well-meaning thriller ever gets, however, and the talents of Pitt and Ford are absolutely vital in making any sense out of this dramatically muddled scenario. Ostensibly the movie's about an IRA terrorist (Pitt) who escapes from British troops in Belfast and travels to New York City, where he stays in the home of a seasoned cop (Ford) who has no idea of the terrorist's true identity. (Why a veteran cop would host a complete stranger in his home is one of those shaky details you're better off not thinking about.) But while Pitt's passionate character waits to make an arms deal for his IRA compatriots back in Ireland, The Devil's Ownconveniently avoids any detailed understanding of the Northern Ireland conflict, focusing instead on the cop's moral dilemma when he discovers that his young guest is a terrorist. The film is superbly acted, and overall it's quite worthwhile, but don't look to it for an abundance of plot logic or an in-depth understanding of Protestant-Catholic tensions in Northern Ireland. (For that, take a look at In the Name of the Fatheror the underrated historical biopic Michael Collins.) —Jeff Shannon.

Guy Hamilton Sean Connery retired from the 007 franchise after You Only Live Twice(replaced by George Lazenby in the underrated and underperforming On Her Majesty's Secret Service) but was lured back for one last official appearance as James Bond in Diamonds Are Forever. He's in fine form—cool but ruthless—in a sharp precredits sequence hunting the unkillable Blofeld (a suavely menacing Charles Gray in this incarnation), but the MacGuffin of a story (involving diamond smuggling, a superlaser on a satellite, and Blofeld's latest plot to rule the world ) is full of the groaning tongue-in-cheek gags that Roger Moore would make his signature. Goldfingerdirector Guy Hamilton keeps the film zipping along gamely from one entertaining set piece to another, including a terrific car chase in a parking lot, a battle with a pair of bikini-clad killer gymnasts named Bambi and Thumper, and a deadly game with a bizarre pair of fey, sardonic killers who dispatch their victims with elaborate invention. Jill St. John is the brassy but not too bright American smuggler Tiffany Case, and country singer and pork sausage king Jimmy Dean costars as a reclusive billionaire with not-so-subtle parallels to Howard Hughes. Shirley Bassey belts out the memorable theme song, one of the series' best. Connery retired again after this one but he returned once more, for Never Say Never Again15 years later for a rival production company. —Sean Axmaker

Craig R. Baxley

Lee Tamahori The 20th James Bond adventure, Die Another Daysucceeds on three important fronts: it avoids comparison to Austin Powersby keeping its cheesy humor in check, allows Halle Berry to be sexy andworthy of a spinoff franchise, and keeps pace with the technical wizardry that modern action films demand. Pierce Brosnan's got style andstaying power as James Bond, now bearing little resemblance to Ian Fleming's original British super-spy, but able to hold his own at the box office. He's paired with American agent Jinx (Berry) in chasing a genetically altered North Korean villain (Rick Yune) armed with a satellite capable of destroying just about anything. John Cleese and Judi Dench reprise their recurring roles (as "Q" and "M," respectively); they're accompanied by weapons-laden sports cars, a hokey cameo by Madonna (who sings the techno-pulsed theme song), and enough double-entendres to keep Bond-philes adequately shaken and stirred. With clever nods to 007's cinematic legacy, Die Another Daymakes you welcome the familiar end-credits promise: James Bond willreturn. —Jeff Shannon

Chris Thorburn Discover the world, one person at a time...Discovery Atlas! Take an epic adventure with intimate insight into the big, bold and tenacious country of Australia. Step into one of the world's oldest cultures, drive the world's biggest trucks and join a cattle roundup on the world's largest ranch on one of the earth's youngest nations. Spanning over 4 million miles with over 22,000 miles of coastline, Australia is a captivating mix of desolation and riches, from the harsh life of the outback to the welcoming, fertile lands of its coastline. Deeply rooted to the land that offers them so much, Australians are survivors as they've faced some of the driest conditions worldwide. Hear the stories of its spirited people, including Aboriginal performers who trace their ancestry back to the land, a lifesaver who can't imagine an existence without the ocean and a jillaroo who could never be fenced in.

Graham Booth Discover the world, one person at a time...Discovery Atlas! Discover Brazil through the eyes of its people and explore the surrounding beaches, jungles and landscaping mountains that make this land so vibrant. Witness the roles that history, geography, culture, religion and the natural environment have played in shaping one of the most fascinating countries in the world. From a government worker who dreams of performing the samba at Carnaval, to a young man whose life is capoeira, to a river trader whose livelihood depends on the Amazon, and a maid determined to win the biggest amateur soccer tournament in the world, meet some of the individuals who personify the energy and intensity of this tropical South American paradise. Using the latest HD camera technology coupled with movie-caliber cinematography and effects, hear the stories of several Brazilians whose lives sum up the essence of Brazil and epitomize its people's natural habit of "seizing the moment."

Cassian Harrison Discover the world, one person at a time... Discovery Atlas! Get a fresh perspective on China, one of the world's richest cultures, as you hear individual life stories told through the eyes of the locals. Insightful storytelling and spectacular photographic techniques brings to life the fascinating and complex, contemporary world of one of the greatest nations on earth. In one of the few times in its 5,000 year history - the oldest, most populous nation opens its doors to the rest of the world. The economics of Feudalism and Communism are out and Capitalism is in. Old walls are being torn down and a futuristic landscape of glass and steel is shooting up in its place. Leading the construction frenzy is Vincent Lo, China's answer to Donald Trump. Exploring where tradition meets modernity, follow the dreams of a 12-year-old Olympic hopeful, then join rice farmers tilling land their ancestors have worked for 18 centuries. Using the latest generation of hi-definition cameras and effects techniques, see China like you've never seen it before. It's a visual delight, delving deep into the people and places of the oldest civilization on the planet.

Mike Lynch Discover the world, one person at a time...Discovery Atlas! Journey through the heart of the picturesque country of Italy: a land stretching from the snow-capped peaks of the Alps to the sun-baked semi-desert of Sicily. Over the course of one year, follow the lives and loves, trials and tribulations and the hopes and dreams of a group of people who exemplify what it is to be Italian. Spanning the length and breadth of Italy, this film combines stunning location footage of its famous monuments and its hidden jewels. The latest computer graphics will propel you through the Italian landscape, while personal insights unravel the stereotypes and hidden secrets of what makes the nation tick. Combining stunning location footage with the latest computer graphics, this narrative propels viewers on a magic carpet ride through the Italian landscape, while providing personal insights into the lives of real Italians.

Discovery 5 Disk Set. Dinolab T-Rex

D.J. Caruso Dreamworks Disturbia (HD-DVD) 

After his father's accidental death, Kale (Shia LaBeouf) remains withdrawn and troubled. When he lashes out at a well-intentioned but insensitive teacher, he finds himself undera court-ordered house arrest. His mother continues to cope, working extra shifts to support herselfand her son, as she tries in vain to understand the changes in his personality. The walls of his house begin to close in on Kale as he takes chances to extend the boundaries both physical and emotional - of his confinement. His interests turn outside the windows of his suburban home toward those ofhis neighbors, including a mutual attraction to the new girl next door (Sarah Roemer). Together, they begin to suspect that another neighbor is a serial killer. Are their suspicions merely the product of Kale's cabin fever and vivid imagination? Or have they unwittingly stumbled across a crime thatcould cost them their lives?

Callie Khouri Grab your tissues and send the guys away, because Divine Secrets of the Ya-Ya Sisterhoodis the most pedigreed chick flick since Steel Magnolias. You can tell by the title and the novelish names of the Louisiana ladies from Rebecca Wells's precious bestseller. First there's Sidda (Sandra Bullock), a successful playwright still wrestling with her manipulative mother, Vivi (Ellen Burstyn), after a traumatic upbringing. Then there's longtime friends Teensy (Fionnula Flanagan), Necie (Shirley Knight), and Caro (scene-stealer Maggie Smith), from Vivi's secret club of "Ya-Ya Priestesses," together since childhood and determined to heal the rift between Sidda and her mom. Through an ambitious flashback structure (including Ashley Judd as the younger Vivi), screenwriter and first-time director Callie Khouri (who wrote Thelma & Louise) establishes a rich context for this mother-daughter reunion. There's plenty of humor to temper the drama, which inspires Bullock's best work in years. Definitely worth a look for the curious, but only fans of Wells's fiction will feel any twinge of loyalty. —Jeff Shannon

Gary Fleder Adapted from Andrew Klavan's bestselling suspense novel, Don't Say a Wordis a suitable companion to director Gary Fleder's earlier hit Kiss the Girls, with solid performances serving a plot that begins promisingly. The tension starts when the daughter of a topnotch New York psychiatrist (Michael Douglas) is kidnapped by a bitter ex-con (Sean Bean) with an old score to settle. Aided by an unwitting colleague (Oliver Platt), Douglas can save his daughter by extracting crucial information from a traumatized patient (Brittany Murphy), while his bedridden wife (Famke Janssen) and a tenacious detective (Jennifer Esposito) do their part to solve the mystery. Fleder pushes all the routine buttons with effectively somber style, so Don't Say a Wordwill satisfy anyone with a preference for high-anxiety thrillers, even as it grows increasingly conventional; it's entertaining without being particularly original. It's a by-the-book programmer, just right for rainy-day viewing. —Jeff Shannon

Mike Newell Based on a memoir by former undercover cop Joe Pistone (whose daring and unprecedented infiltration of the New York Mob scene earned him a place in the federal witness protection program), Donnie Brascois like a de-romanticized, de-mythologized version of The Godfather. It offers an uncommonly detailed, privileged glimpse inside the world of organized crime from the perspective of the little guys at the bottom of Mafia hierarchy rather than from the kingpins at the top. Donnie Brascois not only one of the great modern-day gangster movies to put in the company of The Godfatherfilms and GoodFellas, but it is also one of the great undercover police movies—arguably surpassing Serpicoand Prince of the Cityin richness of character, detail, and moral complexity. Donnie (Johnny Depp, a splendid actor) is practically adopted by Lefty Ruggiero (Al Pacino), a gregarious, low-level "made" man who grows to love his young protégé like a son. (Pacino really sinks into this guy's skin and polyester slacks, and creates his freshest, most fully realized character since his 1970s heyday.) As Donnie acclimates himself to Lefty's world, he distances himself from his wife (a terrific Anne Heche) and family for their own protection. Almost imperceptibly his sense of identity slips away from him. Questioning his own confused loyalties, unable to trust anybody else because he himself is an imposter, Donnie loses his way in a murky and treacherous no-man's land. The film is directed by Mike Newell, who also headed up Four Weddings and a Funeraland the gritty, true crime melodrama Dance with a Stranger. —Jim Emerson

Betty Thomas There's something intrinsically funny about tactlessly truth-telling talking animals. And there are plenty of those—and laughs to go with them—in this 1998 reimagining of Hugh Lofting's children's story. Murphy plays the doctor in question, a modern-day San Francisco physician who discovers that he can understand what animals have to say. Director Betty Thomas makes the most of an amazing voice cast for the animals, led by Norm McDonald and including everyone from Garry Shandling to Julie Kavner to Albert Brooks. The story itself is pretty slim—will the conscientious doctor sign his soul away to a greedy HMO?—but Murphy makes the most of it, often providing priceless reactions to animal voices only he can hear. —Marshall Fine

Steve Carr (III) It's only a marginal improvement, but Dr. Dolittle 2defies the odds by rising above its popular 1998 predecessor (and once again, let's not confuse these movies with the earlier Rex Harrison musical). Eddie Murphy cakewalks through his title role with the confident professionalism of a comedian who knows when to share the spotlight—especially when he's being upstaged by a bunch of animals who steal all the punch lines. And once again the movie's aimed at a preteen audience, so many of those punch lines involve flatulence, bodily functions, and frequent use of the word butt.

The difference this time: Dr. Dolittle has settled into his talk-to-the-animals routine; his 16-year-old daughter (Raven-Symone) is getting to be a feisty handful (it turns out she's coping with a hereditary gift); and his lawyer wife (Kristen Wilson) is representing him in a trial against corporate villains who want to clear-cut a local forest. Naturally, the local critter mafia (their Don is a beaver... fugeddaboutit!) want Dolittle to fight for their cause, and this involves the successful mating of an endangered bear and a domesticated circus bear who's forgotten all the bear necessities of life in the wild. The bears are voiced by Lisa Kudrow and Steve Zahn, and they almost steal the show, but the whole menagerie (with digitally animated "talking") is equally amusing. Adults might wish that the filmmakers had tried harder to make a truly memorable sequel, but this is a movie for kids, and they're going to love it without quibbling. —Jeff Shannon

Terence Young Released in 1962, this first James Bond movie remains one of the best, and serves as an entertaining reminder that the Bond series began (in keeping with Ian Fleming's novels) with a surprising lack of gadgetry and big-budget fireworks. Sean Connery was just 32 years old when he won the role of Agent 007. In his first adventure James Bond is called to Jamaica where a colleague and secretary have been mysteriously killed. With an American CIA agent (Jack Lord, pre-Hawaii Five-O), they discover that the nefarious Dr. No (Joseph Wiseman) is scheming to blackmail the U.S. government with a device capable of deflecting and destroying U.S. rockets launched from Cape Canaveral. Of course, Bond takes time off from his exploits to enjoy the company of a few gorgeous women, including the bikini-clad Ursula Andress. She gloriously kicks off the long-standing tradition of Bond women who know how to please their favorite secret agent. A sexist anachronism? Maybe, but this is Bond at his purest, kicking off a series of movies that shows no sign of slowing down. —Jeff Shannon

Ben Washam With the talents of Chuck Jones, Boris Karloff, and Dr. Seuss combined, there was almost no way this could be anything but an instant classic. Watched regularly every holiday season and beloved by children and cynical adults alike, this animated gem is ju

Discovery

Graeme Ferguson The best of the initial series of "made in space" IMAX films, The Dream Is Aliveis a wonderful introduction to space travel for young and old alike. The national shuttle program was only four years old when this 35-minute documentary was released in 1985, and the film emphasizes the differences between the shuttle and conventional rockets. The opening shot of a shuttle returning to the Earth like a plane is an unmistakable difference. We follow two flight crews through training, rehearsals, and (mostly) the flight. The crystal-clear images of Earth do not have the same impact that they do in a large-format IMAX theater, but they are still a wonder to behold, especially with the effective narration by Walter Cronkite—for many the voice of America's heyday in space. Director Graeme Ferguson keeps the film streamlined and never preachy (unlike the companion film, Blue Planet). With a big assist from Star Warssound designer Ben Burtt, The Dream Is Alivebuilds excitement through footage that includes three electrifying launches. The film was released a year before the Challengerdisaster, and played in rotation after the accident as an emotional pull to return to the heavens. On that note, the film delivers the message that despite the risks, our future is in space. (For ages 5 and older.) —Doug Thomas

Bill Condon The spirit of Motown runs through the long-awaited film adaption of the Broadway musical Dreamgirls, which centers around a young female singing trio who burst upon the music scene in the '60s, complete with bouffant hairdos, glitzy gowns, and a soul sound new to the white-bread American music charts. Sound familiar? You aren't the first one to draw comparisons to the meteoric rise of the Supremes, and despite any protests to the contrary, this is most definitely a thinly veiled reinterpretation of that success story. The Dreamettes—statuesque Deena (Beyonce Knowles), daffy Lorell (Anika Noni Rose) and brassy Effie (Jennifer Hudson)—are a girl group making the talent-show rounds when they're discovered by car salesman and aspiring music manager Curtis Taylor Jr. (Jamie Foxx). Sensing greatness (as well as a new marketing opportunity) Curtis signs the Dreamettes as backup singers for R&B star James "Thunder" Early (Eddie Murphy). But when Early's mercurial ways and singing style don't mesh with primarily white audiences, Curtis moves the newly-renamed Dreams to center stage—with Deena as lead singer in place of Effie. And that's not the only arena in which Effie is replaced, as Curtis abandons their love affair for a relationship with star-in-the-making Deena.

