Library

Languages: English

Subtitles: English, Spanish

Sound: Dolby

Comments: Time waits for one man

Summary: 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

More to Explore
Shop Westerns on DVD
"3:10 to Yuma" Soundtrack
Lions Gate DVDs
Stills from "3:10 to Yuma"

Languages: English, French, Spanish

Subtitles: English

Sound: Dolby

Comments: Go back to where it all started.

Summary: Rap star Eminem makes a strong movie debut in "8 Mile", an urban drama that makes a fairly standard plot fly through its gritty attention to detail. Jimmy Smith (Eminem), nicknamed B Rabbit, can't pull himself together to take the next step with his career--or with his life. Angry about his alcoholic mother (Kim Basinger) and worried about his little sister, Rabbit lets out his feelings with twisting, clever raps admired by his friends, who keep pushing him to enter a weekly rap face-off. But Rabbit resists--until he meets a girl (Brittany Murphy) who might offer him support and a little hope that his life could get better. Under the smart and ambitious direction of Curtis Hanson ("L.A. Confidential", "Wonder Boys") and ably supported by the excellent cast and the burnt-out environment of Detroit slums, Eminem reveals a surprising vulnerability that makes "8 Mile" vivid and compelling. "--Bret Fetzer"

Languages: English

Subtitles: English

Sound: Dolby

Comments: You can't prepare for where the truth will take you.

Summary: 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 Lambs" and 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"

Languages: English, French, Spanish

Subtitles: English, French, Spanish

Sound: AC-3

Summary: Nine small rag dolls, stitched together from burlap and clock workings and lenses, are all that stands in the way of the world being overtaken by the Machines. Actually, as "9" begins, it looks like the Machines have already had their way with Earth: this is one of those post-apocalyptic landscapes without life, hope, or sunlight. Clearly "9" director Shane Acker is willing to make an animated film that doesn't soar with Disney colors or Pixar cheer--in fact, main characters are killed off before the movie's halfway through. Our hero is 9 (voiced by Elijah Wood), so dubbed for the number on his back; after awakening to very confused consciousness, he bumps into other puppet survivors, such as the imperious 1 (Christopher Plummer), the warrior-like 7 (Jennifer Connelly), and the one-eyed comic sidekick 5 (John C. Reilly). They do battle with the Machines in a relentless (and eventually monotonous) series of battles, and the exploding hardware and endless warfare has a tendency to crowd out whatever character development might have been set up in the opening minutes. No question the movie's design is impressive, and the characters have a wonderfully expressive quality at first. But at some point it seems the Machines have taken over the moviemaking here, with tedious results. "--Robert Horton"

Languages: English, French

Subtitles: English

Sound: Dolby

Summary: It's, like, Shakespeare, man! This good-natured and likeable update of "The Taming of the Shrew" takes the basics of Shakespeare's farce about a surly wench and the man who tries to win her and transfers it to modern-day Padua High School. Kat Stratford (Julia Stiles) is a sullen, forbidding riot grrrl who has a blistering word for everyone; her sunny younger sister Bianca (Larisa Oleynik) is poised for high school stardom. The problem: overprotective and paranoid Papa Stratford (a dryly funny Larry Miller) won't let Bianca date until boy-hating Kat does, which is to say never. When Bianca's pining suitor Cameron (Joseph Gordon-Levitt) gets wind of this, he hires the mysterious, brooding Patrick Verona (Heath Ledger) to loosen Kat up. Of course, what starts out as a paying gig turns to true love as Patrick discovers that underneath her brittle exterior, Kat is a regular babe. The script, by Karen McCullah Lutz and Kirsten Smith, is sitcom-funny with peppy one-liners and lots of smart teenspeak; however, its cleverness and imagination doesn't really extend beyond its characters' Renaissance names and occasional snippets of real Shakespearean dialogue. What makes the movie energetic and winning is the formula that helped make "She's All That" such a big hit: two high-wattage stars who look great and can really act. Ledger is a hunk of promise with a quick grin and charming Aussie accent, and Stiles mines Kat's bitterness and anger to depths usually unknown in teen films; her recitation of her English class sonnet (from which the film takes its title) is funny, heartbreaking, and hopelessly romantic. The imperious Allison Janney ("Primary Colors") nearly steals the film as a no-nonsense guidance counselor secretly writing a trashy romance novel. "--Mark Englehart"

