Library

Languages: English, French

Subtitles: English, Spanish

Sound: AC-3

Summary: Oliver Stone’s "W." is similar to his other movies about American presidents ("JFK", "Nixon"), which is to say these films are much more about Stone’s imagined versions of reported events than they are alleged reenactments. As such, "W." is Stone’s case for what he sees as the absurdity of George W. Bush’s ascendance to the White House and especially the arrogant blunder of the Iraq War. Josh Brolin is very good as the miscreant son of George H. W. Bush (James Cromwell), Vice President to Ronald Reagan and 41st president of the United States. Adrift in a sea of booze and squandered opportunities, the younger Bush is largely driven by a need for his disapproving father’s love and respect, which never truly arrives. Becoming a hatchet man for Bush Sr.’s administration, “W” (as his wife, Laura--played by Elizabeth Banks--call him) meets Karl Rove (Toby Jones) and heads toward the Texas governorship, despite his father’s preference that the more golden son, Jeb, get all the family’s support in his Florida gubernatorial bid.
Told in broken chronology, "W." focuses on Bush’s post-9/11 path to waging a “preventive war” in Iraq despite no hard evidence of weapons of mass destruction to justify it. The major players in W’s administration--Rove, Colin Powell (Jeffrey Wright), Condoleeza Rice (Thandie Newton), and especially Dick Cheney (Richard Dreyfuss)--all participate in closed meetings that look and sound like every investigative account by the New York Times or Bob Woodward about the administration’s inner workings leading up to the war. Much of this is quite fascinating if a little weird (Newton’s performance is indeed strange), but the drama is often powerful, particularly around Powell’s resistance to the rising tide for a supposedly slam-dunk war. A number of the film’s key performances, besides Brolin’s, are very strong, especially Cromwell, Jones, Wright, Dreyfuss and Bruce McGill as George Tenet. "--Tom Keogh"


Beyond W. on DVD
Family of Secrets the book
W. the Soundtrack
W. the Original Motion Picture Score
Stills from W. (click for larger image)

Languages: English

Subtitles: English, Spanish, French

Sound: Dolby Digital 2.0 Mono

Summary: Mix "The Great Race" with the slapstick humor of "Road Runner" cartoons and the wildly inventive minds of Hanna-Barbera, and you've got the 1968 animated series "Wacky Races". You remember the lineup: the Slag brothers in the Boulder-Mobile; the Gruesome Twosome in the Creepy Coupe, with a dragon in its belfry; Prof. Pat Pending (ha ha) in the Convert-a-Car; Red Max in the Crimson Haybailer biplane; Sergeant Blast and Private Meekly in the tank-like Army Surplus Special; the Ant Hill Mob in the Bullitt-Proof Bomb; Lazy Luke and Blubber Bear in the Arkansas Chugga-Bug; Rufus Ruffcut and Sawtooth the beaver in the Buzz Wagon; the Belle of the Brickyard, Penelope Pitstop, in the Compact Pussycat; Peter Perfect in the Turbo Terrific; and our hissable villains, Dick Dastardly and his snickering muttering dog, Muttley ("Sassa frassin'...") in the Mean Machine. In each 11-minute episode, the physics-defying cars compete in different areas of the country ("See-Saw to Arkansas," "Rhode Island Road Race," "The Carlsbad or Bust Bash"), so evenly matched that any car has a chance to win despite the evil schemes of Dastardly and Muttley, who always seem to come to a Wile E. Coyote-type end (writer Mike Maltese worked on both series). There's never really a plot, but just a string of situations and gags before someone finally crosses the finish line to earn the checkered flag.
The DVD set contains all 34 episodes of the series, looking reasonably good. Four members of the original creative team appear on a commentary track on four different episodes, and their discussion is less interesting for what they have to say about "Wacky Races" ("What was that car again?") than for their memories of working for Hanna-Barbera ("we did things off the top of the head"). There's also pop-up factoids on two episodes, a 20-minute recap of the series' history, and a look at the two spinoff series, "Dastardly and Muttley in Their Flying Machines" and "The Perils of Penelope Pitstop". That a relatively short-lived series could inspire two spinoffs, toys, comic books, a CD-ROM game, and other souvenirs is a testament to its ability to capture the Saturday-morning imagination and create a lot of fond memories. "--David Horiuchi"