Besides the Supremes comparison, one can't talk about Dreamgirlsnow without revisiting its notorious Oscar snub; though it received eight nominations, the most for any film from 2006, it was shut out of the Best Picture and Director races entirely. Was the oversight justified? While Dreamgirlsis certainly a handsomely mounted, lovingly executed and often vibrant film adaptation, it inspires more respect than passion, only getting under your skin during the musical numbers, which become more sporadic as the film goes on. Writer-director Bill Condon is definitely focused on recreating the Motown milieu (down to uncanny photographs of Knowles in full Diana Ross mode), he often forgets to flesh out his characters, who even on the Broadway stage were underwritten and relied on powerhouse performances to sell them to audiences. (Stage fans will also note that numerous songs are either truncated or dropped entirely from the film.) Condon has assembled a game cast, as Knowles does a canny riff on the essence of Diana Ross' glamour (as opposed to an all-out impersonation) and Rose makes a peripheral character surprisingly vibrant; only Foxx, who never gets to pour on the charisma, is miscast. Still, there are two things even the most cranky viewers will warm to in Dreamgirls: the performances of veteran Eddie Murphy and newcomer Jennifer Hudson. Murphy is all sly charm and dazzling energy as the devilish Early, who's part James Brown, part Little Richard, and all showman. And Hudson, an American Idolcontestant who didn't even make the top three, makes an impressive debut as the larger-than-life Effie, whose voice matches her passions and stubbornness. Though she sometimes may seem too young for the role, Hudson nails the movie's signature song, "And I Am Telling You I'm Not Going," with a breathtaking power that must be seen and heard to believe. And for those five minutes, if not more, you will be in Dreamgirls' thrall. —Mark Englehart

Beyond Dreamgirls

Other Musicals on DVD

More Motown on DVD

The Soundtrack

Stills from Dreamgirls(click for larger image)

Bill Condon The spirit of Motown runs through the long-awaited film adaption of the Broadway musical Dreamgirls, which centers around a young female singing trio who burst upon the music scene in the '60s, complete with bouffant hairdos, glitzy gowns, and a soul sound new to the white-bread American music charts. Sound familiar? You aren't the first one to draw comparisons to the meteoric rise of the Supremes, and despite any protests to the contrary, this is most definitely a thinly veiled reinterpretation of that success story. The Dreamettes—statuesque Deena (Beyonce Knowles), daffy Lorell (Anika Noni Rose) and brassy Effie (Jennifer Hudson)—are a girl group making the talent-show rounds when they're discovered by car salesman and aspiring music manager Curtis Taylor Jr. (Jamie Foxx). Sensing greatness (as well as a new marketing opportunity) Curtis signs the Dreamettes as backup singers for R&B star James "Thunder" Early (Eddie Murphy). But when Early's mercurial ways and singing style don't mesh with primarily white audiences, Curtis moves the newly-renamed Dreams to center stage—with Deena as lead singer in place of Effie. And that's not the only arena in which Effie is replaced, as Curtis abandons their love affair for a relationship with star-in-the-making Deena.

Besides the Supremes comparison, one can't talk about Dreamgirls now without revisiting its notorious Oscar snub; though it received eight nominations, the most for any film from 2006, it was shut out of the Best Picture and Director races entirely. Was the oversight justified? While Dreamgirls is certainly a handsomely mounted, lovingly executed and often vibrant film adaptation, it inspires more respect than passion, only getting under your skin during the musical numbers, which become more sporadic as the film goes on. Writer-director Bill Condon is definitely focused on recreating the Motown milieu (down to uncanny photographs of Knowles in full Diana Ross mode), he often forgets to flesh out his characters, who even on the Broadway stage were underwritten and relied on powerhouse performances to sell them to audiences. (Stage fans will also note that numerous songs are either truncated or dropped entirely from the film.) Condon has assembled a game cast, as Knowles does a canny riff on the essence of Diana Ross' glamour (as opposed to an all-out impersonation) and Rose makes a peripheral character surprisingly vibrant; only Foxx, who never gets to pour on the charisma, is miscast. Still, there are two things even the most cranky viewers will warm to in Dreamgirls: the performances of veteran Eddie Murphy and newcomer Jennifer Hudson. Murphy is all sly charm and dazzling energy as the devilish Early, who's part James Brown, part Little Richard, and all showman. And Hudson, an American Idol contestant who didn't even make the top three, makes an impressive debut as the larger-than-life Effie, whose voice matches her passions and stubbornness. Though she sometimes may seem too young for the role, Hudson nails the movie's signature song, "And I Am Telling You I'm Not Going," with a breathtaking power that must be seen and heard to believe. And for those five minutes, if not more, you will be in Dreamgirls' thrall. —Mark Englehart

On the DVD
The two-disc edition of Dreamgirls includes videos, documentaries and other behind-the-scenes features. Diehard fans will love the almost two-hour "Building the Dream" documentary, which goes into loving detail about how the film got to be made. But it's the shorter segments that really capture the viewer's attention. The two auditions included in the set are a contrast in style. Pop singer Beyonce Knowles sells herself in full hair, makeup and costume; that she is a tad pitchy at times is almost beside the point. Tony Award winner Anika Noni Rose's audition is a tour de force; singing strong and with conviction and passion, Rose is fully in character regardless of the fact that she isn't dressed for the role. Oddly enough, the audition tape of Jennifer Hudson, who won an Academy Award for her breakthrough role as Effie, is nowhere to be seen. Sure, we all know what a powerhouse she is today. But it would've been nice to see what the filmmakers saw in her back then, when her competition included her American Idol castmate (and that season's winner) Fantasia Barrino. Hudson's performance of "Effie, Sing My Song"—which was not seen in the theatrical release—is included in this set, as are 12 extended musical numbers. Another nice touch is the inclusion of a dance rehearsal choreographed by Fatima Robinson (who has worked with the Backstreet Boys, Mary J. Blige, and Michael Jackson). Watching the rudimentary piece (with stand-ins subbing for the stars) come together gives the viewer appreciation for the intricate work that goes into each 3-minute musical number in the 130-minute film. Also included are a sequence of enhanced storyboards, a look at how the film's editor went about editing the picture, and a look at how the costumes played a part in the film. —Jae-Ha Kim

Beyond Dreamgirls
Other Musicals on DVD
More Motown on DVD
The Soundtrack

Stills from Dreamgirls (click for larger image)

Rodney Amateau Remember way back to January 26, 1979? Well, maybe you had to reset the odometer a few times since then or were just a gleam in your daddy's eye, so here's a reminder: Catch the fun and watch Boss Hog get hotter than bacon in a skillet when Bo and Luke turn his illegal slot machines into a jackpot for charity! One Armed Bandits: Dukes Of Hazzard Pilot Episode! DVD Exclusive: Sneak Peek at the First Ever Dukes Of Hazzard Feature Film.

Carroll Ballard This African tale follow the rhythms of director Carroll Ballard's earlier films The Black Stallionand Fly Away Home, namely a child is drawn into the mysteries and magic of an animal. Xan (newcomer Alexander Michaletos) is a 12-year-old living in South Africa with his parents (Campbell Scott and Hope Davis, who appeared as a much different couple three years earlier in The Secret Life of Dentists) when they find an abandoned baby cheetah. They bring it up as their own and name it the Swahili word for cheetah, Duma. After some time, the creature is too big to stay domesticated and Dad tells the boy they will have to journey back to Duma's home to set him free. A sickness makes the family pull up stakes and head to the city where Xan and Duma don't fare well. Xan must take Duma on his own to set him free. To tell more would be a crime. As with any Ballard film, the story is subtext, the visuals rule. First-time cinematographer Werner Maritz fills the screen with the desert landscape and is able to capture the magnificent speed of the cheetah. Ballard's films seem to build on their own inertia, creating scenes that seem to be simply happening instead of scripted, although this often suffers in the balance of wonderment versus all-too-lucky occurrences. Based on the children's picture book/memoir How It Was with Doomsby Xan and Carol Cawthra Hopcraft, this is a film worth seeking out, especially for families and kids above 5 years old. —Doug Thomas

Steven Spielberg's 1982 hit about a stranded alien and his loving relationship with a fatherless boy (Henry Thomas) struck a chord with audiences everywhere, and it furthered Spielberg's reputation as a director of equally strong commercial sensibilities and classical leanings. Henry Thomas gives a strong, emotional performance as E.T.'s young friend, Robert MacNaughton and Drew Barrymore make a solid impression as his siblings, and Dee Wallace is lively as the kids' mother. The special effects almost look a bit quaint now with all the computer advancements that have occurred since, but they also have more heart behind them than a lot of what we see today. —Tom Keogh

D.J. Caruso Studio: Paramount Home Video Release Date: 12/26/2008

A new tomb is found in Egypt's Valley of the Kings, with 28 jars and 7 coffins. What lies sealed inside the jars? Are there mummies in the coffins? And, if so, are they tied to King Tut's tomb?

Ever since Howard Carter's discovery of Tutankhamun's tomb in 1922, experts have suggested that the Valley of the Kings has no more secrets to reveal. But now, 84 years later, Dr. Otto Schaden has uncovered a new tomb - KV63 ("King's Valley tomb 63") - just over 50 feet from the burial place of Tutankhamun, KV62. Could it be a royal tomb? A mummification workshop? Or a cache of royal mummies hidden in an unmarked grave? In this ground-breaking documentary, the Discovery Channel has gained exclusive access to the tomb and the team of archaeologists working on its contents. For the very first time on television, viewers can witness the excavation of a new tomb in the Valley of the Kings as it happens. This one-hour special will follow archaeologist Ken Nystrom as he journeys to Egypt to follow the excavation and reveal the secrets of the ancient tomb. It is a discovery that could change our understanding of one of the most important periods in ancient Egyptian history.

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

Michael Hoffman Comparisons to Dead Poets Societyare inevitable, but The Emperor's Clubachieves a rich identity all its own. In the honorable tradition of great teacher dramas like Goodbye, Mr. Chips, Kevin Kline is well cast as Mr. Hundert, longtime teacher of classics and assistant headmaster of St. Benedict's Academy for Boys. There he encounters a defiant student and senator's son (Emile Hirsch) who desperately needs—but ultimately rejects—Hundert—Hundert's lessons on leadership, integrity, and the shaping of character. Adapted from Ethan Canin's short story "The Palace Thief," the film is conventional to a fault, its flashback structure unfolding in Hollywood shorthand. But its noble sentiments remain potently intact, allowing Kline a performance of great emotional nuance while imparting lessons of universal value. "This is a story with no surprises," as Hundert says, but The Emperor's Clubmay surprise you with its admirable portrait of a life well lived. —Jeff Shannon

Tony Scott Robert Clayton Dean (Will Smith) is a lawyer with a wife and family whose happily normal life is turned upside down after a chance meeting with a college buddy (Jason Lee) at a lingerie shop. Unbeknownst to the lawyer, he's just been burdened with a videotape of a congressman's assassination. Hot on the tail of this tape is a ruthless group of National Security Agents commanded by a belligerently ambitious fed named Reynolds (Jon Voight). Using surveillance from satellites, bugs, and other sophisticated snooping devices, the NSA infiltrates every facet of Dean's existence, tracing each physical and digital footprint he leaves. Driven by acute paranoia, Dean enlists the help of a clandestine former NSA operative named Brill (Gene Hackman), and Enemy of the Statekicks into high-intensity hyperdrive.

Teaming up once again with producer Jerry Bruckheimer, Top Gundirector Tony Scott demonstrates his glossy style with clever cinematography and breakneck pacing. Will Smith proves that there's more to his success than a brash sense of humor, giving a versatile performance that plausibly illustrates a man cracking under the strain of paranoid turmoil. Hackman steals the show by essentially reprising his role from The Conversation—just imagine his memorable character Harry Caul some 20 years later. Most of all, the film's depiction of high-tech surveillance is highly convincing and dramatically compelling, making this a cautionary tale with more substance than you'd normally expect from a Scott-Bruckheimer action extravaganza. —Jeremy Storey

Jon Amiel Studio: Tcfhe Release Date: 12/26/2006 Run time: 130 minutes Rating: Pg

Much will be made of Julia Roberts's wardrobe in Erin Brockovich—a brash parade of daring hemlines and Wonderbra confidence. Roberts is unabashedly sexy in the title role of this fact-based comedy-drama, but she and director Steven Soderbergh are far too intelligent to rely solely on high heels and cleavage. Susannah Grant's brassy screenplay fuels this winning combination of star, director, and material, firing on all pistons with maximum efficiency. With Ed Lachman, his noted cinematographer from The Limey, Soderbergh tackles this A-list project with the fervor of an independent, combining a no-frills look with kinetic panache and the same brisk editorial style he used in the justly celebrated Out of Sight.

Broke and desperate, the twice-divorced single mom Erin bosses her way into a clerical job with attorney Ed Masry (Albert Finney), who's indebted to Erin after failing to win her traffic-injury case. Erin is soon focused on suspicious connections between a mighty power company, its abuse of toxic chromium, and the poisoned water supply of Hinkley, California, where locals have suffered a legacy of death and disease. Matching the dramatic potency of Norma Raeand Silkwood, Erin Brockovichfilters cold facts through warm humanity, especially in Erin's rapport with dying victims and her relationship with George (superbly played by Aaron Eckhart), a Harley-riding neighbor who offers more devotion than Erin's ever known. Surely some of these details have been embellished for dramatic effect, but the factual basis of Erin Brockovichadds a boost of satisfaction, proving that greed, neglect, and corporate arrogance are no match against a passionate crusader. (Trivia note: The real Erin Brockovich appears briefly as a diner waitress.) —Jeff Shannon

In the future, crime is out of control and New York City is a maximum security prison. Grabbing a bargaining chip right out of the air, convicts bring down the President's plane in bad old Gotham. Gruff Snake Plissken, a one-eyed warrior new to prison life, is coerced into bringing the President, and his cargo, out of this land of undesirables. Kurt Russell put his Disney days behind him as the nicest bad guy in the picture. All comic-book sensibilities and macho posturing, this is one of writer-director John Carpenter's better brainless escapes. There are snappy one-liners and explosive action scenes. However, the film lacks tension and some believability even within the realm of SF fantasy. Even when it fails to gel, though, it always manages to amuse, thanks in great part to a varied and unusual supporting cast (watch for Ernest Borgnine as a cabdriver). Followed in 1996 by Carpenter's overdone and campy Escape from L.A. —Rochelle O'Gorman

Tom Shadyac Steve Carell rides the wave of 40-Year-Old Virginstardom (and a biblical flood) in this bizarre, effects-heavy comedy about a modern-day Noah's ark. The film is nominally a sequel to Bruce Almighty, although it bears little relation to the 2003 Jim Carrey hit—except for the divine intervention of Morgan Freeman, who returns in his role as God. Even Carell's character is much altered from his supporting part in the first film; here, Evan Baxter says goodbye to the news-anchoring business in favor of his job as a naive freshman congressman. When God orders him to build an ark and prepare for an impending inundation, Evan sheepishly takes on the task (it's hard to turn down the job when your hair and beard grow to Old Testament lengths and God wants you to walk around in sackcloth).

Carell gets to do silly dances and mix it up with a variety of animals (real and computer-generated), all of which reminds us of the film's family-friendly tone and the PG rating. The kid stuff works just fine, although the religio-environmental message-mongering makes this a most curious kind of Hollywood blockbuster. When the flood comes, the film shifts into a mammoth-sized CGI extravaganza, recalling the era of overstuffed techno-comedies such as 1941and Howard the Duck(and not to be nit-picky, but the tsunami-like disaster that overtakes Washington, D.C., looks as though it would snuff out the lives of quite a few citizens). Capable comic support comes from John Michael Higgins, Wanda Sykes, and Jonah Hill, with John Goodman and Lauren Graham filling out stock roles of fatcat politico and loyal wife, respectively. Carell is even better at being sincere than being funny, a talent that comes in handy here and bodes well for his future versatility. —Robert Horton

David Breashears Stephen Judson Greg MacGillivray Filmed in the IMAX format, this film had the luck (or lack thereof) to be shot during the same fateful and fatal climb of Mount Everest chronicled in Jon Krakauer's book, Into Thin Air, in which a group of rich hobby climbers found themselves trapped by a blizzard near the summit. The IMAX film contains footage of those people, but focuses on its own group, as they make their assault on the top of the world's highest peak. Some startling footage of the mountain and the approaches—and, as in Krakauer's book, the depiction of what is involved in this kind of adventure (particularly the pain and suffering)—makes you wonder exactly where the fun is. But documentary film is about showing you something you're not likely to see otherwise, and this movie certainly fills the bill. —Marshall Fine

Alan Parker After more than a decade of false starts and several potential directors, the popular Andrew Lloyd Webber/Tim Rice musical finally made it to the big screen with Alan Parker (The Commitments) at the helm and Madonna in the coveted title role of Argentina's first lady, Eva Perón. A triumph of production design, costuming, cinematography, and epic-scale pageantry, the film follows the rise of Eva Perón to the level of supreme social and political celebrity in the 1940s. Like Madonna, Perón was a material girl (she was only 33 when she died); she was instrumental in the political success of her husband, Juan Perón (Jonathan Pryce). But Eva was also a supremely tragic figure whose life was essentially hollow at its core despite the lavish benefits of her nearly goddess-like status. The film has a similar quality—it—it's visually astonishing but emotionally distant, and benefits greatly from the singing commentary of Ché (Antonia Banderas), who serves as a passionate chorus to guide the viewer through the elaborate parade of history. —Jeff Shannon

Ivan Reitman Based on the evidence in Evolution, one thing is perfectly clear: special effects have evolved, but director Ivan Reitman has reverted to primitive pandering. Equally obvious is the fact that Evolutionis a de facto rip-off of Reitman's 1984 classic Ghostbusters, but this time there's no Bill Murray to deliver the best punch lines (we have to settle for fellow ghostbuster Dan Aykroyd in a broad supporting role), and the comedy has devolved into a grossfest including deep-rectal extraction of alien insects, fire-hose enemas into a giant alien sphincter, and a full-moon display of David Duchovny's naked posterior. Whereas Ghostbusterswas a shrewd, irreverent mainstream comedy that combined gooey spectral ectoplasm with something resembling genuine wit, Evolutionis a crude, juvenile romp in which all things slimy are elevated to comedic supremacy.