Languages: English, French, Spanish

Subtitles: English, French, Spanish

Sound: AC-3

Summary: To anyone who has ever yearned to see woolly mammoths in full stampede across the Alps, "10,000 BC" can be heartily recommended. There's also a flock of "terror birds"--lethal ostriches on steroids--in a steaming jungle only a splice away from the heroes' snow-dusted alpine habitat. And lo, somewhere in the vastness of the North African desert lies a city whose slave inhabitants alternately teem like the crowds in "Quo Vadis" during the burning of Rome and trudge in hieratically menacing formations like the workers in "Metropolis". That's pretty much it for the cool stuff. Setting movies in prehistoric times is dicey. Apart from the "Dawn of Man" sequence in "2001: A Space Odyssey", only "Quest for Fire" makes the grade, and its creators had the good sense to limit the dialogue to grunts and moans. "10,000 BC" boasts a quasi-biblical narrator (Omar Sharif) and characters who speak in formed, albeit uninteresting, sentences--including a New Age–y "I understand your pain." But let no one say the storytelling isn't primitive. The narrator speaks of "the legend of the child with the blue eyes" and bingo, here's the kid now. When, grown up to be Camilla Belle, she's carried off by "four-legged demons"--guys on horseback to you--the neighbor boy (Steven Strait) who hankers to make myth with her leads a rescue mission into the great unknown world beyond their mountaintop. His name is D'Leh, which is "Held", the German for "knight," spelled backward. So yes, there is some hidden meaning after all.
"10,000 BC" is the latest triumph of the ersatz from writer-director Roland Emmerich. Like "Stargate" (1994), "Independence Day" (1996), and "The Day After Tomorrow" (2004) before it, it's shamelessly cobbled together out of every movie Emmerich can remember to pilfer from (though to be fair, the section in pre-ancient Egypt harks back to his own "Stargate"). Emmerich's saving grace is that his films' cheesiness is so flagrant, his narratives so geared for instant gratification, he can seem like a kid simultaneously improvising and acting out a story in his backyard: "P'tend there's this alien ... p'tend maybe he came from Atlantis or something...." Just don't p'tend it has anything to do with real moviemaking. "--Richard T. Jameson"

Languages: English, French

Subtitles: Spanish, French

Sound: Dolby Digital 2.0 Mono

Comments: Life Is In Their Hands -- Death Is On Their Minds!

Summary: Sidney Lumet's directorial debut remains a tense, atmospheric (though slightly manipulative and stagy) courtroom thriller, in which the viewer never sees a trial and the only action is verbal. As he does in his later corruption commentaries such as "Serpico" or "Q & A", Lumet focuses on the lonely one-man battles of a protagonist whose ethics alienate him from the rest of jaded society. As the film opens, the seemingly open-and-shut trial of a young Puerto Rican accused of murdering his father with a knife has just concluded and the 12-man jury retires to their microscopic, sweltering quarters to decide the verdict. When the votes are counted, 11 men rule guilty, while one--played by Henry Fonda, again typecast as another liberal, truth-seeking hero--doubts the obvious. Stressing the idea of "reasonable doubt," Fonda slowly chips away at the jury, who represent a microcosm of white, male society--exposing the prejudices and preconceptions that directly influence the other jurors' snap judgments. The tight script by Reginald Rose (based on his own teleplay) presents each juror vividly using detailed soliloquies, all which are expertly performed by the film's flawless cast. Still, it's Lumet's claustrophobic direction--all sweaty close-ups and cramped compositions within a one-room setting--that really transforms this contrived story into an explosive and compelling nail-biter. "--Dave McCoy"

Languages: English, French

Subtitles: English, Spanish

Sound: Dolby

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

Languages: English, French, Spanish

Subtitles: English, French, Spanish

Sound: AC-3

Comments: Inspired by the true story of five students who changed the game forever.