Subtitles: English, French

Summary: Not only was Barry Levinson's comedy shot in a relatively fast period of 29 days, the satire of politics and show business feels as if it were made yesterday. There's a fresh spin quite evident here, a nervy satire of a presidential crisis and the people who whitewash the facts. The main players are a mysterious Mr. Fix-It (Robert De Niro), veteran Hollywood producer (Dustin Hoffman), and a White House aide (Anne Heche). Can the president's molesting of a young girl be buried in the two weeks before an election? A war in Albania just might do the trick. In the good old days, the president would just invade. With modern technology, it's even cleaner. The hungry press looks for any lead, convenient misinformation is created by the latest Hollywood fakery ("all developed by the new James Cameron film") creating images and merchandise all instantly packaged. And it must be real, because it's on TV. David Mamet's script never questions the morals or the absolute secrecy needed to pull this thing off. He and director Barry Levinson have enough truth in the story to make you wonder what is real news and what is just promotion the next time you see CNN. Many of the supporting players impact the story with mere presence: Denis Leary as a quote man, Willie Nelson as a songwriter. The three leads are magnificent. With the similarities between history and this film, "Wag" will forever linked to the Monica Lewinsky saga. This video version contains a new minidocumentary focusing on the parallels of the film with the Bill Clinton scandal, including comments from director Barry Levinson and hosted by newsman Tom Brokaw. "--Doug Thomas"

Languages: English

Sound: Dolby Digital 2.0 Surround

Summary: One of the funniest films in many a moon was hiding at art house theaters in 1998. Former "Saturday Night Live" comedian and Spinal Tap member Christopher Guest creates the ultimate parody of small-town dramatics, "Waiting for Guffman". Corky St. Claire (Guest), an overwhelming drama director hiding out in Blaine, Missouri, thinks he has found the vehicle to put him back on Broadway: the city's 150th anniversary play, "Red, White, and Blaine." As rehearsals start, we learn of the town's history ("the stool capital of the world") including a brush with a UFO. The mockumentary follows the various townsfolk wishing for stardom: Parker Posey as a Dairy Queen clerk, Catherine O'Hara and Fred Willard as stage-struck travel agents, Matthew Keeslar as the town's bad boy, and Eugene Levy (who cowrote the film with Guest) as a dentist who dreams of glory on the stage. The film is a hoot from beginning to end, and be sure to watch the closing credits. Fans of Guest's deft dry humor should not miss his other parody of the entertainment world, "The Big Picture" (Kevin Bacon as a student filmmaker who goes to Hollywood). "--Doug Thomas"

Languages: English

Subtitles: Spanish

Sound: Dolby

Summary: The bitter, vengeful world of waiting tables gets the "Clerks" treatment in "Waiting...." A new employee (John Francis Daley, "Freaks and Geeks") gets trained at Shenanigan's, a banal theme restaurant where the bored employees play a game of flaunting their genitals. The staff includes a snarky waiter (Ryan Reynolds, "Van Wilder, The Amityville Horror") who lusts after the underage hostess; a waiter suffering from crippling pee-shyness (Robert Patrick Benedict, "Threshold"); an oracular dishwasher (Chi McBride, "Roll Bounce"); and a conflicted waiter named Dean (Justin Long, "Dodgeball"), who's just been offered a promotion to assistant manager--a job that offers more money, but threatens to trap him at Shenanigan's for the rest of his life. "Waiting..." is a loose shamble of a movie--the only thing resembling a story is Dean's life crisis--but that's part of its charm. It's a tricky thing to depict tedium without being tedious, but "Waiting..." pulls it off; some jokes smack of forced sitcom writing, but most of the humor feels genuine, as if it came from writer/director Rob McKittrick's personal experience. A future cult film. Also featuring Anna Faris ("Lost in Translation"), Luis Guzman ("The Limey"), and rabidly adored stand-up comic Dane Cook as..a cook. "--Bret Fetzer"

Languages: English, French

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

Sound: AC-3

Summary: The Pixar-like roll of Judd Apatow ("The 40-Year-Old Virgin", "Knocked Up", "Superbad") continues with another sure-fire hit. In charting the meteoric rise, catastrophic fall and Lazarus-like rise of rocker Dewey Cox, "Walk Hard" parodies the classic Hollywood bio-pic, cashing in mostly on "Walk the Line". John C. Reilly, one of Hollywood's most solid character actors, makes the most of his Golden Globe-nominated star turn as Dewey, whose road to stardom is paved with a childhood tragedy that claims the life of his prodigiously talented brother ("The wrong kid died," is his father's mantra), instant stardom (his first record is a hit just 35 minutes after it was recorded), sex and drugs, and the inevitable "dark (effen) period" that leads him to rehab. Reilly gets solid backup from current and former "Saturday Night Live" alumni, including Kirsten Wiig as his incredibly fertile first wife who has no faith in his musical aspirations ("You're never going to make it," she cheerily ends one phone call); Tim Meadows, never better, as Dewey's drummer, who, in one of the film's best scenes, does a poor job of dissuading him from trying marijuana); and Chris Parnell as his bass player. Jenna Fischer leaves Pam back at "The Office" as Darlene, Dewey's virtuous duet partner. Hilarious cameos give "Walk Hard" a great "Hey!" factor: Hey, that's Frankie Muniz as Buddy Holly. Hey, that's "Kenneth" from "30 Rock". Hey, there's Jack Black and Paul Rudd as--no kidding--Paul McCartney and John Lennon revealing "a rift in the Beatles." Some of the jokes are obvious (come on; the guy's last name is Cox), others inspired. But the decades-spanning music, echoing the styles of gritty Johnny Cash, romantic Roy Orbison, obtuse Bob Dylan, trippy Brian Wilson, and even a bit of anachronistic punk rock, is as pitch perfect and affectionately observed as in "The Rutles", "This Is Spinal Tap" and "A Mighty Wind". "Walk Hard" earns its R-rating, particularly for a sure-to-be-talked-about scene of hotel-room debauchery. But: Hilarious? Outrageous? Twisted? To quote the title of one of Dewey's hit songs, "Guilty as Charged." "--Donald Liebenson"