Granted, that's not always a bad thing. As latter-day ghostbuster equivalents, Duchovny, Orlando Jones, and Seann William Scott make a fine comedic trio, and Julianne Moore is equally amusing as a clumsy scientist and Duchovny's obligatory love interest. Despite the meddling of clueless military buffoons, they join forces to eradicate a wild variety of rapidly evolving alien creatures that arrived on Earth via meteor impact, and the extraterrestrial beasties (courtesy of effects wizard Phil Tippet and crew) are outrageously designed and marvelously convincing. For anyone who prefers lowbrow humor, Evolutionwill prove as entertaining as Ghostbusters(or at least Galaxy Quest), while others may lament Reitman's shameless embrace of crudeness. One thing's for certain: after seeing this movie, you'll gain a whole new appreciation for Head & Shoulders shampoo. —Jeff Shannon

Extreme Engineering unveils some of the most ambitious architectural plans of our times. Some are theoretical; others are in the works. But all of these modern marvels pose challenges that stretch the definition of what's possible. Watch as jaw-dropping computer animation and first-hand accounts from builders, designers and engineers breathe life into the most extreme construction projects ever conceived. The clock is ticking in Venice, Italy as designers and engineers battle the elements to keep the canal-laden city from becoming the next Atlantis. The enormous undertaking calls for 79 steel floodgates each bigger than a football field and weighing over 300 tons to close off the encroaching Adriatic Sea at the three inlets to the Venice lagoon during times of high tide. But before the gates can go in, massive barrier walls must be built. It's a Herculean challenge, to be sure. But just as Venice's founders once defended the city from foreign invaders, these modern-day Venetians hope to erect colossal defensive walls to fend off the marauding sea. The question is can they be built before the water finally wins this centuries old struggle?

Extreme Engineering unveils some of the most ambitious architectural plans of our times. Some are theoretical; others are in the works. But each of these modern marvels poses challenges that stretch the definition of what's possible. Watch as jaw-dropping computer animation and first-hand accounts from builders, designers and engineers breathe life into the most extreme construction projects ever conceived. The cutting edge of technological infrastructure, the Gotthard Base Tunnel is set to become the world's longest rail tunnel, creating a flat rail link for future travel through the Alps. Trains will be able to race at speeds exceeding 250 km/h, and passengers will be able to travel the length and breadth of the mighty Alps with ease. But, such a project doesn't come without risks. With temperatures plummeting to sub-zero levels during harsh winters, boring the tunnel has become a slow, uncomfortable task for drilling teams. And with the arrival of spring, thawing ice creates floods that further hinder the project. Moreover, the unexpectedly high levels of quartz dust pose a serious health risk to the workers. Join engineers as they battle a tight schedule, cruel conditions and the whims of mother nature to complete what will ultimately be one of the longest-running, most impressive construction projects ever.

Studio: First Look Home Entertain Release Date: 09/04/2007 Run time: 92 minutes Rating: R

John Woo At his best, director John Woo turns action movies into ballets of blood and bullets grounded in character drama. Face/Offmarks Woo's first American film to reach the pitched level of his best Hong Kong work (Hard-Boiled). He takes a patently absurd premise—hero and villain exchange identities by literally swapping faces in science-fiction plastic surgery—and creates a double-barreled revenge film driven by the split psyches of its newly redefined characters. FBI agent Sean Archer (John Travolta) must play the villain to move through the underworld while psychotic terrorist Castor Troy (Nicolas Cage) becomes a perversely paternal family man while using every tool at his disposal to destroy his nemesis. Travolta vamps Cage's tics and flamboyant excess with the grace of a dancer after his transformation from cop to criminal, while Cage plays the sullen, bottled-up agent excruciatingly trapped behind the face of the man who killed his son. His attempts to live up to the terrorist's reputation become cathartic explosions of violence that both thrill and terrify him. This is merely icing on the cake for action fans, the dramatic backbone for some of the most visceral action thrills ever. Woo fills the screen with one show-stopping set piece after another, bringing a poetic grace to the action freakout with sweeping camerawork and sophisticated editing. This marriage of melodrama and mayhem ups the ante from cops-and-robbers clichés to a conflict of near-mythic levels. —Sean Axmaker

Robert Rodriguez Okay, you knew everyone in high school was just a little different: everyone looked at you strangely, the teachers were freaky, and you never could find the right groove to fit into. What if it turned out that it was all because your school was inhabited by creepy aliens from outer space? That's the enjoyably cheesy B-premise for this fun and scary flick from the pen of Scream's Kevin Williamson, the master of the post-modern teen horror film. Directed by Robert Rodriguez (El Mariachi), it's The Breakfast Clubmeets Invasion of the Body Snatchers, as six disparate students from Herrington High School band together when they discover that an alien life form is invading both the student and faculty bodies, with plans to take over the world.

Each of the heroes represents a different high school type: popular babe (Jordana Brewster), picked-on geek (Elijah Wood), goth girl (Clea DuVall), sensitive jock (Shawn Hatosy), new kid in town (Laura Harris), and bad-boy rebel (Josh Hartnett). The plot isn't much—a basic kill-or-be-killed premise spiked with a healthy shot of paranoia—but Willliamson and Rodriguez do a great job of building the tension slowly but surely. The suspense set pieces are genuinely frightening, and the film pokes fun at itself without deflating its scares; Williamson is a master at shifting gears from comedy to horror quickly and adroitly. The young cast doesn't have a weak link among them (with special kudos to Wood, DuVall and heartthrob-in-the-making Hartnett), and Rodriguez gets maximum mileage from the titular faculty, which includes Jon Stewart, Piper Laurie, Salma Hayek, Bebe Neuwirth, and Robert Patrick of Terminator 2. Go to the head of the class, Mr. Williamson. —Mark Englehart

Gregory Hoblit Although it received mixed reactions from critics and audiences alike when released in 1998, this supernatural thriller benefits from a sustained atmosphere of anticipation and dread, and its combination of detective mystery and demonic mischief is handled with ample style and intelligence. Under the direction of Gregory Hoblit (who fared better with Primal Fear), Denzel Washington plays detective John Hobbes, who witnesses the gas-chamber execution of a serial killer (Elias Koteas). But when another series of murders begins, Hobbes suspects that the killer's evil spirit has survived and is possessing the bodies of others to do its evil bidding. Even Hobbes's trusted partner (John Goodman) thinks the detective is losing his grip on reality, but the dire warnings of a noted linguist (Embeth Davidtz) confirm Hobbes's far-out theory, and his case intensifies toward a fateful showdown. Although its idea is better than its execution, and the story's film noirambitions are never fully accomplished, this slickly directed thriller has some genuinely effective moments in which evil forces are entwined into the fabric of everyday reality. Among the highlights is a memorable scene in which Detective Hobbes must track the killer as the evil spirit is transferred between many people via physical contact. Even if the film is ultimately less than the sum of its parts, it's an intriguing hybrid that resides in the same cinematic neighborhood as Sevenand The Silence of the Lambswith a cast that also includes Donald Sutherland and James Gandolfini. Included on the DVD is a full-length audio commentary by director Hoblit, screenwriter Nicholas Kazan, and producer Charles Roven. —Jeff Shannon

Tim Story Marvel Comics' first family of superherodom, the Fantastic Four, hits the big screen in a light-hearted and funny adventure. It begins when down-on-his-luck genius Reed Richards (Ioan Gruffudd, Horatio Hornblower) has to enlist the financial and intellectual help from former schoolmate and rival Victor Von Doom (Julian McMahon, Nip/Tuck) in order to pursue outer-space research into human DNA. Also on the trip are Reed's best friend, Ben Grimm (Michael Chiklis, The Shield); his former lover, Sue Storm (Jessica Alba, Dark Angel, Sin City), who's now Doom's employee and love interest; and her hotshot-pilot brother, Johnny Storm (Chris Evans, Cellular). Things don't go as planned, of course, and the quartet becomes blessed—or is it cursed?—with superhuman powers: flexibility, brute strength, invisibility and projecting force fields, and bursting into flame. Meanwhile, Doom himself is undergoing a transformation.

Among the many entries in the comic-book-movie frenzy, Fantastic Four is refreshing because it doesn't take itself too seriously. Characterization isn't too deep, and the action is a bit sparse until the final reel (like most "first" superhero movies, it has to go through the "how did we get these powers and what we will do with them" churn). But it's a good-looking cast, and original comic-book cocreator Stan Lee makes his most significant Marvel-movie cameo yet, in a speaking role as the FF's steadfast postal carrier, Willie Lumpkin. Newcomers to superhero movies might find the idea of a family with flexibility, strength, invisibility, and force fields a retread of The Incredibles, but Pixar's animated film was very much a tribute to the FF and other heroes of the last 40 years. The irony is that while Fantastic Four is an enjoyable B-grade movie, it's the tribute, The Incredibles, that turned out to be a film for the ages. —David Horiuchi

On the DVD
The principal extra on the DVD is a spirited commentary track by Jessica Alba, Michael Chiklis, and Ioan Gruffud. Self-avowed FF fan Chiklis explains why the Thing doesn't have a craggy brow, Alba recalls which things were "cool," and they talk about looking forward to the sequel. There are three short deleted scenes (including a goofy Wolverine reference), 20 minutes of barely watchable hand-held video footage from the press tour, music videos, and some short featurettes including an appearance by FF creator Stan Lee. —David Horiuchi

The Fantastic Four at Amazon.com
Comics and Graphic Novels
Disney animated series
The classic comic book
Movie tie-in graphic novel
The Xbox game
Fantastic Four Soundtrack

The Fantastic Cast

Jessica Alba as Sue Storm
Michael Chiklis as The Thing
Ioan Gruffudd as Reed Richards
Chris Evans as Johnny Storm

Stills from Fantastic Four (click for larger images)

Andrew Prowse Smart-talking American astronaut John Crichton (Ben Browder) is flung through a wormhole and comes out in the midst of an interstellar prison escape on the other side of the universe. Bad luck for Crichton: the galactic cops (called "peacekeepers") mark him as the new public enemy number 1. This 20th-century boy is forced to ally himself with the colorful convicts: D'Argo, a hulking warrior with a fleshy Rastafarian mane; Zhaan, a blue-skinned priest of indeterminate age (played by Road Warrioralumnus Virginia Hey); fugitive peacekeeper Aeryn (Pitch Black's Claudia Black); Rygel, a greedy and troll-like exiled king; and Pilot, the giant insect-like nerve center of their living ship, Moya. It's an impressive-looking made-for-cable series, with imaginative production design and mix of state-of-the-art digital effects and sophisticated puppetry (or rather Muppetry, courtesy of co-creator Brian Henson), but it's the sharp writing and vivid characters that have built—and kept—the show's following.

Premiereintroduces each character and the basic premise, a sci-fi Fugitiveby way of Voyagerin a world far from the Federation-friendly universe of Star Trek. Crichton's welcome is anything but warm, and the cultural and philosophical differences of the fleeing outlaws, as well as their pure self-interest, clash under the constant threat of capture. In I, E.T., a hidden homing signal forces Moya to hide in a terrestrial bog while the crew tries to disarm the device (which has been fused to the ship's nervous system), and Crichton makes first contact with the planet's pre-space flight inhabitants. "Spielberg was all wrong," he remarks while dodging military patrols and soothing the fears of a sky-watching scientist. Well-timed to fill the void left by Babylon 5, this is the promising start of a fresh sci-fi franchise. —Sean Axmaker

Walker, Paul A guilty pleasure with excess horsepower, The Fast and the Furiousefficiently combines time-honored male fantasies (hot cars, hot women, hot action) into a vacuous plot of crystalline purity. It's trash, but it's funtrash, in which a hotshot Los Angeles cop named Brian (Paul Walker) infiltrates a gang of street racers suspected of fencing stolen goods from hijacked trucks. The gang leader is Dom (Vin Diesel), ex-con and reigning king of the street racers, who lives for those 10 seconds of freedom when his high-performance "rice rocket" (a highly modified Asian import) hurtles toward another quarter-mile victory. Racing is street theater for a lawless youth subculture, and Dom is a star behind the wheel—charismatic, dangerous, and protective toward his sister Mia (Jordana Brewster), who's attracted to Brian as the newest member of Dom's car-crazy team.

Director Rob Cohen treats this like Roman tragedy for MTV junkies, pushing every scene to adrenaline-pumping extremes; when his camera isn't caressing a spectrum of nitrous oxide-enhanced dream machines, it's ogling countless slim 'n' sexy race babes. The undercover-cop scenario cheaply borrows the split-loyalty theme perfected in Donnie Brasco; a rival Asian gang adds mystery and menace; and digital trickery is cleverly employed to explore the fuel-injected innards of the day-glo racecars. It's about as substantial as a perfume ad, but just as alluring, and for heavy-metal maniacs of any age, Diesel's superblown '69 Charger proves that Detroit muscle never goes out of style. —Jeff Shannon

Justin Lin Universal The Fast and the Furious: Tokyo Drift - HD-DVD/DVD Combo
From the makers of The Fast and the Furious and 2 Fast 2 Furious comes the highest-octane installment of the hit movie franchise built for speed! When convicted street racer Sean Boswell (Lucas Black) tries to start a new life on the other side of the world, his obsession with racing sets him on a collision course with the Japanese underworld. To survive, he will have to master driftinga new style of racing where tricked-out cars slidethrough hairpin turns, defying gravity and death for the ultimate road rush. With more mind-blowingstunts and heart-pounding racing sequences than ever, The Fast and the Furious: Tokyo Drift puts you in the drivers seat. "Strap yourself in for a blistering, super-charged ride."— Pete Hammond, MAXIM

William Malone Fear Dot Comis a total-dot-mess, but it's a stylishly graphic frightfest that horror buffs will probably appreciate. As he did with his 1999 remake of House on Haunted Hill, director William Malone favors trippy atmosphere at the expense of acting, character development, and plot. Belatedly jumping on the Internet-thriller bandwagon, the film follows a brooding detective (Stephen Dorff) and a public health inspector (Natascha McElhone) as they investigate the deadly influence of the titular Web site, which channels the innermost fears of its visitors until they die of fright 48 hours later. Why 48 hours? Don't ask; Josephine Coyle's screenplay is as incoherent as Malone's grasp of narrative momentum, leaving Dorff and McElhone with little to do but look frightened and doomed. But Fear Dot Comhas its moments, especially after mad doctor Stephen Rea's gruesome villainy is fully revealed, and the proceedings take on the monochrome pallor of silent German expressionism. Too bad these fantastic visuals weren't servicing a better movie. —Jeff Shannon

Bobby Farrelly Peter Farrelly The Farrelly brothers continue their good-natured winning streak with Fever Pitch, a romantic comedy charmed by fate and last-minute improvisation. The movie was originally written with a bittersweet ending, but something unexpected happened (kismet, or perhaps divine intervention?) when the Boston Red Sox scored miraculous victories in the 2004 playoffs and World Series, and Drew Barrymore and Jimmy Fallon were there, in character, to celebrate love and baseball as a pair of amiable lovers who learn to share their lives while accommodating Fallon's life-long passion for the Red Sox. You really have to love baseball to forgive the formulaic romance by veteran Hollywood screenwriters Lowell Ganz and Babaloo Mandel (who also wrote A League of Their Own, and could write this stuff in their sleep), but the codirecting Farrellys make it work, along with the easygoing chemistry of Barrymore and Fallon. The movie bears little resemblance to Nick Hornby's source novel (which was more faithfully adapted as a 1997 British comedy starring Colin Firth), but anyone who enjoyed High Fidelityor About a Boywill recognize Hornby's keen understanding of men and women, and the hazards we all endure when playing the game of love. —Jeff Shannon

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

David Fincher 2-Disc set is loaded with Extra Punch!

Bonus FeaturesFour audio commentaries by the cast and crew, including David Fincher, Brad Pitt, Edward Norton and Helena Bonham Carter.Five deleted scenes and outtakes.Original sketches, oil paintings, storyboards, publicity stills and lobby cards.17 behind-the-scenes vignettes.Anamorphic widescreen formatLanguages:English 5.1 surround; English and French Dolby SurroundAnd much more!

System Requirements:
Starring: Brad Pitt, Edward Norton, Helena Bonham Carter, Meat Loaf, Jared Leto, Van Quattro, Markus Redmond, Michael Girardin, and Rachel Singer. Directed By: David Fincher. Running Time: 139 Min., Color. This film is presented in "Widescreen" format. Copyright 2000 Twentieth Century Fox.