Summary: An unconvincing exercise in moral complexity, "21" is based on Ben Mezrich's book "Bringing Down the House: The Inside Story of Six M.I.T. Students Who Took Vegas for Millions". Jim Sturgess ("Across the Universe") plays brilliant, blue-collar scholar Ben Campbell, whose doubts that he'll win a scholarship to Harvard Medical School compel him to join a secret, M.I.T. gang of math whiz kids. Under the silky but chilling command of a math professor (Kevin Spacey), Jim and the others master card counting, i.e., the statistical analysis of cards dealt in blackjack games. The team lives a humdrum existence during the week, but on weekends in Sin City, the students are rolling in cash, going to exclusive clubs, and feeling on top of the world. (Ben even gets the girl: a comely, fellow counter played by Kate Bosworth.) Despite all that success, Ben feels ethically compromised, and indeed director Robert Luketic ("Legally Blonde"), in the old tradition of American movies, plays it both ways where fun vices are concerned. On the one hand, it feels so good; on the other, ahem, we know it's wrong. That studied ambivalence proves wearing after a while, making the most interesting character in the film a casino watchdog played by Laurence Fishburne. A master at reading the emotions of gamblers beating the house with a scam, he's admirable for being good at his job, but repellent for wrecking the faces of counters in casino dungeons. He's all about moral complexity in the tradition of anti-heroes, and a truly provocative element in an otherwise superficial movie. "--Tom Keogh"


Beyond "21"
On Blu-ray
Read the book 21 was based on
UMD for PSP
Stills from "21" (click for larger image)

Languages: English, French

Subtitles: Spanish, French

Sound: AC-3

Comments: Difference between dead and life

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

Languages: English

Sound: Dolby

Comments: This life was so close to never happening

Summary: "25th Hour" is a eulogy, mourning the New York of post-September 11, 2001, and the regrettable life of one of the city's least reputable citizens. Monty Brogan (Edward Norton) isn't a bad guy--in fact he's a mensch, adopting a battered dog in the film's mood-setting opening scene, and leading a decent life with his girlfriend (Rosario Dawson)... when he's not dealing narcotics. Facing a seven-year prison term, Monty spends his last free night with pals (Barry Pepper, Philip Seymour Hoffman) and visiting his understanding father (Brian Cox), while a Russian drug lord pressures him for getting busted. Lee directs this plotless, no-win scenario as the last gasp of a guy with nowhere to go, and the film (written by David Benioff, from his own novel) suffers from a similar loss of potential, lacking enough focus to make Monty's odyssey compelling. Instead, "25th Hour" (which also costars Anna Paquin) rambles from scene to lazy scene, vaguely lamenting that lives have been wasted, some by terrorism, others by self-destruction. "--Jeff Shannon"

Languages: English, French

Subtitles: Cantonese, Chinese, English, French, Korean, Spanish

Sound: AC-3

Comments: This January, always a bridesmaid, never a bride.