Beyond "Walk Hard: The Dewey Cox Story"
On 2-disc Widescreen
The Soundtrack
UMD for PSP
Stills from "Walk Hard: The Dewey Cox Story" (click for larger image)

Languages: English, French, Spanish

Subtitles: Spanish

Sound: AC-3

Summary: Studio: Tcfhe Release Date: 03/25/2008 Run time: 153 minutes Rating: Nr

Languages: English, French, Spanish

Subtitles: English, French, Spanish

Sound: AC-3

Summary: A solid and entertaining biopic, "Walk the Line" works less as a movie than an actors' showcase for its stars. Joaquin Phoenix's total immersion into the skin of singer Johnny Cash is startling--watching it, you can't believe this is the same guy who whined about being "vexed" in "Gladiator". As he evolves from a farm boy to gospel croonin' plunker to the Man in Black, Phoenix disappears into Cash's deep baritone, his way of slinging the guitar onto his back, and his hunched-up style of strumming. But it's more than just picking up mannerisms: Phoenix also sings as Johnny Cash, and it's quite impressive.
The story of how Johnny Cash became Johnny Cash traces from his childhood under a distant father (Robert Patrick) to his early attempts at a music career, during which he married his girlfriend Vivian (Ginnifer Goodwin). During a tour with the likes of Elvis (Tyler Hilton) and Jerry Lee Lewis (Waylon Malloy Payne), he encounters singer June Carter (Reese Witherspoon), and his love for her--and her rejection of him through the years--spurs him into drugs, drinking, and depression. As with most movies based on real-life singers, as his popularity grows, the women come a-flockin', and the childhood demons surface. Witherspoon, who matches Phoenix drawl for drawl, plays June both as a sassy spitfire whose charm breaks your heart, and as a sympathetic friend who tries to help Cash get over--well, her. The love story is what endures, but the movie comes most alive during its musical numbers, and even if you're not a country fan, it may just get you to run out and buy a Johnny Cash album."--Ellen A. Kim"

Languages: English, Russian, French, Spanish

Subtitles: English, Spanish

Sound: AC-3

Summary: A solid and entertaining biopic, "Walk the Line" works less as a movie than an actors' showcase for its stars. Joaquin Phoenix's total immersion into the skin of singer Johnny Cash is startling--watching it, you can't believe this is the same guy who whined about being "vexed" in "Gladiator". As he evolves from a farm boy to gospel croonin' plunker to the Man in Black, Phoenix disappears into Cash's deep baritone, his way of slinging the guitar onto his back, and his hunched-up style of strumming. But it's more than just picking up mannerisms: Phoenix also sings as Johnny Cash, and it's quite impressive.
The story of how Johnny Cash became Johnny Cash traces from his childhood under a distant father (Robert Patrick) to his early attempts at a music career, during which he married his girlfriend Vivian (Ginnifer Goodwin). During a tour with the likes of Elvis (Tyler Hilton) and Jerry Lee Lewis (Waylon Malloy Payne), he encounters singer June Carter (Reese Witherspoon), and his love for her--and her rejection of him through the years--spurs him into drugs, drinking, and depression. As with most movies based on real-life singers, as his popularity grows, the women come a-flockin', and the childhood demons surface. Witherspoon, who matches Phoenix drawl for drawl, plays June both as a sassy spitfire whose charm breaks your heart, and as a sympathetic friend who tries to help Cash get over--well, her. The love story is what endures, but the movie comes most alive during its musical numbers, and even if you're not a country fan, it may just get you to run out and buy a Johnny Cash album."--Ellen A. Kim"