Format: DVD MOVIE

Jonathan Lynn The Fighting Temptationsmay not cure the common cold with its FFF (Familiar Feel-Good Formula), but it'll definitely cure what ails you. Here's an unassuming, well-cast comedy drama, filled with forgiving spirit and jubilant gospel music, and its lessons go down as smooth as a mint julep in summertime. Mostly it's just good, harmless fun, beginning when a deceptive corporate ladder-climber (Cuba Gooding Jr.) returns from Manhattan to his southern-fried Georgia hometown to attend the funeral of a beloved aunt, whose will stipulates a reward of $150,000 if he'll direct the local church choir to win a big annual gospel music contest. The outcome is obvious, but veteran comedy director Jonathan Lynn keeps things percolating with casual flair, especially when a lovely lounge singer (Beyoncé Knowles, in a nicely downplayed costarring role) agrees to rejuvenate Gooding's choir, which teams rapping convicts, a boozy barfly (on organ), and bible-thumping prudes. With musical appearances by the O'Jays and the Blind Boys of Alabama, among others, how could this be anything but delightful? —Jeff Shannon

Final Destination 2begins with a well-orchestrated multicar pileup on a freeway—a horrifying accident that turns out to be a premonition, as seen by a young woman (A.J. Cook) who saves herself and several other people by blocking a freeway on-ramp. Thus, as in the first Final Destination, a prescient vision disrupts the destined plans of death, and death goes to extreme lengths to correct matters. What makes Final Destination 2entertaining is that the characters can only survive by learning to recognize the signs of impending doom—and the signs are basically the cinematic foreshadowing that moviemakers use to invoke suspense. This, combined with some elaborately complicated and gruesome deaths, fosters a ghoulish humor that's more entertaining than the smirky self-referentiality of Scream. Final Destination 2doesn't aspire to be a great movie, but trash has its pleasures. Also featuring Ali Larter as the only survivor of the first movie. —Bret Fetzer

James Wong (IV) Julie Ng Fasten your seatbelts and brace yourself for the "2-Disc Thrill Ride Edition" of Final Destination 3! It's the DVD that takes you on a ride BEYOND terror where YOU control your limit of fear!! 

Running Time: 93 min.

Format: DVD MOVIE

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

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

Stanton, Andrew A delightful undersea world unfolds in Pixar's animated adventure Finding Nemo. When his son Nemo is captured by a scuba-diver, a nervous-nellie clownfish named Marlin (voiced by Albert Brooks) sets off into the vast—and astonishingly detailed—ocean to find him. Along the way he hooks up with a scatterbrained blue tang fish named Dory (Ellen DeGeneres), who's both helpful and a hindrance, sometimes at the same time. Faced with sharks, deep-sea anglers, fields of poisonous jellyfish, sea turtles, pelicans, and much more, Marlin rises above his neuroses in this wonderfully funny and nonstop thrill ride—rarely does more than 10 minutes pass without a sequence destined to become a theme park attraction. Pixar continues its run of impeccable artistic and economic success (their movies include Toy Story, A Bug's Life, Toy Story 2, and Monsters, Inc). Also featuring the voices of Willem Dafoe, Geoffrey Rush, and Allison Janney. —Bret Fetzer

Harris Done

Sydney Pollack By far the best adaptation of a John Grisham bestseller, this smart, fast-paced 1993 film—directed by Sydney Pollack (Out of Africa)—offers up the dilemma of a young lawyer whose life is turned upside down when he takes a job at a Southern law firm owned by the mob. Mitch McDeere (Tom Cruise), having just graduated from Harvard Law, is besieged with offers but takes a job, too good to be true, with a small Memphis firm. He and his wife, Abby (Jeanne Tripplehorn), are sucked in by the seemingly close-knit, collegial nature of the firm's partners and the expensive perks that come with the job. His mentor, Avery (Gene Hackman), teaches him the ropes, but Mitch and Abby begin to sense there's something wrong with this idyllic life. When a couple of associates turn up dead, Mitch begins to investigate the history of the firm; and when the FBI asks him to spy on the firm for them, Mitch realizes his life will never be the same and that, if discovered, he, his wife, and his long-lost brother will be in mortal danger. Mitch must use all his talents as a lawyer to outsmart the firm, the FBI, and the mob in order to reclaim control over his life. A very entertaining thriller that engages the audience at a breakneck pace while not taking itself too seriously. It also features some fine writing and strong performances from a large cast of exceptional actors. —Robert Lane

Gilbert M. Shilton William A. Fraker Aaron Lipstadt James A. Contner Danny Bilson One of the more exciting and atmospheric TV adaptations of a popular comic book series, The Flashbenefited from terrific special effects, but lasted only a single year on its network in 1990. The series stuck to the Scarlet Speedster's origins: police scientist Barry Allen (John Wesley Shipp) is struck by lightning during an experiment, and chemicals splashed on him during the accident give him the ability to move at incredible speeds (note: hardcore comic fans know that this is the origin for the '60s version of the Flash, not his WWII-era identity). The series partnered him with an attractive fellow scientist (Amanda Pays) who assists Barry in his crime-fighting pursuits. Where the show deviated from its source material was its choice of combatants for the Flash—episodes focused on decidedly human villains, like corrupt officials ("Watching the Detectives") and mobsters (Michael Nader played ex-cop turned hood Nicholas Pike in two episodes, including the pilot), and didn't pull in the comic's excellent "rogues' gallery" until the end of the season, when the Trickster (Mark Hamill, who appears in two episodes), Captain Cold (Michael Champion), Mirror Master (David Cassidy!), and a sort-of Reverse-Flash (in the episode "Twin Streaks") made appearances. Sadly, these appearances were too little, too late for the series, which struggled with a high per-episode price tag and a fluctuating time slot (as well as frequent breaking coverage of the Gulf War). But for the Flashfaithful, the six-disc set compiles its entire 21-episode run, including the 90-minute pilot. Unfortunately, no extras are included. —Paul Gaita

Robert Schwentke Karen Inwood Somers Like a lot of stylishly persuasive thrillers, Flightplanis more fun to watch than it is to think about. There's much to admire in this hermetically sealed mystery, in which a propulsion engineer and grieving widow (Jodie Foster) takes her 6-year-old daughter (and a coffin containing her husband's body) on a transatlantic flight aboard a brand-new jumbo jet she helped design, and faces a mother's worst nightmare when her daughter (Marlene Lawston) goes missing. But how can that be? Is she delusional? Are the flight crew, the captain (Sean Bean) and a seemingly sympathetic sky marshal (Peter Sarsgaard) playing out some kind of conspiratorial abduction? In making his first English-language feature, German director Robert Schwentke milks the mother's dilemma for all it's worth, and Foster's intense yet subtly nuanced performance (which builds on a fair amount of post-9/11 paranoia) encompasses all the shifting emotions required to grab and hold your attention. Alas, this upgraded riff on Hitchcock's The Lady Vanishes(not to mention Otto Preminger's Bunny Lake is Missing) is ultimately too preposterous to hold itself together. Flightplangives us a dazzling tour of the jumbo jet's high-tech innards, and its suspense is intelligently maintained all the way through to a cathartic conclusion, but the plot-heavy mechanics break down under scrutiny. Your best bet is to fasten your seatbelt and enjoy the thrills on a purely emotional level — a strategy that worked equally well with Panic Room, Foster's previous thriller about a mother and daughter in peril. —Jeff Shannon

Tony Bill World War I aviation action gets an impressive digital upgrade in Flyboys, a welcome addition to the "dogfight" sub-genre that includes such previous war-in-the-air films like Hell's Angels, Wings, and The Blue Max. While those earlier films had the advantage of real and genuinely dangerous flight scenes (resulting, in some cases, in fatal accidents during production), Flyboystakes full (and safe) advantage of the digital revolution, with intensely photo-realistic recreations of WWI aircraft, authentic period structures, and CGI environments requiring a total of 850 digital effects shots, resulting in an abundance of amazing images, many of them virtually indistinguishable from reality. Unfortunately, the film's technical achievement is more impressive than its screenplay, which conventionally and predictably tells the fact-based story, set in France in 1916, of the daring young pilots of the Lafayette Escadrille, a pioneering French air-combat unit that welcomed American enlistees prior to the United States' entry into the war.

There's a familiar cliché to match every thrilling scene of aerial combat, but director Tony Bill manages to keep it all interesting, from the romance between a young American maverick (James Franco) and a pretty French girl (newcomer Jennifer Decker) to the exciting action in the air, which includes a stock variety of heroes (many of them composites of real-life WWI pilots) and an intimidating villain known only as "The Black Falcon," whose Fokker Dr-1 triplane (one of many in the film) recalls the exploits of German "ace of aces" Manfred von Richtofen, the dreaded "Red Baron" of legend. With impeccable production values that will impress even the most nit-picking aviation buffs, Flyboys(like Superman Returnsand Apocalypto, also released in 2006) was also one of the first feature films to be shot with Panavision's state-of-the-art Genesis digital cameras, resulting in beautiful images that meet or exceed the visual nuance of film. Flyboysalso benefits from painstaking attention to physical detail, making it easier to forgive its shortcomings as a generic and formulaic slice of romanticized history. So while some viewers may have wished for a more realistic and grown-up depiction of the Lafayette Escadrille, it's safe to say that Flyboyswill be thrilling its target audience for many years to come. —Jeff Shannon

Extras from Flyboys

Director Tony Bill on Filming Dogfight Sequences

...On throwing away the script for pilot training

...On the real-life stunt pilot who stars in the film

Beyond Flyboys

More "War in the Sky" Films

SPA124 Lafayette Escadrille: American Volunteer Airmen in World War 1

More "Military and War" Films

Stills from Flyboys

A new clue to the whereabouts of a lost treasure rekindles a married couples sense of adventure — and their estranged romance. Studio: Warner Home Video Release Date: 08/19/2008 Starring: Matthew Mcconaughey Donald Sutherland Rating: Pg13

John Glen (II) After a ship sunk off the coast of Albania, the world's superpowers begin a feverish search for its valuable lost cargo: the powerful ATAC system, which will give its bearer unlimited control over Polaris nuclear submarines. As Bond joins the search, he suspects the suave Kristatos (Julian Glover) of seizing the device. The competition between nations grows more deadly by the moment, but Bond finds an ally in the beautiful Melina Havelock (Caroline Bouquet), who blames Kristatos for the death of her parents. The non-stop action includes automobile chases, thrilling underwater battles, and even a breathtaking tour over razor-sharp coral reefs. But all of this is merely a prelude to 007's cliffhanging assault of a magnificent mountaintop fortress. — Robert Lynch

Steve Miner A surprise sleeper hit when released in 1992, this romantic fantasy works as a comedic adventure and a gentle tearjerker thanks to Mel Gibson's appealing performance. He plays Daniel, a daring test pilot who is deeply distraught by the apparent death of his girlfriend, Helen, in 1939. Feeling little reason to live, he volunteers for a pioneering cryogenics experiment and is thawed out 50 years later by two young boys. They bring the confused pilot home to Nat's single mom, Claire (Jamie Lee Curtis). There's a hint of romance, but Daniel desperately needs to know if Helen really died in 1939, and he discovers that love has a way of surviving a half-century leap in time. The premise is hokey and certain plot details are conveniently ignored, but Gibson, Curtis, and Elijah Wood (as Nat) hold it together with irresistible charm and just the right balance of fantasy and drama. —Jeff Shannon

Gregory Hoblit Anthony Hopkins plays a brilliant, pathologically serene killer outwitting the good guys at every turn and taking a shine to a twentysomething law enforcer who can't conceal a rural accent and rugged origins. Could it be...? No, not The Silence of the Lambs, but an original mystery, Fracture, which plays a little like Lambsas an episode of Columbo, minus Columbo. Which means the film tells us from the get-go that Hopkins' character, a wealthy engineer, shoots his philandering wife (Embeth Davidtz) and leaves her in a vegetative state. From there, it should be a simple matter for young, assistant District Attorney Willy Beachum (Ryan Gosling) to nail Crawford, who provides a full confession and even eschews counsel. That's good for Beachum, a slick winner with a vague background of deprivation, rapidly on his way out of public service after attracting the attention of a deep-pocket, private firm. What he doesn't know, however, is that Crawford has masterminded more than vengeance against his wife, and that the state's case against him is full of pre-arranged holes and a huge time-bomb that will send Beachum scrambling to keep the pieces together.

The story, conceived and co-scripted by Daniel Pyne (Doc Hollywood), goes down easily with a minimum of blood and violence, and should easily appeal to mystery buffs as well as old fans of Hopkins and new admirers of Oscar nominee Gosling (Half Nelson). The latter holds his own in multiple, two-character scenes with the masterful portrayer of Hannibal Lecter, pacing Beachum's reactions to Crawford's polite provocations so everything spills onto his youthful face: torn loyalties, confusion, gullibility. Director Gregory Hoblit (Hart's War), still best-known for decades of distinguished television work (NYPD Blue), brings the necessary intimacy to make the stars' chemistry work effectively. His noirish atmosphere is a little over the top, sometimes pushing the audience to a level of expectation that the film isn't really ready to deliver, but this, overall, is an enjoyable work. —Tom Keogh

Josh Pate Peter Berg Mark Piznarski Based on the perennial nonfiction bestseller by H.G. Bissinger, Friday Night Lightslooks at high school football in the harsh light of reality, finding heart and hardness while stirring our emotions. Actor-director Peter Berg (Very Bad Things, The Rundown) is Bissinger's cousin; he knows the material well, and understands how an obsession with winning turns high school kids into somber, over-pressured gladiators—expendable soldiers in a community war against shame and obscurity. The fact-based story focuses on the 1988 football season of Odessa-Permian high school in West Texas, and as a fast-paced sports movie, Berg delivers the goods with a rousing, frenetically styled crowd-pleaser. But there's darkness in this tale of weary underdogs, including an abusive father (well-played by country music star Tim McGraw), threatening townsfolk, an injured star running back (Derek Luke), a tormented quarterback (Lucas Black), and the melancholy coach (Billy Bob Thornton) who takes his team to the finals. Berg's film could use less flashy cutting and more drama to support its gridiron intensity, but Friday Night Lightsoffers a refreshing alternative to the conventional sports movie, and makes a perfect triple-feature with the equally exciting documentaries Go Tigers!and The Last Game. —Jeff Shannon

Universal The Frighteners (HD-DVD) (Widescreen, Director's Cut)
In the sleepy little town of Fairwater, a monstrous evil has awakened...an evil so powerful, its reach extends beyond the grave. Director PeterJackson and Executive Producer Robert Zemeckis unleash a riveting thriller with the most spectacular special effects this side of the hereafter. For Frank Bannister (Michael J. Fox), death is a greatway to make a living: ridding haunted houses of their "unwelcome" guests." But he's in cahoots withthe very ghosts he promises to evict! It's the perfect scam...until Frank finds himself at the center of a dark mystery. A diabolical spirit is on a murderous rampage, and the whole town believes Frank is behind it. Boasting music by Danny Elfman and co-starring Trini Alvarado, Jeffrey Combs and John Astin, this supernatural chiller is so fiendishly entertaining, it's scary!

Directed with consummate skill by Terence Young, the second James Bond spy thriller is considered by many fans to be the best of them all. Certainly Sean Connery was never better as the dashing Agent 007, whose latest mission takes him to Istanbul to retrieve a top-secret Russian decoding machine. His efforts are thwarted when he gets romantically distracted by a sexy Russian double agent (Daniela Bianchi), and is tracked by a lovely assassin (Lotte Lenya) with switchblade shoes, and by a crazed killer (Robert Shaw), who clashes with Bond during the film's dazzling climax aboard the Orient Express. From Russia with Loveis classic James Bond, before the gadgets, pyrotechnics, and Roger Moore steered the movies away from the more realistic tone of the books by Ian Fleming. —Jeff Shannon

Jules Bass Arthur Rankin Jr. Bill Melendez Evert Brown Jimmy Durante narrates this Christmas story that is based on the song of the same name. To make up for the fact that her students are in school on Christmas Eve, the local schoolteacher hires the magician Professor Hinkle to entertain the kids. Unfortunately, he's not a very good magician. Frustrated in his attempt to pull a rabbit out of his hat, he throws it away in anger. Outside, the kids build a snowman (what to call it? Harold? Oatmeal? Frosty!), and when the hat blows onto it, the snowman comes to life. Professor Hinkle decides he wants the hat back so he can make money off of its newfound magical properties, but the kids want to save Frosty. When the temperature starts to rise, a new problem threatens Frosty's existence. Karen, the leader of the children, comes up with a plan to save him: take him on a train to the North Pole, where it's always cold. With a cameo by Santa Claus and the promise of Frosty's return every year, this story of life, death, and holiday cheer is glazed with the sweet frosting of hope and happiness. A true holiday classic. —Andy Spletzer

Andrew Davis Do you know anyone who hasn't seen this movie? A box-office smash when released in 1993, this spectacular update of the popular 1960s TV series stars Harrison Ford as a surgeon wrongly accused of the murder of his wife. He escapes from a prison transport bus (in one of the most spectacular stunt-action sequences ever filmed) and embarks on a frantic quest for the true killer's identity, while a tenacious U.S. marshal (Tommy Lee Jones, in an Oscar-winning role) remains hot on his trail. Director Andrew Davis hit the big time with this expert display of polished style and escalating suspense, but it's the antagonistic chemistry between Jones and Ford that keeps this thriller cooking to the very end. In roles that seem custom-fit to their screen personas, the two stars maintain a sharply human focus to the grand-scale manhunt, and the intelligent screenplay never resorts to convenient escapes or narrative shortcuts. Equally effective as a thriller and a character study, this is a Hollywood blockbuster that truly deserves its ongoing popularity. —Jeff Shannon

Al Giddings David Clark (III) A marine biologist from the Smithsonian Institution's National Museum of Natural History leads this astonishing expedition to the Galapagos islands, a world that is still relatively new and evolving. Descending to depths of 3,000 feet, the scientists find a window into the past and a frontier for exploration.