Summary: Katherine Heigl is delightful as Jane, a self-effacing Gal Friday so addicted to organizing weddings in her off time, that "27 Dresses" opens with her character juggling two nuptials on the same night. A perpetual bridesmaid, Jane’s hobby is discovered by a matrimony reporter named Kevin (James Marsden), who hides a romantic side behind his wall of cynicism. While Kevin gradually develops feelings for Jane, the latter’s superficial sister, Tess (Malin Akerman), pursues George (Edward Burns), Jane’s boss and the object of her love. This romantic circle could go on forever, except that Jane is unexpectedly moved by Kevin despite her general irritation with him and without knowing that he’s on the verge of sandbagging her with a ridiculing article in his newspaper. The situation is absurd, but the emotions are not. Heigl is very good, rooted in a long tradition of comely comediennes playing characters who fly under the radar of life. She makes Jane’s pain palpable and conveys her character’s inability to say no without making her look unappealing or weak. Marsden perfectly captures the part of a rumpled, underdressed writer with repressed passions, Akerman is as convincingly shrewish here as she was in "The Heartbreak Kid", and Burns is fine as one of those guys so busy saving the world he barely pays attention to the people in his life. The script by Aline Brosh McKenna ("The Devil Wears Prada") is fun if predictable, and Anne Fletcher’s direction is vibrant. "--Tom Keogh"

Languages: English, French, Spanish

Subtitles: English, Spanish

Sound: Dolby

Comments: His fear began when he woke up alone. His terror began when he realised he wasn't.

Summary: The director/producer team that created "Trainspotting" turn their dynamic cinematic imaginations to the classic science fiction scenario of the last people on Earth. Jim (Cillian Murphy) wakes up from a coma to find London deserted--until he runs into a mob of crazed plague victims. He gradually finds other still-human survivors (including Naomie Harris), with whom he heads off across the abandoned countryside to find the source of a radio broadcast that promises salvation. "28 Days Later" is basically an updated version of "The Omega Man" and other post-apocalyptic visions; but while the movie may lack originality, it makes up for it in vivid details and creepy paranoid atmosphere. "28 Days Later's" portrait of how people behave in extreme circumstances--written by novelist Alex Garland ("The Beach")--will haunt you afterward. Also featuring Brendan Gleeson ("The General, Gangs of New York") and Christopher Eccleston ("Shallow Grave, The Others"). "--Bret Fetzer"

Languages: English, Spanish, French

Subtitles: English, Spanish, French

Sound: AC-3

Comments: A Comedy about the moments that touch us in ways we've never been touched before.

Summary: Cult comic actor Steve Carell--long adored for his supporting work on "The Daily Show" and in movies like "Bruce Almighty" and "Anchorman"--leaps into leading man status with "The 40 Year-Old Virgin". There's no point describing the plot; it's about how a 40 year-old virgin named Andy (Carell) finally finds true love and gets laid. Along the way, there are very funny scenes involving being coached by his friends, speed dating, being propositioned by his female manager, and getting his chest waxed. Carell finds both humor and humanity in Andy, and the supporting cast includes some standout comic work from Paul Rudd ("Clueless", "The Shape of Things") and Jane Lynch ("Best in Show", "A Mighty Wind"), as well as an unusually straight performance from Catherine Keener ("Lovely & Amazing", "Being John Malkovich"). And yet... something about the movie misses the mark. It skirts around the topic of male sexual anxiety, mining it for easy jokes, but never really digs into anything that would make the men in the audience actually squirm--and it's a lot less funny as a result. Nonetheless, there are many great bits, and Carell deserves the chance to shine. "--Bret Fetzer"

Languages: English, French

Subtitles: Chinese, English, French, Korean, Portuguese, Spanish

Sound: Dolby

Comments: Imagine having to win over the girl of your dreams... every friggin' day.

Summary: With generous amounts of good luck and good timing, "50 First Dates" set 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 Singer" no 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 "Memento" meets "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"

Languages: English

Subtitles: English, Spanish, French

Sound: Dolby

Comments: Mickey Mantle and Roger Maris. Why did America have room in its heart for only one hero?