Languages: English, French, Spanish

Subtitles: English, Spanish, French

Sound: AC-3

Summary: The Rock is definitely "Walking Tall" in this straightforward remake of the popular 1973 revenge flick based on the real-life exploits of Sheriff Buford Pusser. Only the basic premise of the original film remains, but it's well-suited to the Rock's rising-star agenda, and it's a savvy, albeit uninspired follow-up to his previous hit, "The Rundown". With typical beefcake bravado, Chris Vaughan (the Rock) arrives home in rural Kitsap County, Washington (filmed in budget-friendly Canada, of course) to find his hometown overtaken by childhood friend-turned-sleazebag casino owner and drug-dealer Jay Hamilton (played with steely-eyed malevolence by Neal McDonough), whose squad of goons includes the local sheriff. The cards are instantly and simplistically stacked against our hero, but no matter: he's soon kickin' ass and takin' names as the new sheriff, and from that point director Kevin Bray ("All About the Benjamins") goes strictly by-the-numbers, limiting this punchy programmer to a brisk 85 minutes, with comic relief (courtesy of costar Johnny Knoxville) and an obligatory love-interest (Ashley Scott, in obligatory skimpy attire) tossed in for good measure. It's a cracker movie for a cracker audience, and on those terms it handily expedites the Rock's ascension to the action-movie throne. "--Jeff Shannon"

Languages: English, French, Spanish

Subtitles: English, Spanish

Sound: AC-3

Summary: Michael Douglas won an Oscar for perfectly embodying the Reagan-era credo that "greed is good." As a Donald Trump-like Wall Street raider aptly named Gordon Gecko (for his reptilian ability to attack corporate targets and swallow them whole), Douglas found a role tailor-made to his skill in portraying heartless men who've sacrificed humanity to power. He's a slick, seductive role model for the young ambitious Wall Street broker played by Charlie Sheen, who falls into Gecko's sphere of influence and instantly succumbs to the allure of risky deals and generous payoffs. With such perks as a high-rise apartment and women who love men for their money, Charlie's like a worm on Gecko's hook, blind to the corporate maneuvering that puts him at odds with his own father (played by Sheen's offscreen father, Martin). With his usual lack of subtlety, writer-director Oliver Stone drew from the brokering experience of his own father to tell this Faustian tale for the "me" decade, but the movie's sledgehammer style is undeniably effective. A cautionary warning that Stone delivers on highly entertaining terms, "Wall Street" grabs your attention while questioning the corrupted values of a system that worships profit at the cost of one's soul. --"Jeff Shannon"

Languages: English, French, Spanish

Subtitles: English, French, Spanish

Sound: Dolby

Summary: Michael Douglas won an Oscar for perfectly embodying the Reagan-era credo that "greed is good." As a Donald Trump-like Wall Street raider aptly named Gordon Gecko (for his reptilian ability to attack corporate targets and swallow them whole), Douglas found a role tailor-made to his skill in portraying heartless men who've sacrificed humanity to power. He's a slick, seductive role model for the young ambitious Wall Street broker played by Charlie Sheen, who falls into Gecko's sphere of influence and instantly succumbs to the allure of risky deals and generous payoffs. With such perks as a high-rise apartment and women who love men for their money, Charlie's like a worm on Gecko's hook, blind to the corporate maneuvering that puts him at odds with his own father (played by Sheen's offscreen father, Martin). With his usual lack of subtlety, writer-director Oliver Stone drew from the brokering experience of his own father to tell this Faustian tale for the "me" decade, but the movie's sledgehammer style is undeniably effective. A cautionary warning that Stone delivers on highly entertaining terms, "Wall Street" grabs your attention while questioning the corrupted values of a system that worships profit at the cost of one's soul. "--Jeff Shannon"

Languages: English, French

Subtitles: Spanish, English

Sound: Dolby

Summary: Michael Douglas won an Oscar for perfectly embodying the Reagan-era credo that "greed is good." As a Donald Trump-like Wall Street raider aptly named Gordon Gecko (for his reptilian ability to attack corporate targets and swallow them whole), Douglas found a role tailor-made to his skill in portraying heartless men who've sacrificed humanity to power. He's a slick, seductive role model for the young ambitious Wall Street broker played by Charlie Sheen, who falls into Gecko's sphere of influence and instantly succumbs to the allure of risky deals and generous payoffs. With such perks as a high-rise apartment and women who love men for their money, Charlie's like a worm on Gecko's hook, blind to the corporate maneuvering that puts him at odds with his own father (played by Sheen's offscreen father, Martin). With his usual lack of subtlety, writer-director Oliver Stone drew from the brokering experience of his own father to tell this Faustian tale for the "me" decade, but the movie's sledgehammer style is undeniably effective. A cautionary warning that Stone delivers on highly entertaining terms, "Wall Street" grabs your attention while questioning the corrupted values of a system that worships profit at the cost of one's soul. "--Jeff Shannon"