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For four years the courageous crews of the nsea protector set off on thrilling and oftern dangerous missions in space and then their series was canceled. Now twenty years later aliens in jeopardy have mistaken the galaxy quest television transmission for historical documents and beamed up the crew of has beens. Studio: Paramount Home Video Release Date: 12/26/2005 Starring: Tim Allen Alan Rickman Run time: 103 minutes Rating: Pg Director: Dean Parisot

Andrew Niccol Confidently conceived and brilliantly executed, Gattacahad a somewhat low profile release in 1997, but audiences and critics hailed the film's originality. It's since been recognized as one of the most intelligent science fiction films of the 1990s. Writer-director Andrew Niccol, the talented New Zealander who also wrote the acclaimed Jim Carrey vehicle The Truman Show, depicts a near-future society in which one's personal and professional destiny is determined by one's genes. In this society, "Valids" (genetically engineered) qualify for positions at prestigious corporations, such as Gattaca, which grooms its most qualified employees for space exploration. "In-Valids" (naturally born), such as the film's protagonist, Vincent (Ethan Hawke), are deemed genetically flawed and subsequently fated to low-level occupations in a genetically caste society. With the help of a disabled "Valid" (Jude Law), Vincent subverts his society's social and biological barriers to pursue his dream of space travel; any random mistake—and an ongoing murder investigation at Gattaca—could reveal his plot. Part thriller, part futuristic drama and cautionary tale, Gattacaestablishes its social structure so convincingly that the entire scenario is chillingly believable. With Uma Thurman as the woman who loves Vincent and identifies with his struggle, Gattacais both stylish and smart, while Jude Law's performance lends the film a note of tragic and heartfelt humanity. —Jeff Shannon

Dan Aykroyd and Harold Ramis wrote the script, but Bill Murray gets all the best lines and moments in this 1984 comedy directed by Ivan Reitman (Meatballs). The three comics, plus Ernie Hudson, play the New York City-based team that provides supernatural pest control, and Sigourney Weaver is the love interest possessed by an ancient demon. Reitman and company are full of original ideas about hobgoblins—who knew they could "slime" people with green plasma goo?—but hovering above the plot is Murray's patented ironic view of all the action. Still a lot of fun, and an obvious model for sci-fi comedies such as Men in Black. —Tom Keogh

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

Doug Liman Katie holmes scott wolf jay mohr taye diggs and sarah polley take a wild romp on the wicked side of fun in this edgy and thrilling comedy. Special features: full screen and widescreen versions subtitles: english director and editor commentary talent files three music videos deleted scenes and much more. Studio: Sony Pictures Home Ent Release Date: 08/31/2004 Run time: 102 minutes Rating: R

Roland Emmerich As "gigantic monster reptile attacks New York" movies go, you've got to admit that Godzilladelivers the goods, although its critical drubbing and box-office disappointment were arguably deserved. It's a shameless, uninspired crowd pleaser that's content to serve up familiar action with the advantage of really fantastic special effects, and if you expect nothing more you'll be one among millions of satisfied customers. There's really no other way to approach it—you just have to accept the fact that Independence Daycreators Roland Emmerich and Dean Devlin are unapologetic plagiarists, incapable of anything more than mindless spectacle that can play in any cinema in the world without dubbing or subtitles. The whole movie plays out like a series of highlights stolen from previous blockbusters of the 1990s; it's little more than a rehash of the Jurassic Parkmovies. The derivative script is so trivial that it's unworthy of comment, apart from a few choice laughs and the casting of Michael Lerner as New York's mayor, whose name is Ebert and who closely resembles a certain well-known movie critic. Perhaps that's a clever hint that this movie's essentially critic-proof. It's stupid but it's fun, and for most audiences that's a fitting definition of mainstream Hollywood entertainment. The widescreen Special Edition DVD includes a wealth of bonus materials—audio commentary by the film's special effects supervisors, a "making of" featurette, the Wallflowers' music video "Heroes," a photo gallery, and a variety of features related to this and all the classic Godzillafilms from Japan. —Jeff Shannon

Launched during the neon-lit 1980s, The Golden Girlsshed light on a side of Miami ignored by Miami Vice. In other words, no drugs, no murder—just four women of "a certain age," spending their golden years in the sun. Like the theme, "Thank You for Being a Friend," the long-running sitcom was about friendship (not crime). As for the "girls," they were tart-tongued Dorothy (Beatrice Arthur), former farm girl Rose (Betty White), Southern belle Blanche (Rue McClanahan), and Dorothy's salty Sicilian mother Sophia (Estelle Getty). All were widows, with the exception of the divorced Dorothy. Created by Emmy-winning producer Susan Harris (Soap), The Golden Girlsre-ignited the careers of 1970s TV veterans Arthur (All in the Family, Maude) and White (The Mary Tyler Moore Show). At the same time, it made stars of McClanahan (who co-starred on Maude), by playing a comic version of A Streetcar Named Desire's Blanche Dubois, and the scene-stealing Getty, made to look older than her actual age (she and Arthur were born the same year).

Notable guests to lend their talents to the first season include Star Trek: Voyager's Robert Picardo ("The Operation"), Alice's Polly Holliday ("Blind Ambitions"), and WKRP in Cincinnati's Gordon Jump ("Big Daddy"). In addition, Harold Gould (Rhoda), who appears in "Rose the Prude," would return as a (different) recurring character five years later.

The Golden Girlsran for seven seasons and spawned spin-off The Golden Palace(without Arthur) and a British version called The Brighton Belles. By the end of its run in 1992, it had garnered numerous awards, including two Emmys for best comedy series. In addition, each of the four actresses received a well-deserved Emmy for her efforts. —Kathleen C. Fennessy

As the saying goes, "If it ain't broke, don't fix it," and the second season of The Golden Girlspicks up where the first ended. The same classic quartet—Blanche, Rose, Dorothy, and Sophia—is back, along with their snappy retorts, shoulder pads, and cheesecake. Well, there was one change. In the season premiere, "End of the Curse," Blanche (Rue McClanahan) goes through menopause.

Highlights of the 26 episodes include "Ladies of the Evening," featuring a cameo from Burt Reynolds, just a few years prior to his own network sitcom, Evening Shade. As Blanche exclaims, "Mr. Burt Reynolds is one of our finest living actors...I mean, you put Sir Laurence Olivier in Cannonball Run—see what he can do." Then there's "Isn't It Romantic?" with Lois Nettleton (In the Heat of the Night) as Dorothy's lesbian friend, Jean, who falls for an unsuspecting Rose (Betty White). As was often the case, a sensitive subject is handled with taste and humor and resulted in an Emmy nomination for Nettleton's performance.

Further highlights include a white-wigged Nancy Walker (The Mary Tyler Moore Show, Rhoda) as Sophia's long-lost sister, Angela, in "The Sisters" and "Long Day's Journey Into Marinara," and a pompadoured George Clooney (ER) in "To Catch a Neighbor." The final episode of The Golden Girlssecond season, "Empty Nest," features David Leisure and Oscar winner-Rita Moreno (West Side Story) and sets the scene for creator Susan Harris's 1988 spin-off, Empty Nest(although only Leisure would segue to the new show, while Soap's Richard Mulligan would take over for Moreno). —Kathleen C. Fennessy

The 18th James Bond adventure was a runaway box-office success when released in 1995, thanks to the arrival of Pierce Brosnan as the fifth actor (following the departure of Timothy Dalton) to play the suave, danger-loving Agent 007. This James Bond is a bit more vulnerable and psychologically complex—and just a shade more politically correct—but he's still a formally attired playboy at heart, with a lovely Russian beauty (Izabella Scorupco) as his sexy ally against a cadre of renegade Russians bent on—what else?—global domination. There's also a seductive villainous with the suggestive name of Xenia Onatopp (Famke Janssen), and the great actress Judi Dench makes her first appearance as Bond's superior, M, who wisecracks about 007's "dinosaur" status as a globetrotting sexist. All in all, this action-packed Bond adventure provided a much-needed boost the long-running movie series, revitalizing the 007 franchise for the turn of the millennium. —Jeff Shannon

Guy Hamilton Dry as ice, dripping with deadpan witticisms, only Sean Connery's Bond would dare disparage the Beatles, that other 1964 phenomenon. No one but Connery can believably seduce women so effortlessly, kill with almost as much ease, and then pull another bottle of Dom Perignon '53 out of the fridge. Goldfingercontains many of the most memorable scenes in the Bond series: gorgeous Shirley Eaton (as Jill Masterson) coated in gold paint by evil Auric Goldfinger and deposited in Bond's bed; silent Oddjob, flipping a razor-sharp derby like a Frisbee to sever heads; our hero spread-eagle on a table while a laser beam moves threateningly toward his crotch. Honor Blackman's Pussy Galore is the prototype for the series' rash of man-hating supermodels. And Desmond Llewelyn reprises his role as Q, giving Bond what is still his most impressive car, a snazzy little number that fires off smoke screens, punctures the tires of vehicles on the chase, and boasts a handy ejector seat. Goldfinger's two climaxes, inside Fort Knox and aboard a private plane, have to be seen to be believed. —Raphael Shargel

Dominic Sena TouchStone Gone In 60 Seconds 2000 - DVD

Gone in Sixty Seconds is about automobile aficionado Randall "Memphis" Raines, a car thief of legendary proportion. No fancy lock or alarm could stop him; your car would be there, and then suddenly gone in 60 seconds.For years, Memphis eluded the law while boosting every make and model imaginable. When the heat became too intense, he abandoned his life of crime and left everything and everyone he loved to find a different life. Now, when his kid brother tries tofollow in his footsteps, only to become dangerously embroiled in a high stakes caper, Memphis is sucked back into his old ways-in order to save his brother's life.

Miguel Arteta Studio: Tcfhe Release Date: 04/15/2008

A complicated movie about the Central Intelligence Agency and its agents, The Good Shepherdisn't your typical spy movie. Though it stars Matt Damon (The Bourne Identityfilms) and Angelina Jolie (Mr. & Mrs. Smith, Lara Croftfranchise)—actors with considerable experience in the action-espionage genre—The Good Shepherdrequires that they play more subdued and (much less interesting) characters here. The movie focuses on the career or Edward Wilson (Damon), a privileged Yale graduate who goes on to help found the CIA. He is a quiet, serious, and guarded man, even in the most intimate moments with his civilian wife (Jolie, in a role that wastes her talent). Set against a backdrop of real-life events such as the Bay of Pigs, The Good Shepherdis meticulous in creating a realistic timeframe. The film gets a jolt of excitement when Robert DeNiro (in his first directing role since 1993's A Bronx Tale) peppers the screen with appearances by Joe Pesci, Alec Baldwin, and William Hurt. But those moments are too infrequent. At 157 minutes long, the film is crammed with many factual details, but the characters are shortchanged when it comes to development. Viewers have to wonder why anyone, much less someone like Wilson who has everything going for him, would devote his life to a thankless job that brings so little happiness to himself and his family. The Good Shepherdis an ambitious but flawed film. The actors do a formidable job with a well-intentioned but meandering script. However, we meet so many characters and learn so little about each that it's difficult to drum up much empathy for any of them. —Jae-Ha Kim

Gus Van Sant Robin Williams won the Oscar for Best Supporting Actor, and actors Matt Damon and Ben Affleck nabbed one for Best Original Screenplay, but the feel-good hit Good Will Huntingtriumphs because of its gifted director, Gus Van Sant. The unconventional director (My Own Private Idaho, Drugstore Cowboy) saves a script marred by vanity and clunky character development by yanking soulful, touching performances out of his entire cast (amazingly, even one by Williams that's relatively schtick-free). Van Sant pulls off the equivalent of what George Cukor accomplished for women's melodrama in the '30s and '40s: He's crafted an intelligent, unabashedly emotional male weepie about men trying to find inner-wisdom.

Matt Damon stars as Will Hunting, a closet math genius who ignores his gift in favor of nightly boozing and fighting with South Boston buddies (co-writer Ben Affleck among them). While working as a university janitor, he solves an impossible calculus problem scribbled on a hallway blackboard and reluctantly becomes the prodigy of an arrogant MIT professor (Stellan Skarsgård). Damon only avoids prison by agreeing to see psychiatrists, all of whom he mocks or psychologically destroys until he meets his match in the professor's former childhood friend, played by Williams. Both doctor and patient are haunted by the past, and as mutual respect develops, the healing process begins. The film's beauty lies not with grand climaxes, but with small, quiet moments. Scenes such as Affleck's clumsy pep talk to Damon while they drink beer after work, or any number of therapy session between Williams and Damon offer poignant looks at the awkward ways men show affection and feeling for one another. —Dave McCoy

Following a mysterious treasure map into a spectacular underground realm of twisting passages, outrageous booby-traps and a long-lost pirate ship full of golden dubloons, the kids race to stay one step ahead of a family of bumbling bad guys... and a mild-mannered monster with a face only a mother could love.

Mathieu Kassovitz The title of Gothikaprepares you for a spooky, atmospheric thriller with an emphasis on supernatural mystery. The best way to appreciate the movie itself is to understand that it's a waking nightmare that needn't make sense in the realm of sanity. Making a flashy Hollywood debut after his superior 2000 thriller Crimson Rivers, French actor-director Mathieu Kassovitz pours on the dark and stormy atmosphere, trapping a competent psychologist (Halle Berry) in the prison ward where she treated inmates (including Penelope Cruz) until she was committed for killing her husband (Charles S. Dutton), who was also her boss. Did a car crash cause her to suffer ghostly delusions, or is a young girl—dead for four years—sending clues from beyond the grave? Berry has to prove her innocence while Kassovitz keeps everything—including the viewer and costar Robert Downey Jr. (as Berry's colleague)—in the dark about just where the nonsensical plot is leading. There's a better movie in here somewhere, among the catwalks and crannies of the impressive prison-castle setting, and Berry gives 100% in a performance that's consistent with the movie's overwrought tone. Attentive viewers will identify the killer early on, and the ending is anticlimactic, but Gothikaserves up a few good shocks for ghost-story connoisseurs. —Jeff Shannon

Randal Kleiser Riding the strange '50s nostalgia wave that swept through America during the late 1970s (caused by TV shows like Happy Daysand films like American Graffiti), Greasebecame not only the word in 1978, but also a box-office smash and a cultural phenomenon. Twenty years later, this entertaining film adaptation of the Broadway musical received another successful theatrical release, which included visual remastering and a shiny new Dolby soundtrack. While this 2002 DVD release contains retrospective interviews with the cast and director Randal Kleiser, it's unfortunately full screen. As a result, the widescreen dance numbers are instead panned and scanned, destroying the symmetrical, lively choreography. A widescreen version is also available and is highly recommended because without the vibrant colors, unforgettably campy and catchy tunes (like "Greased Lightning,""Summer Nights," and "You're the One That I Want"), and fabulously choreographed, widescreen musical numbers, the film has to rely on a silly, cliché-filled plot that we've seen hundreds of times. As it is, the episodic story about the romantic dilemmas experienced by a group of graduating high school seniors remains fresh, fun, and incredibly imaginative.