Summary: "61*" is an endearing ode to the baseball days of yore when the press was the enemy, salaries were in check, and breaking records with bat and glove took on Ruthian proportions. In 1961 baseball expanded its season from 154 games to 162, allowing weaker pitching into the major leagues and two New York Yankees teammates--the colorless Roger Maris and golden boy Mickey Mantle--to make an assault on the sport's ultimate record: Babe Ruth's 60 home runs. To add to the stew, baseball commissioner Ford Frick announced any record set in the last eight games of the season wouldn't count toward the official record; records had to be achieved in 154 games.
Director Billy Crystal guarantees success for his movie in the perfect casting of the leads. Barry Pepper ("Saving Private Ryan"'s religious sniper) is deft as Maris, and Thomas Jane is a perfect Mantle, a superman in a Yankee uniform. Despite the differences between family man Maris and hard-living Mantle, they form a rewarding friendship amid the media and fan frenzy. The shy Maris took the brunt of the storm, even facing boo-birds in his home stadium. Crystal and first-time writer Hank Steinberg keep the pace moving quickly between the field, the locker room, the press box, and the home front. The film never tries to dazzle with more than the facts (and it softens Mantle up a bit), yet it belongs on the short list of grand baseball movies. "--Doug Thomas"

Languages: English, French

Subtitles: English, French

Sound: AC-3

Comments: He has 88 minutes to solve a murder. His own.

Summary: Al Pacino looks startled through much of "88 Minutes", as though taken by surprise at being cast in a thriller that must've first passed across the desks of Clint Eastwood and Harrison Ford. Still, Pacino brings his usual oomph to the role of a Seattle forensic psychiatrist, whose testimony secured the death sentence for a crazy serial killer (Neal McDonough). Wouldn't you know it, the very day the killer is sentenced to die, a copycat "Seattle Slayer" is on the loose, and Pacino starts getting ominous phone calls telling him the exact time of his own death. Tick tock: it's 88 minutes away. The film then serves up more red herrings than a Stalingrad fish fry, as possible culprits pop up every five minutes or so (among them an attractive group of med-school students played by Alicia Witt, Leelee Sobieski, and Benjamin McKenzie). Lapses in logic abound, but if you hunker down and zone in on Pacino's weary-eyed, poufy-haired professionalism, you can enjoy the goings-on. (They even make him run up flights of stairs, which one would have thought beyond him now.) Seattle's frequent stunt double, Vancouver, B.C., stands in as a location, and Jon Avnet supplies the slick direction. The cast is talented (including Amy Brenneman), leading you to guess that a lot of people will do anything just to work with Al Pacino. And you've got to admire Pacino's chutzpah at sharing the screen with statuesque actresses such as Brenneman and Sobieski; they tower over him, but he still holds his own. --"Robert Horton"

Stills from "88 Minutes" (click for larger image)

Languages: French, Spanish, English

Subtitles: English, Spanish, French

Sound: Dolby

Comments: So many dogs. So little time.