Languages: English

Sound: AC-3

Summary: Pixar genius reigns in this funny romantic comedy, which stars a robot who says absolutely nothing for a full 25 minutes yet somehow completely transfixes and endears himself to the audience within the first few minutes of the film. As the last robot left on earth, Wall-E (voiced by Ben Burtt) is one small robot--with a big, big heart--who holds the future of earth and mankind squarely in the palm of his metal hand. He's outlasted all the "Waste Allocation Load Lifter Earth-Class" robots that were assigned some 700 years ago to clean up the environmental mess that man made of earth while man vacationed aboard the luxury spaceship Axiom. Wall-E has dutifully gone about his job compacting trash, the extreme solitude broken only by his pet cockroach, but he's developed some oddly human habits and ideas. When the Axiom sends its regularly scheduled robotic EVE probe (Elissa Knight) to earth, Wall-E is instantly smitten and proceeds to try to impress EVE with his collection of human memorabilia. EVE's directive compels her to bring Wall-E's newly collected plant sprout to the captain of the Axiom and Wall-E follows in hot pursuit. Suddenly, the human world is turned upside down and the Captain (Jeff Garlin) joins forces with Wall-E and a cast of other misfit robots to lead the now lethargic people back home to earth. Wall-E is a great family film with the most impressive aspect being the depth of emotion conveyed by a simple robot--a machine typically considered devoid of emotion, but made so absolutely touching by the magic of Pixar animation. Also well-worth admiring are the sweeping views from space, the creative yet disturbing vision of what strange luxuries a future space vacation might offer, and the innovative use of trash in a future cityscape. Underneath the slapstick comedy and touching love story is a poignant message about the folly of human greed and its potential effects on earth and the entire human race. Wall-E is preceded in theaters by the comical short Presto in which a magician's rabbit, unfed one too many times takes his revenge against the egotistical magician. (Ages 3 and older) --Tami Horiuchi>




Stills from Wall-E (Click for larger image)




 

Languages: English

Sound: Dolby Digital 2.0

Summary: As Walt Disney's fame grew during the 1930s, people wanted to know more about his studio and how the "Silly Symphonies" and Mickey Mouse shorts were created. Although Disney seldom allowed visitors, he periodically offered viewers peeks inside into the studio through the films in this collection. In 1937, Disney made "A Trip Through the Walt Disney Studios" for his distributor, RKO, to help the marketing campaign for "Snow White". This in-house documentary was later reworked and released as a trailer for the studio's first feature as "How Walt Disney Cartoons Are Made". In 1941, humorist Robert Benchley toured the studio and chatted with the artists in "The Reluctant Dragon". But the film was released during a bitterly fought strike that belied its cheerful depiction of the studio.
During the '50s, Walt used his studio as a backdrop for several episodes of the "Disneyland" TV series. "The Story of the Animated Drawing" traces the history of the medium, including re-creations of Emil Reynaud's Théâtre Optique (1892-1900) and Winsor McCay's vaudeville routine with his landmark film "Gertie the Dinosaur" (1914). "Tricks of Our Trade," which focuses on the creation of "Sleeping Beauty", shows staged footage of four of the celebrated "Nine Old Men"--Marc Davis, Milt Kahl, Frank Thomas, and Ollie Johnston--sketching. In the DVD bonus material, host Leonard Maltin traces the development of the studio facilities from a Los Angeles garage to its present location in Burbank. Maltin also chats with Disney legend Joe Grant, who cowrote the "Baby Weems" sequence in "Reluctant Dragon". Recorded at the time of Grant's 94th birthday, the artist displays the sly wit that continues to inspire animators. (Unrated: Suitable for all ages: cartoon violence) "--Charles Solomon"

Languages: English

Subtitles: English

Sound: Dolby Digital 2.0 Surround

Summary: To finance Disneyland he wanted to build, Walt Disney turned to the new medium of television. As host Leonard Maltin notes on this two- disc set of televised specials for the amusement park, Disney used the series to promote it, "and no one seemed to mind." ABC agreed to invest in return for a weekly one-hour program. The "Disneyland" TV show premiered on October 27, 1954: "Disneyland Story" introduced the park and its various lands, which would be the subject of future programs. The opening-day special, "Dateline Disneyland" (July 17, 1955), attracted an estimated audience of 90 million--virtually every television household in America. Hosted by Art Linkletter, Robert Cummings, and Ronald Reagan, the live broadcast includes such unplanned moments as Linkletter searching frantically for a microphone in Fantasyland. The Tenth Anniversary show (January 3, 1965) features cameos of Mary Blair and Marc Davis, two celebrated animation artists. Home movie footage of Walt pacing off distances at the barren site in Anaheim is intercut with peeks at forthcoming attractions. "Disneyland After Dark" (April 15, 1962) offers performances by Annette Funicello, Bobby Burgess, Bobby Rydell, Louis Armstrong, and a prepubescent quartet of Osmond Brothers. A must-have set for Disneyland buffs, Disney collectors, and nostalgic baby boomers. "--Charles Solomon"

Languages: English

Summary: "M-I-C-K-E-Y-M-O-U-S-E." Before the theme song's memorable spelling became an audio icon, before the series even aired, the Mickey Mouse Club was the most anticipated children's programming ever. This volume features the five episodes of week one of the black-and-white series that launched a television revolution. Also showcased in this volume is a wonderful tribute to the unforgettable Jimmie Dodd, the singer-actor who hosted the show. You'll also see recently discovered, never-before-seen color archival footage of the Mousketeers' very first appearance at the grand opening celebration of Disneyland. And you'll meet six original Mouseketeers in a reunion on the soundstage where they first got together in 1955. So, sit back and enjoy -- and you don't have to wait until 5:00.