The young, animated cast also deserves a lot of credit, bringing chemistry and energy to otherwise bland material. John Travolta, straight from his success in Saturday Night Fever, knows his sexual star power and struts, swaggers, sings, and dances appropriately, while Olivia Newton-John's portrayal of virgin innocence is the only decent acting she's ever done. And then there's Stockard Channing, spouting sexual double-entendres as Rizzo, the bitchy, raunchy leader of the Pink Ladies, who steals the film from both of its stars. Ignore the sequel at all costs. —Dave McCoy

Inspired by real events, the fascinating The Great Debaters reveals one of the seeds of the Civil Rights Movement in its story of Melvin B. Tolson (Denzel Washington in a captivating performance) and his champion 1935 debate club from the all-African-American Wiley College in Texas. Tolson, a Wiley professor, labor organizer, modernist poet, and much else, runs a rigorous debate program at the school, selecting four students as his team in '35, among them the future founder of the Congress of Racial Equality, James Farmer Jr. (Denzel Whitaker). Washington, who directed The Great Debaters from a script by Robert Eisele (The Dale Earnhardt Story), anchors the story with the team's measurable progress, but the film is also about the state of race relations in America at the height of the Great Depression. With lynchings of black men and women a common form of entertainment and black subjugation for many rural whites, the idea of talented and highly intelligent African-American young people learning to think on their feet during debates would seem almost a hopeless endeavor. But that's not the way Tolson sees it, as his students serve themselves and the cause of racial equality in America with energetic arguments in favor of progressive government and non-violence as a viable social movement. There are some startling moments in this movie, particularly the sight of a man found lynched and burned to death, and an extraordinary moment in which we see black sharecroppers and white farmers engaged with Tolson in arguments about unionizing together. Forest Whitaker is outstanding as Farmer's emotionally-reserved father, also a Wiley professor. This is the kind of film where one hopes two great actors such as the elder Whitaker and Washington will have a scene together, and when it comes it's as powerful as one might hope. —Tom Keogh

Frank Darabont "The book was better" has been the complaint of many a reader since the invention of movies. Frank Darabont's second adaptation of a Stephen King prison drama (The Shawshank Redemptionwas the first) is a very faithful adaptation of King's serial novel. In the middle of the Depression, Paul Edgecomb (Tom Hanks) runs death row at Cold Mountain Penitentiary. Into this dreary world walks a mammoth prisoner, John Coffey (Michael Duncan) who, very slowly, reveals a special gift that will change the men working and dying (in the electric chair, masterfully and grippingly staged) on the mile . As with King's book, Darabont takes plenty of time to show us Edgecomb's world before delving into John Coffey's mystery. With Darabont's superior storytelling abilities, his touch for perfect casting, and a leisurely 188-minute running time, his movie brings to life nearly every character and scene from the novel. Darabont even improves the novel's two endings, creating a more emotionally satisfying experience. The running time may try patience, but those who want a story, as opposed to quick-fix entertainment, will be rewarded by this finely tailored tale. —Doug Thomas

Joe Dante Gremlinsis a whee of a film (if you don't mind the occasional gross-out) from producer Steven Spielberg, writer Chris Columbus, and director Joe Dante. Zach Galligan is the young man whose inventor father (Hoyt Axton) gives him an odd Christmas present: a tiny, furry creature that comes with a set of rules: don't get him wet, don't feed him after midnight, and keep him away from direct sunlight. But Galligan breaks the first rule and the damp little critter pops out a dozen little offspring. Then the offspring break the second rule and, overnight, turn from cute furry guys to malevolent scaly guys with world domination on their mind. The only way to stop them: rule three. But it's an anxious (and extremely funny) battle to make it to daylight—and the bad gremlins find ways to multiply over and over. Great special effects and a gruesome sense of humor make this a wild (if occasionally dark and scary) ride. —Marshall Fine

Under a thick carpet of green-dyed yak fur and wonderfully expressive Rick Baker makeup, Jim Carrey is up to all of his old tricks (and some nifty new ones) in this live-action movie of Dr. Seuss's holiday classic. He commands the title role with equal parts madness, mayhem, pathos, and improvisational genius, channeling Grinchness through his own screen persona so smoothly that fans of both Carrey and Dr. Seuss will be thoroughly satisfied. Adding to the fun is a perfectly pitched back-story sequence (accompanied by Anthony Hopkins's narration) that explains how the Grinch came to hate Christmas, with a heart "two sizes too small." Ron Howard proves a fine choice for the director's chair with a keen balance of comedy, sentiment, and light-hearted Seussian whimsy. Production designer Michael Corenblith gloriously realizes the wackiness of Whoville architecture, and his rendition of the Grinch's Mt. Crumpit lair is a marvel of cartoonish, subterranean grime. Then there's Cindy Lou Who (Taylor Momsen), the thoughtful imp who rallies her village to recapture the pure spirit of Christmas and melts the gift-stealing Grinch's cold, cold heart. You've even got a dog (the Grinch's good-natured mongrel, Max) who's been perfectly cast, so what's not to like about this dazzling yuletide movie? The production gets a bit overwhelmed by its own ambition, and the citizens of Whoville (including Jeffrey Tambor, Christine Baranski, Molly Shannon, and Bill Irwin) pale in comparison to Carrey's inspired lunacy, but who cares? If a movie can unleash Jim Carrey at his finest, revamp the Grinch story, and still pay tribute to the legacy of Dr. Seuss, you can bet it qualifies as rousing entertainment. (Ages 5 and older.) —Jeff Shannon

Kevin Rodney Sullivan Taken on its own terms as a big-screen sitcom, Guess Whooffers plenty of humor with just enough social commentary to make its point without being preachy. Of course, we've come along way since interracial romance was such a hot-button issue in Stanley Kramer's earnest 1967 drama Guess Who's Coming To Dinner, and nobody's going to mistake Ashton Kutcher and Bernie Mac (in this updated semi-remake) with the original film's Sidney Poitier and Spencer Tracy. And that's fine, because Guess Who—from the director of Barbershop 2—doesn—doesn't pretend to be anything more than a slick, entertaining vehicle for domestic farce with the racial roles reversed. Kutcher's romance with an African-American beauty (Zoë Sandaña) causes sparks to fly when he's introduced to her father (Bernie Mac). What ensues is basically an interracial buddy comedy that's as uninspired as it is easy to watch, and there's a dinner-table scene that's refreshingly provocative in this movie's otherwise tamely cautious context. We can all be thankful that humanity has matured a little since the racial tensions of the late '60s, but Hollywood's progress (and Kutcher's career) remains subject to debate. —Jeff Shannon

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

Graeme Ferguson Journey behind the scenes for the thrilling maiden voyage of the world's first space shuttle.

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Adam Shankman It's rare that a movie captures the intensity and excitement of a live Broadway musical production while appealing to a broader movie-going audience, but the 2007 Hairsprayis an energetic, powerfully moving film that does just that. A remake of the 1988 musical film Hairspray, the new Hairsprayis a film adaptation of the 2002 Broadway musical and features more likeable characters than the original film and an incredible energy that stems from a great cast, fabulous new music, and the influence of musical producer Craig Zadan. What remains constant throughout all three versions of Hairsprayis the story's thought-provoking exploration of prejudice and racism. Set in Baltimore in 1962, the film opens with chubby girl Tracy Turnblad (Nikki Blonsky) singing her heart out in a rendition of "Good Morning Baltimore" that, while admittedly a bit too long, sets the farcical tone for the film. Viewers quickly become immersed in Tracy's teenage world of popular television dance shows, big hair, the stigma of being different, and the first hesitant steps toward racial integration within a segregated world. The Corny Collins (James Marsden) television dance show is a teenage obsession in Tracy's world and Link Larkin (Zac Efron) is every girl's dream partner, so when a call for auditions goes out, Tracy skips school to try out, but is rejected by station manager Velma von Tussle (Michelle Pfeiffer) because of her large size and the threat of competition for Velma's own daughter Amber (Brittany Snow). Perseverance and the support of her friend Penny (Amanda Bynes), father Wilbur (Christopher Walken), and negro dancer Seaweed (Elijah Kelley) lead Tracy to the spotlight and the chance of a lifetime, but more and more Tracy discovers that fairness and equality for those who are different does not come without a fight and that sacrifices must be made to effect change. While the message is serious, Hairsprayis first and foremost a comedy with stellar performances by John Travolta as Edna Turnblad (who ever imagined Saturday Night Fever's iconic star would appear onscreen as a woman?), Christopher Walken, and Michelle Pfeiffer. Part of what makes Hairsprayso powerful is the exceptional music composed by Marc Shaiman, including songs newly composed for the movie like "Ladies' Choice,""The New Girl in Town," and "Come So Far," and the awesome vocal talents of Queen Latifah (Motormouth Maybelle) and a cast of heretofore musically-unknown actors like Nikki Blonsky, Zac Efron, and Brittany Snow who really can sing. Notable trivia includes Jerry Stiller's appearance in both versions of the film (as Wilbur in the 1988 film and as Mr. Pinky in this 2007 rendition), and a cameo appearance by 1988 director and screenplay writer John Waters. Hairsprayis one of the best films of the year—it—it's powerfully moving entertainment that leaves you energized and motivated to fight for what you believe in. —Tami Horiuchi

It's rare that a movie captures the intensity and excitement of a live Broadway musical production while appealing to a broader movie-going audience, but the 2007 Hairspray is an energetic, powerfully moving film that does just that. A remake of the 1988 musical film Hairspray, the new Hairspray is a film adaptation of the 2002 Broadway musical and features more likeable characters than the original film and an incredible energy that stems from a great cast, fabulous new music, and the influence of musical producer Craig Zadan. What remains constant throughout all three versions of Hairspray is the story's thought-provoking exploration of prejudice and racism. Set in Baltimore in 1962, the film opens with chubby girl Tracy Turnblad (Nikki Blonsky) singing her heart out in a rendition of "Good Morning Baltimore" that, while admittedly a bit too long, sets the farcical tone for the film. Viewers quickly become immersed in Tracy's teenage world of popular television dance shows, big hair, the stigma of being different, and the first hesitant steps toward racial integration within a segregated world. The Corny Collins (James Marsden) television dance show is a teenage obsession in Tracy's world and Link Larkin (Zac Efron) is every girl's dream partner, so when a call for auditions goes out, Tracy skips school to try out, but is rejected by station manager Velma von Tussle (Michelle Pfeiffer) because of her large size and the threat of competition for Velma's own daughter Amber (Brittany Snow). Perseverance and the support of her friend Penny (Amanda Bynes), father Wilbur (Christopher Walken), and negro dancer Seaweed (Elijah Kelley) lead Tracy to the spotlight and the chance of a lifetime, but more and more Tracy discovers that fairness and equality for those who are different does not come without a fight and that sacrifices must be made to effect change. While the message is serious, Hairspray is first and foremost a comedy with stellar performances by John Travolta as Edna Turnblad (who ever imagined Saturday Night Fever's iconic star would appear onscreen as a woman?), Christopher Walken, and Michelle Pfeiffer. Part of what makes Hairspray so powerful is the exceptional music composed by Marc Shaiman, including songs newly composed for the movie like "Ladies' Choice," "The New Girl in Town," and "Come So Far," and the awesome vocal talents of Queen Latifah (Motormouth Maybelle) and a cast of heretofore musically-unknown actors like Nikki Blonsky, Zac Efron, and Brittany Snow who really can sing. Notable trivia includes Jerry Stiller's appearance in both versions of the film (as Wilbur in the 1988 film and as Mr. Pinky in this 2007 rendition), and a cameo appearance by 1988 director and screenplay writer John Waters. Hairspray is one of the best films of the year—it—it's powerfully moving entertainment that leaves you energized and motivated to fight for what you believe in. —Tami Horiuchi

Yes, he's back, and he's still hungry. Ten years after The Silence of the Lambs, Dr. Hannibal "the Cannibal" Lecter (Anthony Hopkins, reprising his Oscar-winning role) is living the good life in Italy, studying art and sipping espresso. FBI agent Clarice Starling (Julianne Moore, replacing Jodie Foster), on the other hand, hasn't had it so good—an outsider from the start, she's now a quiet, moody loner who doesn't play bureaucratic games and suffers for it. A botched drug raid results in her demotion—and a request from Lecter's only living victim, Mason Verger (Gary Oldman, uncredited), for a little Q and A. Little does Clarice realize that the hideously deformed Verger—who, upon suggestion from Dr. Lecter, peeled off his own face—is using her as bait to lure Dr. Lecter out of hiding, quite certain he'll capture the good doctor.

Taking the basic plot contraptions from Thomas Harris's baroque novel, Hannibalis so stylistically different from its predecessor that it forces you to take it on its own terms. Director Ridley Scott gives the film a sleek, almost European look that lets you know that, unlike the first film (which was about the quintessentially American Clarice), this movie is all Hannibal. Does it work? Yes—but only up to a point. Scott adeptly sets up an atmosphere of foreboding, but it's all buildup for anticlimax, as Verger's plot for abducting Hannibal (and feeding him to man-eating wild boars) doesn't really deliver the requisite visceral thrills, and the much-ballyhooed climatic dinner sequence between Clarice, Dr. Lecter, and a third unlucky guest wobbles between parody and horror. Hopkins and Moore are both first-rate, but the film contrives to keep them as far apart as possible, when what made Silenceso amazing was their interaction. When they do connect it's quite thrilling, but it's unfortunately too little too late. —Mark Englehart

Peter Webber Though Hannibal Rising'sLecter (Gaspard Ulliel) is a pussycat compared to Anthony Hopkins in Silence of the Lambs, this sequel's story of revenge is grizzly enough to satisfy lovers of Thomas Harris's epic tale. After young Hannibal (Aaron Thomas) is forced to watch his little sister, Mischa (Helena Lia Tachovska), devoured by starving soldiers in his homeland Lithuania, Hannibal vows to avenge his sister's death by slaying those who committed not only war crimes against the Lecters, but also against other families during WW II. In detailing Hannibal's revenge plan, the film investigates the psychological implications of witnessing cannibalism to justify Hannibal's insatiable appetite for human flesh. The most interesting aspect of Hannibal Rising—its analytical connections drawn between Hannibal's childhood traumas and his murderous adult obsessions—is also the film's weak point. The links oversimplify Lecter's complex character. For example, though titillating to see flashbacks of Lecter's sister hacked up and boiled while Lecter visits a Parisian meat market, the reference is too obvious. One learns why he excels in his medical school classes dissecting cadavers, and we're given explicit explanation for why he slices off and eats his victims' cheeks. The story only complicates when Hannibal interacts with his sexy Aunt, Lady Murasaki (Gong Li). When Murasaki educates him in the art of beheading, the viewer sees Hannibal's sword fetish as a manifestation of physical lust. —Trinie Dalton

George Miller Warren Coleman In the great nation of Emperor Penguins, deep in Antarctica, you're nobody unless you can sing - which is unfortunate for Mumble (ELIJAH WOOD), who is the worst singer in the world. He is born dancing to his own tune...tap dancing. As fate would have it, his one friend, Gloria (BRITTANY MURPHY), happens to be the best singer around. Mumble and Gloria have a connection from the moment they hatch, but she struggles with his strange "hippity- hoppity" ways. Away from home for the first time, Mumble meets a posse of decidedly un-Emperor-like penguins - the Adelie Amigos. Led by Ramon (ROBIN WILLIAMS), the Adelies instantly embrace Mumble's cool dance moves and invite him to party with them. In Adelie Land, Mumble seeks the counsel of Lovelace the Guru (also voiced by ROBIN WILLIAMS), a crazy-feathered Rockhopper penguin who will answer any of life's questions for the price of a pebble. Together with Lovelace and the Amigos, Mumble sets out across vast landscapes and, after some epic encounters, proves that by being true to yourself, you can make all the difference in the world.

Adam Sandler fans are sure to enjoy this no-brainer comedy, but everyone else is strongly advised to proceed with caution. Before scoring a more enjoyable hit with his 1998 comedy The Wedding Singer, the former Saturday Night Livegoofball played Happy Gilmore, a hot-tempered guy whose dreams of hockey stardom elude him. But when he discovers his gift for driving golf balls hundreds of yards, he joins a pro tour to win the prize money needed to rescue his beloved grandma's home from IRS repossession. The trouble is, Happy's not so happy. He's got a temper that frequently flares on the golf course (he even dukes it out with celebrity golfer Bob Barker), but a retired golf pro (Carl Weathers) and a compassionate publicist (Julie Bowen) help him to perfect his putting game and adjust his confrontational attitude. How much you enjoy this lunacy depends on your tolerance for Sandler's loudmouthed schtick and a shocking number of blatant product-placement endorsements, but if you're looking for broad comedy you've come to the right teeoff spot. —Jeff Shannon

An aimless young man who is scalping tickets, gambling and drinking, agrees to coach a Little League team from the Cabrini Green housing project in Chicago as a condition of getting a loan from a friend.