Summary: Back in 1961, Walt Disney got a little hip with "101 Dalmatians", making use of that flat Saturday morning cartoon style that had become so popular. The result is a kitschy change in animation and story. Pongo and Perdita are two lonely dalmatians who meet cute in a London park and arrange for their pet humans to marry so they can live together and raise a family. They become proud parents of 15 pups, who are stolen by the dastardly Cruella De Vil, who wants to make a fur coat out of them. Cruella has become the most popular villain in all of Disney; she's flamboyantly nasty and lots of fun. But it's the dalmatians who shine in this endearing classic, particularly those precocious pups. Telling the story from the dogs' point of view is a clever conceit, a fundamental flaw of the live-action remake. --"Bill Desowitz"
On the DVD
This two-disc platinum edition features great sound and incredibly bright, intense colors thanks to the restoration process, but its most impressive selling point is the huge assortment of bonus features designed to delight children, families, and the most serious Disney fans. Kids will have fun caring for their very own puppy in the virtual Dalmatian game for television or on DVD ROM and can find out just what kind of puppy they're most like and which human Disney character they're most compatible with in the puppy profiler game. The fun with language game is geared toward the very young preschooler and teaches numbers and the names of common household items. A modern Selena Gomez music video of "Cruella DeVil" will appeal to tweens and teens. The whole family will enjoy the "101 Pop Up Facts For Families" option which prints various movie facts like the name and author of the original book and how specific scenes differ between the book and the movie right on the screen during the movie and Disney fans will love the similar "101 Pop Up Facts For Fans" feature which supplies a wide variety of film trivia about featured voice talents, famous Disney animators that worked on the film, technical devices employed like multi-pane shots and the Xerox process, and which artists directed specific scenes in the movie. Eleven separate Backstage Disney featurettes interview a host of animators, writers, historians, producers, and story men regarding the film's contemporary feel and the groundbreaking technical processes like the then-new Xerox process utilized in making "101 Dalmatians". Also highlighted is Bill Pete's amazing storytelling contribution to the film, the technical and mechanical innovations of Ub Iwerks, the songwriting process, and the animation prowess of famous Disney animators like Woolie Reitherman, Frank Thomas, Ollie Johnston, Milt Kahl, Marc Davis, Ken Anderson, and Walt Peregoy. The 12-minute dramatization of the longstanding correspondence between author Dodie Smith and Walt Disney is intriguing and the trailers and radio and television spots provide fun historical reference for the film and its various releases. Finally, the "Music and More" feature presents a variety of deleted and abandoned songs as well as many alternate versions and takes of songs used in the final film. "--Tami Horiuchi"
Stills from "101 Dalmatians" (click for larger image)

Languages: English, French, Spanish

Subtitles: English

Sound: Dolby

Comments: So many dogs. So little time.

Summary: Back in 1961, Walt Disney got a little hip with "101 Dalmatians", making use of that flat Saturday morning cartoon style that had become so popular. The result is a kitschy change in animation and story. Pongo and Perdita are two lonely dalmatians who meet cute in a London park and arrange for their pet humans to marry so they can live together and raise a family. They become proud parents of 15 pups, who are stolen by the dastardly Cruella De Vil, who wants to make a fur coat out of them. Cruella has become the most popular villain in all of Disney; she's flamboyantly nasty and lots of fun. But it's the dalmatians who shine in this endearing classic, particularly those precocious pups. Telling the story from the dogs' point of view is a clever conceit, a fundamental flaw of the live-action remake. "--Bill Desowitz"

Languages: English, French, Spanish

Sound: AC-3

Comments: So many dogs. So little time.

Summary: It's hard to know who thought it would be a good idea to make a live-action version of Disney's animated classic. The one bright notion anyone had was casting Glenn Close as Disney über-villainess Cruella de Vil; her flashing eyes and angular features are a perfect match and do credit to what is one of the most indelible animated characters Disney has ever created. The story remains essentially the same, focusing on Cruella's plot to kidnap the puppies of a young married couple (Jeff Daniels and Jolie Richardson) and make them into a coat. But the dreaded John Hughes, who wrote this script, fills it with sadistic slapstick and far too few genuine laughs. The human actors work hard, but to little avail; thankfully, there's a passel of puppies to regularly steal scenes when the going gets dreary--although there are only so many laughs to be had from inappropriate dog puddles. "--Marshall Fine"

Languages: English

Sound: Dolby

Comments: A New Hero Unleashed.

Summary: Patch, the TV-obsessed pup of the 1961 animated original, becomes a star in this sequel when he sneaks off to audition for his favorite show, "Thunderbolt". Meanwhile, the ego-driven canine star (voiced by "Spin City"'s Barry Bostwick) learns that his character is about to be killed off. His solution? Be a real-life hero. Patch, with his encyclopedic knowledge of "Thunderbolt" episodes, prowls the streets of London with his idol, making disastrous attempts to rescue unsuspecting citizens. Cruella De Vil returns, on probation for her earlier misdeeds, but still determined to steal the puppies. She springs old cohorts Horace and Jasper from jail and adds artist Lars (Martin Short) to her arsenal. What results is a blend of the animated original's coziness with the live-action version's slapstick, wrapped up with a high-minded ending in which Patch teaches his hero what it means to be genuinely heroic. (Ages 3 and older) "--Kimberly Heinrichs"

Languages: English

Subtitles: English, French

Sound: Dolby

Comments: When schools become war zones and both sides start taking casualties, what then?