Languages: English

Sound: Dolby Digital 2.0

Summary: In these cartoons released between 1928 and 1935, Walt Disney created one of the icons of 20th-century culture. Disney's reputation was built on these early shorts, and the films shimmer with the energy of the young artists exploring the new medium of the sound cartoon. Watching the films in chronological order enables the viewer to see the remarkable progress Walt and his crew made in animation, storytelling, and acting in just seven years. The rambunctious, rubbery Mickey of "Plane Crazy" and "Steamboat Willie" quickly developed into the polished charmer of "Gulliver Mickey" and "Mickey's Orphans." More than 70 years after his debut, the black and white Mickey still displays the appeal that made him so popular during the '30s, when "A Mickey Mouse Cartoon" appeared on theater marquees with the feature titles, and his fans included Franklin Roosevelt, Mary Pickford, George V of England, the Nizam of Hyderabad--and the more than one million children who joined the first Mickey Mouse Club.
Although it's fun to look at the old sketches and pencil tests, the high point of the supplementary material is the discussion host Leonard Maltin conducts with Frank Thomas and Ollie Johnston, the last surviving members of the justly celebrated "Nine Old Men" of Disney animation. Thomas and Johnston were nearly 90 at the time of the interview, but their enthusiasm for their work, for Mickey, and for the man who made it all possible remains undimmed. (Unrated; suitable for all ages: cartoon violence) "--Charles Solomon"

Languages: English

Summary: By the time "The Barn Dance" (1928), the fourth Mickey Mouse short and the oldest film on this collection, was released, Mickey was well on his way to cartoon stardom. The viewer can see how quickly the Disney animators improved between "The Barn Dance" and "Mickey's Kangaroo" (1935, his last black-and-white film). The characters are so rubbery in "Barn Dance," that when Mickey steps on Minnie's foot, her leg stretches out on the floor. Mickey and Minnie look noticeably more solid by "Mickey's Mechanical Man" (1933). "Playful Pluto" (1934) offers the landmark sequence of Pluto trying to escape from sheet of fly paper: one of the first instances where an animated character actually seemed to think and react to his environment believably. But it's Pluto who gets the laughs--Mickey is already turning into the straight man he eventually became.
The Disney shorts also improved as films during this period. The direction becomes surer, with increasingly imaginative camerawork. If some cartoons look backward, recycling gags from "Steamboat Willie," "The Barnyard Concert" (1929) anticipates "The Band Concert" (1935). In both films, Mickey conducts a group of ragtag musicians in Zampa's "The Poet and the Peasant" Overture, and "Barnyard Concert" feels like a rough sketch for the brilliant "Band Concert," Mickey's first color short.
A few of these films include ethnic imagery that was considered good taste in the early '30s, but is no longer acceptable, as host Leonard Maltin cautions. (Unrated, suitable for ages 6 and older: cartoon violence, tobacco use, ethnic stereotypes) "--Charles Solomon"

Languages: English

Subtitles: English

Sound: Dolby Digital 2.0 Mono

Summary: By 1939, when the earliest films in this collection were made, Mickey Mouse was the most famous cartoon character in the world. The unsuccessful hunter in "The Pointer" (1939) and the irrepressible magician in "The Sorcerer's Apprentice" (1940) rank among his finest performances. In both films, he sparkles with vitality. But as Mickey grew more popular, more restrictions were placed on what he could do, and the character grew dull. Those restrictions become obvious when the viewer compares these films with the shorts on "Walt Disney Treasures: Mickey Mouse in Living Color". In "Mickey's Birthday Party" (1942), he clowns and stumbles through a comic dance routine, but it feels like he's working for the laughs. In 1936, when a more impish Mickey danced with a deck of cards in "Thru the Mirror," the fun came from the stylish grace of his movements: That Mickey didn't need to mug for the camera. In the later films, Mickey serves as a genial straight man, with Pluto and other side characters supplying the comedy.
A new generation of animators faced the same problems and restrictions when they tried to revive the character in "Mickey's Christmas Carol" (1983) and "The Prince and the Pauper" (1990). The extras include some deleted animation from "The Sorcerer's Apprentice," and the five opening sequences from the "Mickey Mouse Club" (1955), the last time Walt Disney provided the character's voice. (Rated G, suitable for all ages: minor cartoon violence, tobacco use) "--Charles Solomon"