Rob Minkoff Lush production design and sparkling special effects make The Haunted Mansionpretty to look at. Terence Stamp (The Limey), as a malevolent ghost of a butler, provides a suitable air of menace as dematerializes to and fro. Marsha Thomason (Black Knight) is lovely as a real estate agent hired to sell a haunted mansion, but in truth the ghostly owner of the mansion believes she is the reincarnation of his lost love. Wallace Shawn (My Dinner with Andre) and Dina Waters (Six Feet Under) make a modestly amusing comic pair as a ghostly husband and wife who bustle about. Jennifer Tilly (Bound), as a green disembodied head in a crystal ball, glitters appropriately. The movie also features endless clichés, futile attempts at humor, and Eddie Murphy. If you're looking for a movie based on a Disneyland ride, try the very clever Pirates of the Caribbeaninstead. —Bret Fetzer

Mark Piznarski While rebuilding a diner destroyed in a reckless car race rich kid kelley morse falls in love with a small-town girl named samantha. But everything changes when samanthas long-time boyfriend jasper uncovers their secret romance and tempers flare. Studio: Tcfhe Release Date: 01/09/2007 Starring: Chris Klein Leelee Sobieski Run time: 96 minutes Rating: R Director: Mark Piznarski

Joe Johnston TouchStone Hidalgo (Widescreen) - DVD

A breathtakingly photographed, epic western like none produced for decades, Hidalgo recounts the life of legend Frank T.Hopkins (Viggo Mortensen). Set in the 1800s, thisfamily film chronicles the triumphant victory wonby Frank and his mustang Hidalgo in the Ocean of Fire, an often-fatal competition in which the bestriders and thoroughbreds race across Middle Eastern deserts. For Frank, who is known in the west for his prowess as a Pony Express rider and the winner of long-distance horse races, the lure of the Ocean of Fire is not only the $100,000 purse but also the clear challenge—both of which prove irresistible, and inspire him to travel across the worldfor this life-altering experience. With sweeping landscapes that evoke John Ford westerns like Stagecoach and The Searchers, Hidalgo features enough racing, rivalry, and romance to befit any action film. But the race also provides a vehicle for the story of Frank forgiving himself for his participation in the Wounded Knee slaughter and accepting his part-Indian ancestry. The film`s message, highlighted in a particularly moving scene where Frank invokes the spirits of his Native American ancestors, is that the key to happiness is accepting yourself as you are.

Carl Franklin A welcomed reunion of Kiss the Girlscostars Ashley Judd and Morgan Freeman makes High Crimesa worthwhile thriller with vivid, likable characters. Efficiently directed by Carl Franklin, this military mystery doesn't have the unpredictable edginess of Franklin's Devil in a Blue Dress, but its twisting plot is sure to hold anyone's attention. Judd plays a successful, happily married lawyer whose husband (Jim Caviezel) is accused of killing innocent citizens during his military service in El Salvador some 13 years earlier. A cover-up implicates a powerful Brigadier General (Bruce Davison), but when Judd hires a maverick attorney (Freeman), Judd is caught in a potentially lethal trap of threats and deception. Attentive viewers will stay ahead of the action, and alleged villains are posed as obvious decoys. Still, Judd and Freeman have an appealing rapport (shared with Amanda Peet, playing Judd's vivacious sister), and Freeman's character flaws add worldly spice to yet another rich performance. —Jeff Shannon

Mel Brooks's 1981, three-part comedy—set in the Stone Age, the Roman Empire, and the French Revolution—is pure guilty pleasure. Narrated by Orson Welles and featuring a lot of famous faces in guest appearances (beyond the official cast), the film opens well with Sid Caesar playing a caveman, then moves along to the unlikely but somehow hilarious juxtaposition of Caesar's soldiers (the other Caesar, not Sid) with pot humor, and ends on a dumb-funny note in the French bloodbath. This is a take-it-or-leave-it movie, and it works best if you're in a take-it-or-leave-it mood. —Tom Keogh

Ron Shelton Harrison Ford lends his solid, perpetually disgruntled presence to Hollywood Homicide, an action comedy in which he's paired with the squinty eyes and peaches-and-cream complexion of Josh Hartnett (Black Hawk Down, O). Radical French filmmaker Jean-Luc Godard would appreciate this complete deconstruction of the buddy-cop flick genre; basic cinematic elements (mismatched partners, a hard-ass superior riding them, arguments about who's going to drive, arguments about intuition vs. diligent detective work, the bad cop who killed Hartnett's father, etc.) have been scrambled and slapped together with no concern for coherence, making clear their innately artificial nature. Sex scenes and car chases come out of nowhere and disappear without consequence, providing arbitrary visual stimulus. During shootouts, it's impossible to tell who got killed or why, underscoring a basic doubt about the purpose of making movies like Hollywood Homicide. It's rare for a mainstream movie to be so daringly (if perhaps accidentally) avant-garde. —Bret Fetzer

Steven Spielberg Steven Spielberg's deeply flawed but sporadically fun and moving update of the Peter Pan legend stars Robin Williams as the grown-up Pan, a corporate-takeover type who must embrace his old identity in order to save his kids from Captain Hook (Dustin Hoffman). The stars put on a good show, including Hoffman's read of Hook's hysterical personality, Julia Roberts mini-turn as a tiny Tinker Bell, and Maggie Smith's touching performance as the aged Wendy. The visual contrast between the adult Pan's bustling outside world and the insulated fantasy of Neverland is striking, but Spielberg's ideas about the Lost Boys—politically correct in their ethnic diversity, energetic on skateboards—are contrived and cheapening. On the plus side, the story's theme about adults finding their innocence again through their children is very touching (though some people have found it cloying). If you can look beyond the glaring problems, there's plenty to like here. —Tom Keogh

David Anspaugh Based on the true story of a small-town Indiana team that made the state finals in 1954, this movie chronicles the attempts of a coach with a spotty past, and the town's basketball-loving drunk to lead their high school team to victory.

Donald Petrie Kate Hudson twinkles as the heroine of How to Lose a Guy in 10 Days, a magazine writer assigned to date a guy, make all the mistakes girls make that drive guys away (being clingy, talking in baby-talk, etc.), and record the process like a sociological experiment. However, the guy she picks—rangy Matthew McConaughey—is an advertising executive who's just bet that he can make a woman fall in love with him in ten days; if he succeeds, he'll win a huge account that will make his career. The set-up is completely absurd, but the collision of their efforts to woo and repel creates some pretty funny scenes. McConaughey's easy charm and Hudson's lightweight impishness play well together and the plot, though strictly Hollywood formula, chugs along efficiently. At moments Hudson seems to channel her mother, Goldie Hawn, to slightly unnerving effect. —Bret Fetzer

Universal Hulk - HD-DVD
The larger-than-life Marvel SuperHero the Hulk explodes onto the big screen! Aftera freak lab accident unleashes a genetically enhanced, impossibly strong creature, a terrified world must marshal its forces to stop a being with abilities beyond imagination.

John McTiernan Before Harrison Ford assumed the mantle of playing Tom Clancy's Jack Ryan hero in Patriot Games, Alec Baldwin took a swing at the character in this John McTiernan film and hit one to the fence. If less instantly sympathetic than Ford, Baldwin is in some respects more interesting and nuanced as Ryan, and drawing comparisons between both actors' performances can make for some interesting postmovie discussion. That aside, The Hunt for Red Octoberstands alone as a uniquely exciting adventure with a fantastic costar: Sean Connery as a Russian nuclear submarine captain attempting to defect to the West on his ship. Ryan must figure out his true motives for approaching the U.S. McTiernan (Predator, Die Hard) made an exceptionally handsome movie here with action sequences that really do take one's breath away. —Tom Keogh

Jessie Nelson I Am Sammakes you laugh, cry, and recoil all at the same time. Perhaps no other film of recent memory has epitomized the shameless sentimentality of Hollywood as succinctly as director and screenwriter Jessie Nelson's story of a mentally challenged man fighting to retain custody of his 7-year-old daughter. Sam (Sean Penn), who has the mental age of 7, wipes down tables at a Los Angeles Starbucks and takes good care of his daughter Lucy, who was left with him shortly after birth by a homeless woman. Sam has gotten by just fine with a little help from his friends, including his eccentric neighbor (Diane Wiest) and a lovable group of similarly challenged friends, but a series of misunderstandings leaves Sam fighting to get Lucy back from the state. Sam's lawyer, Rita Harrison (Michelle Pfeiffer), is an overly ambitious woman whose life is soon transformed by proximity to Sam's brimming humanity. Sean Penn is, as usual, wholeheartedly committed to his role and turns in an admirable, if overtly affected performance. However, I Am Sam, with all its earnest charm, reaches an emblematic low when Sam, a character apparently devoid of any authentic sentiment, delivers a courtroom speech memorized from Kramer vs. Krameras the film's finale. —Fionn Meade

Jim Gillespie Four teens make a fatal mistake when trying to hide the body of an accident victim. A horror hit with enough twists to keep em guessing and enough turns to keep em screaming late into the night. Studio: Sony Pictures Home Ent Release Date: 12/21/2004 Starring: Jennifer Love Hewitt Freddie Prinze Jr. Run time: 101 minutes Rating: R Director: Jim Gillespie

Dennis Dugan It's crude and sometimes awkward, but there's a gleefully subversive movie lurking inside I Now Pronounce You Chuck & Larry. By virtue of a tooth-grinding contrivance, two manly Manhattan firefighters, Adam Sandler and Kevin James, must move in together and pretend to be gay; after seeing life from the other side, they learn something about tolerance. Sandler is the obnoxious, aggressively offensive womanizer, while James plays a widowed dad worried about his effeminate son. Nothing is too surprising about the way this works out, except for the film's unabashedly gay-rights fervor. It's one thing for a sensitive art-house movie to preach to the choir, and quite another for Sandler to speak to his multiplex audience on how uncool it is to use a homophobic slur. Ham-handedly directed and almost proudly sloppy, Chuck & Larrywins points for remaining defiantly rude; a nicer movie wouldn't have been as effective. There's a hilarious supporting performance by Ving Rhames, and Jessica Biel brings her Kim Novak-style glamour to a truly unbelievable character. Rob Schneider and Richard Chamberlain (two names not generally brought together) are amusing in small roles. —Robert Horton

Betty Thomas When the switchblade the most sophisticated stealth fighter ever created is stolen from the u.S. Government one of the united states top spies is called in to action. What he doesnt expect is to get teamed up with a cocky civilian boxing champion. Studio: Sony Pictures Home Ent Release Date: 12/21/2004 Starring: Eddie Murphy Famke Janssen Run time: 97 minutes Rating: Pg13 Director: Betty Thomas

Arlene Sanford Jonathan Taylor Thomas stars as Jake, a shallow huckster attending college in Los Angeles who finds troubles aplenty and, eventually, redemption on a road trip home in this youth-oriented Christmas vehicle. The action begins with Jake dumped in the desert dressed in full Kris Kringle regalia as payback for a scheme gone wrong, making Taylor Thomas the second Home Improvementcast member to don a Santa suit for film. (The first, of course, was his TV dad Tim Allen in The Santa Clause, for those of you who snoozed through recent Christmases.) With Jake stuck in the dunes, his stranded girlfriend (Jessica Biel from TV's Seventh Heaven) accepts a ride from his rival and thus begin the cross-country shenanigans that lead to a Christmas sleigh ride in their shared New York hometown. Look for Gary Cole (a.k.a. Mike Brady in the movie version of The Brady Bunch) playing another wise father. Although it may be hard for adults to buy the diminutive Taylor Thomas as a college student (and what's with the high school lockers at the so-called college?), Taylor Thomas and Biel have plenty of swoon appeal for young fans 10 and up. —Kimberly Heinrichs

Alex Proyas As paranoid cop Del Spooner, Will Smith (Independence Day, Men in Black) displays both his trademark quips and some impressive pectoral muscles in I, Robot. Only Spooner suspects that the robots that provide the near future with menial labor are going to turn on mankind—he—he's just not sure how. When a leading roboticist dies suspiciously, Spooner pursues a trail that may prove his suspicions. Don't expect much of a connection to Isaac Asimov's classic science fiction stories;I, Robot, the action movie, isn't prepared for any ruminations on the significance of artificial intelligence. This likable, efficient movie won't break any new ground, but it does have an idea or two to accompany its jolts and thrills, which puts it ahead of most recent action flicks. Also featuring Bridget Moynahan (The Sum of All Fears), Bruce Greenwood (The Sweet Hereafter), and James Cromwell (Babe, LA Confidential). —Bret Fetzer

Chris Wedge Just as A Bug's Lifewas a computer-animated comedy inspired by Akira Kurosawa's The Seven Samurai, the funny and often enthralling Ice Ageis a digital re-imagining of the Western Three Godfathers. The heroes of this unofficial remake (set 20,000 years ago, during the titular Paleolithic era) are a taciturn mastodon named Manfred (voiced by Ray Romano), an annoying sloth named Sid (John Leguizamo), and a duplicitous saber-toothed tiger, Diego (Denis Leary). The unlikely team encounters a dying, human mother who relinquishes her chirpy toddler to the care of these critters. Hoping, against all odds, to return the little guy to his migrating tribe, Manfred and his associates need to establish trust among themselves, not an easy thing in a harsh world of predators, prey, and pushy glaciers. Audiences that have become accustomed to the rounded, polished, storybook look of Pixar's house brand of computer animation (Monsters, Inc.) will find the blunt edges and chilly brilliance of Ice Age—evoking the harsh, dangerous environment of a frozen world—a wholly different, and equally pleasing, trip. Recommended for ages 4 and up. —Tom Keogh

Carlos Saldanha The love life of a woolly mammoth—handled with G-rated delicacy—drives this sequel to the first computer-animated romp in the age of prehistoric mammals. While the first Ice Agetook a delightful premise and suffocated it with a formulaic plot—in which a mammoth named Manfred (voiced by Ray Romano, Everyone Loves Raymond), a sloth named Sid (John Leguizamo, Moulin Rouge!), and a sabre-tooth tiger named Diego (Denis Leary, Rescue Me) helped an abandoned human infant return to its tribe (basically, Three Mammals and a Baby)—the sequel takes the now-familiar setting, gives it a shapeless, episodic storyline, and yet somehow becomes pretty darn entertaining. Faced with the threat of a flood from melting ice, our heroic trio are on the run to escape from their blossoming valley. On the way, they meet a female mammoth (Queen Latifah, Bringing Down the House) who thinks she's an opossum and get menaced by some freshly defrosted carnivo! rous fish. Add into the mix a herd of lava-worshipping mini-sloths, some Busby Berkeley-style vultures, and more ingenious slapstick featuring the acorn-crazed Scrat, and Ice Age: The Meltdownwill amuse even jaded adults. — Bret Fetzer

Beyond Ice Age: The Meltdown

Ice Age - Super Cool Edition

Ice Age & Ice Age 2: The Meltdown - (DVD 2-Pack)

Funtastic Adventures Collection Box Set (Ice Age / Robots / Fern Gully / Once Upon a Rainforest)

Stills from Ice Age: The Meltdown(click for larger image)

Neil Burger First screened in Europe and scheduled for limited release in the U.S., The Illusionistoffers welcome proof that "arthouse" quality needn't be limited to the arthouses. Set in turn-of-the-century Vienna, this stately, elegant period film benefited from a crossover release in mainstream cinemas, and showed considerable box-office staying power—granted, teenage mallrats and lusty males may have been drawn to the allure of Seventh Heavenalumna Jessica Biel, who rises to the occasion with a fine performance. But there's equal appeal in the casting of Edward Norton and Paul Giamatti, who bring their formidable talents to bear on the intriguing tale of a celebrated magician named Eisenheim (Norton) whose stage performance offends the Crown Prince Leopold (Rufus Sewell), a vindictive lout who aims to marry Duchess Sophie (Biel), Eisenheim's childhood friend and now, 15 years later, his would-be lover. This romantic rivalry and Eisenheim's increasingly enigmatic craft of illusion are investigated by Chief Inspector Uhl (Giamatti), who's under Leopold's command and is therefore not to be trusted as Eisenheim and Sophie draw closer to their inevitable reunion. Cleverly adapted by director Neil Burger from Steven Millhauser's short story "Eisenheim the Illusionist," and boasting exquisite production values and a fine score by Philip Glass, The Illusionistis the kind of class act that fully deserved its unusually wide and appreciative audience. — Jeff Shannon

Beyond The Illusionist

"Eisenheim the Illusionist" and Other Stories

Paul Giamatti in a More Loveable Role

Magic Kits & Accessories

Stills from The Illusionist

Frank Oz When a Hollywood heartthrob (Matt Dillon, playing a Brad Pitt look-alike) "outs" his small-town high-school drama teacher Howard Brackett (Kevin Kline) during the Oscar telecast, the entire (fictional) town of Greenleaf, Indiana, wonders if Howard's really gay. More to the point, Howard wonders, too—quite a dilemma considering his pending marriage to Emily (Joan Cusack), who's patiently tolerated a three-year engagement. While a TV reporter (Tom Selleck) covers the ensuing furor, screenwriter Paul Rudnick and director Frank Oz make good-natured humor their highest priority, turning the "crisis" of coming out into a laugh-out-loud spin on conventional romantic comedy. The result is a film that delivers constant laughs and a golden opportunity for its fine cast to show off their considerable comedic talents—especially Cusack, who deservedly earned an Oscar nomination for her hilarious performance as the bride who's almost as confused as her would-be husband. That Rudnick and Oz have made a great comedy that's both old-fashioned and relevant to the late 20th century is no small feat, but In & Outhas no hidden agenda apart from its triumphant desire to entertain. —Jeff Shannon

Bill Bixby Jack Colvin Patrick Boyriven Mark A. Burley Barry Crane Universal's Incredible HulkDVD will satisfy fans of the CBS television series by offering the two-hour 1978 pilot, as well as the feature-length second-season opener, "Married," and a commentary track by series creator Kenneth Johnson. In bringing the Hulk to TV, Johnson decided to focus on its human alter ego, scientist Bruce Banner (here renamed David), rather than its rampages. In the pilot, Banner (Bill Bixby) is haunted by the death of his wife and unleashes his untapped rage in the form of a monstrous creature (Lou Ferrigno) after experimenting with radiation. And in "Married," Banner falls for a researcher (Mariette Hartley in an Emmy-winning performance) who attempts to cure his "hulk-outs." Johnson's solid scripting and direction and fine performances from the leads made the series a critical and audience favorite during its network run, and the DVD—deceptive cover art aside (which features images from the 2003 Hulk theatrical feature)—should again please longtime fans and novice viewers alike. —Paul Gaita

Disney The Incredibles (2-Disc Collector's Edition) - Widescreen DVD

From the Academy Award winning creators of Finding Nemo (2003 Best Animated Feature Film) comes the action-packed animated adventure about the mundane and incredible lives of a house full of superheroes. Bob Parr and his wife Helen used to be among the world's greatest crime fighters,saving lives and battling evil on a daily basis. Fifteen years later, they have been forced to adopt civilian identities and retreat to the suburbs where they live "normal" lives with their three kids, Violet, Dash, and Jack-Jack. Itching to get back into action, Bob gets his chance when a mysterious communication summons him to a remote island for a top secret assignment. But he soon discovers that it will take a super family effort to rescue the world from total destruction. Exploding with fun and featuring an all-new animated short film, this spectacular 2-disc collector's edition DVD is high-flying entertainment for everyone.