Summary: A vicious high school student is dead. A gang hit? An act of sudden rage? Or did a once-idealistic teacher finally snap? The issues and the tension hit home when Samuel L. Jackson stars in a gritty urban-school thriller that's "gripping, high-octane entertainment" (Newhouse News Service).

Languages: English, French, Spanish

Sound: Dolby

Comments: Feel the wrath in IMAX

Summary: Like "Sin City" before it, "300" brings 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, 300 is also comparable to "Sin City" in 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 City was. 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, "300" delivers. "--David Horiuchi"

Languages: English

Sound: SDDS

Comments: Based on the terrifying story by Stephen King

Summary: As creepfests go, "1408" is right up there with "The Shining", also inspired by a Stephen King work and featuring a menacing hotel and the wobbly sanity of a writer lodging there. "It's an evil [bleep]-ing room!" intones Samuel L. Jackson, who plays the smooth but vaguely sinister manager of the Dolphin Hotel. John Cusack is stellar as Mike Enslin, a cynical Everyschlub who writes "occult travel guides," but believes in nothing, especially anything resembling an afterlife.
What happens in room 1408 of the Dolphin may change Enslin forever--if he survives the first hour. The thrills range from jumpy "gotcha" moments involving mirror images, to more traditional horror fare like bleeding walls, to truly diabolical touches like the recurrence of the Carpenters' "We've Only Just Begun." (Shudder.) The film does a nice job of weaving the operatic horror effects with the truly heart-breaking backstory of the death of Enslin's young daughter and his marriage--perhaps the only two things Enslin has ever believed in. And thankfully, there's just enough humor to leaven the intensity at key moments; Cusack is unparalleled when it comes to delivering a self-deprecating wisecrack, even as his life passes before his eyes. Get your adrenaline pumping and check into this room. Oh, and sorry, no refunds. "A.T. Hurley"

Languages: English, French

Subtitles: English, French

Sound: AC-3

Summary: Now this is how you destroy the world. Roland Emmerich's 2012 pounces on a Nostradamus-style loophole in the Mayan calendar and rams the apocalypse through it, gleefully conjuring up an enormous amount of Saturday-matinee fun in the process. A scientist (Chiwetel Ejiofor) detects shifting continental plates and sun flares and realizes that this foretells the imminent destruction of the planet. Just as the molten lava is about to hit the fan, a novelist (John Cusack) takes his kids on a trip to Yellowstone; later he'll hook up with his ex (Amanda Peet) and her new boyfriend (Tom McCarthy) in a global journey toward safety. If there is any safety. The suitably hair-raising plot lines are punctuated--frequently, people, frequently--by visions of mayhem around the globe: the Vatican falls over, the White House is clobbered (Emmerich's Independence Day was not enough on that score), and the California coastline dives into the Pacific Ocean. Unlike other action directors we could name, Emmerich actually understands how to let you see and drink in these vast special-effects vistas--and they are incredible. He also honors the old Irwin Allen disaster-movie tradition by actually shelling out for good actors. Cusack and Ejiofor are convincing even in the cheesiest material; toss in Danny Glover (the U.S. president), Woody Harrelson (a nut-bar conspiracy-theorizing radio host), Thandie Newton, and Oliver Platt, and you've got a very watchable batch of people. Emmerich hasn't developed an ear for dialogue, even at this stage in his career, and the final act goes on a bit too long. This is a very silly movie, but if you've got a weakness for B-movie energy and hairbreadth escapes, 2012 delivers quite a bit of both. --Robert Horton




Stills from "2012" (Click for larger image)