Languages: English

Subtitles: English

Sound: Dolby Digital 2.0

Summary: World War II transformed the Disney Studio. Although nearly one-third of the artists had been drafted, production quintupled, up to 95% of it for military and government uses. Some of the films included in "On the Front Lines" have not been seen since their initial release; others were never shown to the general public. Anticipating the importance of animated training films, Disney produced the studio's first educational film, "Four Methods of Flush Riveting" (1941), using limited animation to train riveters at Lockheed. Decades later, "Four Methods" and the excerpts from military training films remain models of how to present information clearly and concisely.
Many of the wartime entertainment shorts are largely propaganda. Donald's nightmare of working on a Nazi assembly line in "Der Fuehrer's Face" is still hilarious slapstick. The grimmer "Education for Death" and "Chicken Little" have aged less gracefully. Disney's oddest wartime project was "Victory Through Air Power" (1943), a live action/animation feature based on Major Alex de Seversky's controversial book that called for the adoption of long-range bombers. By the time it was finished, air power was a reality.
"Front Lines" also includes several health films made for the Office of Inter-American Affairs, and bond-buying shorts for Canada that reuse animation from "Snow White" and "Three Little Pigs." This collection of genuine rarities is a must-have for anyone interested in the history of animation, the Disney Studio, or America during WWII. (Rated G, suitable for ages 10 and older: violence, ethnic stereotypes, tobacco use) "--Charles Solomon"

Languages: English

Subtitles: English

Sound: Dolby Digital 2.0 Surround

Summary: In 1928, when Walt Disney's artists completed "The Skeleton Dance," the distributor of the Mickey Mouse shorts rejected the first "Silly Symphony" with a two-word telegram: "MORE MICE." Disney arranged to screen "Skeleton Dance" at the Carthay Circle Theater in Los Angeles, where it received an enthusiastic response, and the series took off. Seven "Silly Symphonies" won Academy Awards, beginning with "Flowers and Trees." Disney used these musically themed shorts to train young artists and test new styles, effects, and technologies: every film represented an innovation of some sort. In "Three Little Pigs," characters who looked alike demonstrated different personalities through the way they moved. "The Old Mill" showcased the newly invented Multiplane camera. The Sugar Cookie Girl in "Cookie Carnival" was one of several female characters the artists created while learning to animate a believable heroine for "Snow White and the Seven Dwarfs". The well-chosen selections in this set demonstrate how quickly Disney advanced the art of animation during the '30s. Only eight years separate the crude black-and-white version of "The Ugly Duckling" (1931) from the moving Technicolor Oscar-winner of 1939. Over 60 years later, these films have lost none of their charm. The jazz-dancing insects in "Woodland Café," the wonderfully animated caricature of Mae West in "Who Killed Cock Robin," and the instrument-characters in "Music Land" remain as delightful as ever. Leonard Maltin makes a genial host, and two hidden cartoons include Walt's introductions from the old "Disneyland" program. "--Charles Solomon"

Languages: English

Sound: Dolby Digital 2.0 Mono

Summary: "The Adventures of Spin and Marty" premiered on "The Mickey Mouse Club" in 1955 and scored an instant hit. Like many of Disney's most successful creations, "Spin and Marty" was a simple story. Rich, coddled Martin Markham (David Stollery) arrives at the Triple R in his grandmother's limousine and dismisses the dude ranch for boys as "a dirty old farm." His comment angers everyone, especially Spin Evans (Tim Considine), the most popular boy on the ranch. Over the course of the summer, Marty learns to relax and make friends; he and Spin become best buddies. Humor and wisdom are dispensed by wrangler Ollie (Leonard P. Greer), "Well I'll be a blue-nosed gopher!"; Marty's fussy butler, Perkins (J. Pat O'Malley); avuncular foreman Bill Burnett (Harry Carey, Jr.); and George (Sammee Tong), the Chinese cook, who regales the boys with Western songs in Cantonese. The characters proved so popular Disney brought them back in "The Further Adventures of Spin and Marty" (1957) and "The New Adventures of Spin and Marty" (1957).
For Baby Boomers, "Spin and Marty" packs the kind of nostalgic wallop the "Andy Hardy" movies and "The Wizard of Oz" had for earlier generations. During the '50s, millions of kids dreamed of spending the summer at the Triple R. In "More Tales of the City", Armistead Maupin suggests that whether you identify with Spin or Marty constitutes a key division in American society, comparable to who your favorite Beatle was. In the extras, a dismayingly old Considine and Stollery revisit the ranch in Newhall, CA, where the series was filmed. This set is a sure-fire gift choice for aging Boomers. (Unrated, suitable for all ages: minor violence) "--Charles Solomon"