Roland Emmerich In Independence Day, a scientist played by Jeff Goldblum once actually had a fistfight with a man (Bill Pullman) who is now president of the United States. That same president, late in the film, personally flies a jet fighter to deliver a payload of missiles against an attack by extraterrestrials. Independence Dayis the kind of movie so giddy with its own outrageousness that one doesn't even blink at such howlers in the plot. Directed by Roland Emmerich, Independence Dayis a pastiche of conventions from flying-saucer movies from the 1940s and 1950s, replete with icky monsters and bizarre coincidences that create convenient shortcuts in the story. (Such as the way the girlfriend of one of the film's heroes—played by Will Smith—just happens to run across the president's injured wife, who are then both rescued by Smith's character who somehow runs across them in alien-ravaged Los Angeles County.) The movie is just sheer fun, aided by a cast that knows how to balance the retro requirements of the genre with a more contemporary feel. —Tom Keogh

Michael Kahn, Steven Spielberg Nearly 20 years after riding his last Crusade, Harrison Ford makes a welcome return as archaeologist/relic hunter Indiana Jones in Indiana Jones and the Kingdom of the Crystal Skull, an action-packed fourth installment that's, in a nutshell, less memorable than the first three but great nostalgia for fans of the series. Producer George Lucas and screenwriter David Koepp (War of the Worlds) set the film during the cold war, as the Soviets—replacing Nazis as Indy's villains of choice and led by a sword-wielding Cate Blanchett with black bob and sunglasses—are in pursuit of a crystal skull, which has mystical powers related to a city of gold. After escaping from them in a spectacular opening action sequence, Indy is coerced to head to Peru at the behest of a young greaser (Shia LaBeouf) whose friend—and Indy's colleague—Professor Oxley (John Hurt) has been captured for his knowledge of the skull's whereabouts. Whatever secrets the skull holds are tertiary; its reveal is the weakest part of the movie, as the CGI effects that inevitably accompany it feel jarring next to the boulder-rolling world of Indy audiences knew and loved. There's plenty of comedy, delightful stunts—ants play a deadly role here—and the return of Raiders love interest Karen Allen as Marion Ravenwood, once shrill but now softened, giving her ex-love bemused glances and eye-rolls as he huffs his way to save the day. Which brings us to Ford: bullwhip still in hand, he's a little creakier, a lot grayer, but still twice the action hero of anyone in film today. With all the anticipation and hype leading up to the film's release, perhaps no reunion is sweeter than that of Ford with the role that fits him as snugly as that fedora hat. —Ellen A. Kim

Indiana Jones Bonus Material

Spike Lee Spike Lee scored his biggest hit to date with Inside Man, an unconventional thriller with fascinating details in the margins of its convoluted plot. The screenplay (by first-timer Russell Gerwitz) could've used a few more rewrites; it moves at a brisk pace but in hindsight a lot of it doesn't make sense. That makes Inside Manmore fun to watch than to think about afterwards (when you discover plot holes big enough to drive a truck through), but it's curiously involving, especially as NYPD Detective Keith Frazier (Denzel Washington) struggles to outsmart a high-stakes bank robber (Clive Owen) who, along with a well-trained crew of accomplices, has seized control of a Wall Street bank, turning what initially looks like a hostage crisis into a personal crusade to expose some mysterious evil secrets. As you might expect from the director of Do the Right Thing, Lee seizes several satisfying opportunities to examine post-9/11 issues of racial prejudice and domestic terrorism, and the mysterious "problem solver" Madeline White (Jodie Foster), as eerily sinister as she is vaguely defined, is worthy of her own movie. With the benefit of his most stellar cast to date (including Christopher Plummer, Willem Dafoe and Chiwetel Ejiofor), Lee seems more interested in character details than well-crafted suspense, but that doesn't stop Inside Man from being engrossing, subtly amusing, and quirky enough to qualify as a welcomed break from the formulaic thrillers that are Hollywood's bread and butter. —Jeff Shannon

John Stockwell Stunning tropical scenery and gorgeous athletic movie stars may not make a movie great, but they sure don't hurt. Jared (Paul Walker, The Fast and the Furious) dreams of finding sunken treasure and making millions, but his girlfriend Sam (Jessica Alba, Fantastic Four, Sin City) is content with their poor but idyllic life in the Bahamas. Still, when they find artifacts from a 19th century pirate ship, she gets caught up in the excitement—until they also find a crashed plane full of smuggled cocaine. Naturally, someone's going to want that cocaine back... From there, Into the Blueis a surprisingly well-plotted action movie, unpredictable in its specifics if familiar in its broader outlines. Even more pleasant, the action itself stays plausible and genuinely engaging throughout. Jared seems able to hold his breath for a preternaturally long time, but aside from that the movie is meticulous about the dangers and threats the characters face and is all the stronger for it. Add to this its unabashed ogling of Alba and Walker (both of whom are astonishing physical specimens) and you have a solid romp. Also featuring Scott Caan (Ocean's Eleven), Tyson Beckford (Biker Boyz), and Josh Brolin (Flirting With Disaster) as a slimy rival treasure hunter. —Bret Fetzer

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

Kirk R. Thatcher Kermit takes center stage in this hilarious, parody-laden celebration of Muppetry, pulsating with original music, a star-studded cast of human cameos, and a heartwarming story reminiscent of It's a Wonderful Life. Joan Cusack plays the deliciously villainous Miss Bitterman, a ruthless banker who succeeds in foreclosing on the Muppet Theatre only days before Kermit's Christmas extravaganza. As Kermit loses his livelihood, he plunges into the "I wish I'd never been born" mind-set instantly recognizable to George Bailey fans. It's going to take some Divine intervention (Whoopi Goldberg is cast as God, no less), plus a little help from a heavenly "Clarence." Despite some moments where the script seems adrift (how hard it must be to live up to the irresistible precedent set by the 1979 premier Muppet Movie) and some humor that borders on risqué, Fozzie and the gang are in fine form. The message is sweet: dreams are as vital to life as loyal friendships are to see them through. (Ages 5 and older) —Lynn Gibson

Bill Melendez Charlie Brown gets rocks in his trick-or-treat bag, Linus awaits a visitation from the Great Pumpkin in his terribly sincere pumpkin patch (while the adoring little Sally sits tight with him), Snoopy falls asleep, Lucy harasses Schroeder, and Pig-Pen kicks up a dust storm even beneath his costume in this classic television broadcast. Funny stuff, but also graced with Charles Schultz's more poignant and gently satiric themes from the 1960s on the influence of faith, failure, and hope in our lives. —Tom Keogh

F. Gary Gray Studio: Paramount Home Video Release Date: 08/15/2006

F. Gary Gray Though it bears little resemblance to the original 1969 thriller starring Michael Caine, the 2003 remake of The Italian Jobstands on its own as a caper comedy that's well above average. The title's a misnomer—this time it's actually a Los Angeles job—but the action's just as exciting as it propels a breezy tale of honor and dishonor among competing thieves. Inheriting Caine's role as ace heist-planner Charlie Croker, Mark Wahlberg plays straight-man to a well-cast team of accomplices, including Mos Def, Jason Statham, and scene-stealer Seth Green in a variation of the role originally played by Noel Coward. As the daughter of Croker's ill-fated mentor (Donald Sutherland), Charlize Theron is recruited to double-cross a double-crosser (Edward Norton in oily villain mode), and once again, speedily versatile Mini Coopers play a pivotal role in director F. Gary Gray's exhilarating car-chase climax. It's perhaps the greatest product placement in movie history, and just as fun the second time around. —Jeff Shannon

Chris Hunt Has it really been decades since the first James Bond film? Over the course of 19 films and 5 Bonds, the beloved film spy has evolved to keep up with the times, but James Bond is at heart still the same suave, urbane tough guy that Sean Connery established in 1962's Dr. No. The James Bond Storytraces the development of the character, interviewing Bond leading ladies Maud Adams and Jane Seymour and Bond actors Sean Connery, Roger Moore, George Lazenby, Timothy Dalton, and Pierce Brosnan and exploring the ups and downs of the filmic franchise over the years. Also, director Terence Young, producer Cubby Broccoli, and, of course, Ian Fleming follow the progression of the Bond character from its first onscreen realization through the 2000-model Bond. There's lip service paid to his progress from a womanizing, Martini-swilling Neanderthal in a tux to a somewhat more politically correct man, and the traditional Bond killing gadgets get treatment as well (complete with outtakes and flubs). This is just the thing for Bond fans and of the spy genre in general; an affectionate look at 40 years worth of James Bond. —Jerry Renshaw

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

Victor Salva Despite the usual symptoms of sequelitis, Jeepers Creepers 2delivers the goods for those who enjoyed the 2001 original—a group large enough to propel this sequel to a record-setting opening in August 2003. While establishing the flesh-eating "Creeper" as a new horror icon with frantic action and more elaborate special effects, writer-director Victor Salva follows the traditional formula, dispensing with plot almost altogether and focusing entirely on threat, menace, mayhem, and gore. That's likely to disappoint horror fans hoping for a more revealing exploration of the Creeper's origins (room for another sequel, perhaps?), and by trapping nondescript teens in a school bus attacked by the Creeper, Salva severely limits the movie's overall potential. Still, there's something to be said for straightforward shocks, and Jeepers Creepers 2delivers enough of them to justify its profitable existence. —Jeff Shannon

Cameron Crowe One of the best romantic comedies of the 1990s, this box-office hit cemented writer-director Cameron Crowe's reputation as "the voice of a generation." Crowe could probably do without that label, but he's definitely in sync with the times with this savvy story about a sports agent (Tom Cruise) whose fall from grace motivates his quest for professional recovery, and the slow-dawning realization that he needs the love and respect of the single mom (Renée Zellweger in her breakthrough role) who has supported him through the worst of times. This is one of Cruise's best, most underrated performances, and in an Oscar-winning role, Cuba Gooding Jr. plays the football star who remains Jerry Maguire's only loyal client on a hard road to redemption and personal growth. If that sounds touchy-feely, it is only because Crowe has combined sharp entertainment with a depth of character that is rarely found in mainstream comedy. —Jeff Shannon

It's impossible to walk away from John Q.without thinking about the film that could have been. The pathetic state of health care in the U.S. and the desperate behavior it engenders is not only worthy but edgy material; no doubt director Nick Cassavetes (She's So Lovely) and Denzel Washington (as well as Robert Duvall, Ray Liotta, James Woods, and Anne Heche) were drawn to the provocative pitch. The only snag is that John Q.has about as much edge as an after-school special. Washington plays John Quincy Archibald, a hard-working factory worker whose house stands to be repossessed and whose lovely wife (Kimberly Elise) is at her wits' end. When his extremely cute son collapses while rounding the bases in a Little League game, things go from bad to worse. John Q. takes a downtown Chicago emergency room hostage when he learns that the heart transplant his son needs won't be performed because his health care doesn't cover it. The action-drama that ensues—replete with one-liners, stilted debate, inept snipers, and multiple references to O.J. Simpson's white Bronco—is so littered with clichés that the issues, timely ones, get lost in a crescendo of melodrama. —Fionn Meade

John Dahl Joy Ride follows the familiar conventions of road-movie thrillers with enough vitality to make everything old seem new again. A confirmed master of neo-noir suspense, director John Dahl (Red Rock West, The Last Seduction) sets a consistent tone of humor and horror as Lewis (Paul Walker) and his black-sheep brother Fuller (Steve Zahn) drive from Salt Lake City to pick up Lewis's friend Venna (Leelee Sobieski) in Boulder, Colorado. En route, they play a practical joke via CB radio, inviting vengeful terror as an unseen trucker (voiced with exquisite menace by Silence of the Lambs villain Ted Levine) pursues them with relentless, homicidal aggression. Inevitable comparisons to Steven Spielberg's Duel fail to appreciate Dahl's unique talent for energizing B-movie formulas while injecting his own brand of rib-tickling excitement. While Zahn deserves extra credit in his first top-billed role, Joy Ride wins a badge of honor for everyone involved. —Jeff Shannon

Doug Liman Studio: Tcfhe Release Date: 09/30/2008 Run time: 88 minutes Rating: Pg13

Steven Spielberg Steven Spielberg's 1993 mega-hit rivals Jawsas the most intense and frightening film he'd ever made prior to Schindler's List, but it was also among his weakest stories. Based on Michael Crichton's novel about an island amusement park populated by cloned dinosaurs, the film works best as a thrill ride with none of the interesting human dynamics of Spielberg's Jaws. That lapse proves unfortunate, but there's no shortage of raw terror as a rampaging T-rex and nasty raptors try to make fast food out of the cast. The effects are still astonishing (despite the fact that the computer-generated technology has since been improved upon) and at times primeval, such as the sight of a herd of whatever-they-are scampering through a valley. —Tom Keogh

Surpassing expectations to qualify as an above-average sequel, Jurassic Park IIIis nothing more or less than a satisfying popcorn adventure. A little cheesier than the first two Jurassicblockbusters, it's a big B movie with big B-list stars (including Laura Dern, briefly reprising her Jurassic Parkrole), and eight years of advancing computer-generated-image technology give it a sharp edge over its predecessors. While adopting the jungle spirit of King Kong, the movie refines Michael Crichton's original premise, and its dinosaurs are even more realistic, their behavior more detailed, and their variety—including flying pteranodons and a new villain, the spinosaurus—more dazzling and threatening than ever. These advancements justify the sequel, and its contrived plot is just clever enough to span 90 minutes without wearing out its welcome.

Posing as wealthy tourists, an adventurous couple (William H. Macy, Téa Leoni) convince paleontologist Alan Grant (Sam Neill) and his protégé (Allesandro Nivola) to act as tour guides on a flyover trip to Isla Sorna, the ill-fated "Site B" where all hell broke loose in The Lost World: Jurassic Park. In truth, they're on a search-and-rescue mission to find their missing son (Trevor Morgan), and their plane crash is just the first of several enjoyably suspenseful sequences. Director Joe Johnston (October Sky) embraces the formulaic plot as a series of atmospheric set pieces, placing new and familiar dinosaurs in misty rainforests, fiery lakes, and mysterious valleys, turning JP3into a thrill ride with impressive highlights (including a T. rexversus spinosaurus smack-down), adequate doses of wry humor (from the cowriters of Election), and an upbeat ending that's corny but appropriate, proving that the symptoms of sequelitis needn't be fatal. —Jeff Shannon

Shawn Levy She is a happy go lucky rich girl he is a hope i get lucky party dude. Opposites attract big laughs when these two young newlyweds embark on their perfectly planned honeymoon with disastrous & hilarious results. Studio: Tcfhe Release Date: 01/15/2008 Starring: Ashton Kutcher Brittany Murphy Run time: 95 minutes Rating: Pg13

Kathryn Bigelow Based on an incident that was officially suppressed for 28 years, K-19: The Widowmakeris a fine addition to the "sub-genre" of submarine thrillers. The first major American film about Russian cold war heroes, it re-creates the nightmare endured in 1961 by the crew of the Soviet nuclear submarine K-19, when an exposed reactor core nearly resulted in a nuclear catastrophe. Several crewmen died, and K-19's captain (played by Harrison Ford) had to assert his command when near-mutiny favored his executive officer (Liam Neeson). This escalating tension gives the film its potent dramatic thrust, and both Ford and Neeson deliver intense performances while director Kathryn Bigelow (Near Dark, Strange Days) ably controls a sub full of seething testosterone. It's not as viscerally thrilling as the classic Das Bootor U-571, and some K-19survivors protested the inclusion of inauthentic drinking scenes, but the movie benefits from grand-scale production values, seamless computer graphics, and a compelling real-life twist. —Jeff Shannon

Iain Softley

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