Languages: English

Subtitles: English

Sound: Dolby Digital 2.0

Summary: Although the book "The Adventures of Mickey Mouse" (1931) listed Donald Duck as one of Mickey's friends, he didn't appear on screen until the "Silly Symphony" "The Wise Little Hen," three years later. Donald's personality began to gel in "The Orphan's Benefit" (1934, on "Walt Disney Treasures: Mickey Mouse in Black and White"), when he threw his first temper tantrum. He began as dumpy-looking character with a long beak and thick legs, but was soon redesigned and made more appealing.
Donald's firecracker temper made him a favorite with audiences--and the Disney artists. By the late '30s/early '40s Mickey was no longer allowed to kick someone, break a window, or get into a really embarrassing situation. Donald was, and he did. If Donald encountered a mechanical device, from an outboard motor to a waffle iron to a riveting gun, the results were sure to be disastrous. He was routinely outwitted by chipmunks, ants, bees, and his nephews, Huey, Dewey, and Louie, who came to visit in 1938 and stayed for more than 60 years.
The Donald Duck shorts featured some of the broadest slapstick comedy the Disney studio ever produced. They lack the razor-sharp timing, extreme takes, and wild gags the animators at Warner Bros. and MGM were developing at this time. But they're still funny and retain a nostalgic charm, especially such classics as "Don Donald," "The Autograph Hound," "Mr. Duck Steps Out," and "Put-Put Troubles." (Rated G, suitable for ages 8 and older: cartoon violence, tobacco use, minor ethnic stereotyping) "--Charles Solomon"

Languages: English

Sound: Dolby Digital 2.0 Mono

Summary: In "Stand By Me" (1986), one of the boys asks, "If Mickey is a mouse and Donald is a duck, what's Goofy?" The answer: he's a dog. Originally named Dippy Dawg, the Goof, as the animators called him, made his debut as an obnoxious hayseed in "Mickey's Revue" (1932). This generous collection includes 46 of the 48 shorts that starred Goofy between 1939 and 1961 (but none of the great Mickey-Donald-Goofy films from the mid-'30s). The "How to Ride a Horse" sequence in "The Reluctant Dragon" (1941) set the pattern for many of these cartoons. An elegant narrator (artist John Ployardt) explains a sport that Goofy attempts to demonstrate. The character that animator Art Babbitt described in a 1935 lecture (quoted in the DVD bonus material) as an easygoing dimbulb gave way to an enthusiastic but spectacularly maladroit figure. One of the funniest entries in the series, "Hockey Homicide," contains several studio in-jokes: dueling stars Icebox Bertino and Fearless Ferguson, and referee Clean-Game Kinney are named for artists Al Bertino, Norm Ferguson, and director Jack Kinney.
During the '50s, Goofy was transformed into a genial suburban Everyman in such domestic sitcoms as "Fathers Are People," "Two Weeks Vacation," and "Father's Day Off." The animators reduced his floppy ears and buck teeth, improved his posture, and gave him a brisker walk. The best-known short from this period is "Motor Mania" (1950), a mildly didactic spoof of American behavior on the road that was shown in driver's education classes for decades. (Unrated: Suitable for all ages: cartoon violence) "--Charles Solomon"

Languages: English

Sound: Dolby Digital 2.0 Mono

Summary: In "Stand By Me" (1986), one of the boys asks, "If Mickey is a mouse and Donald is a duck, what's Goofy?" The answer: he's a dog. Originally named Dippy Dawg, the Goof, as the animators called him, made his debut as an obnoxious hayseed in "Mickey's Revue" (1932). This generous collection includes 46 of the 48 shorts that starred Goofy between 1939 and 1961 (but none of the great Mickey-Donald-Goofy films from the mid-'30s). The "How to Ride a Horse" sequence in "The Reluctant Dragon" (1941) set the pattern for many of these cartoons. An elegant narrator (artist John Ployardt) explains a sport that Goofy attempts to demonstrate. The character that animator Art Babbitt described in a 1935 lecture (quoted in the DVD bonus material) as an easygoing dimbulb gave way to an enthusiastic but spectacularly maladroit figure. One of the funniest entries in the series, "Hockey Homicide," contains several studio in-jokes: dueling stars Icebox Bertino and Fearless Ferguson, and referee Clean-Game Kinney are named for artists Al Bertino, Norm Ferguson, and director Jack Kinney.
During the '50s, Goofy was transformed into a genial suburban Everyman in such domestic sitcoms as "Fathers Are People," "Two Weeks Vacation," and "Father's Day Off." The animators reduced his floppy ears and buck teeth, improved his posture, and gave him a brisker walk. The best-known short from this period is "Motor Mania" (1950), a mildly didactic spoof of American behavior on the road that was shown in driver's education classes for decades. (Unrated: Suitable for all ages: cartoon violence) "--Charles Solomon"

Languages: English

Summary: Mickey's pal Pluto developed from the pair of bloodhounds in "The Chain Gang" (1930). Walt Disney liked animator Norm Ferguson's handling of the dogs' expressions, so the artists continued to work with the character. Ferguson's breakthrough animation of the flypaper sequence in "Playful Pluto" (1934), available on "Walt Disney Treasures: Mickey Mouse in Black and White, Vol. 2", showed that the cartoon character could think and react to a situation through pantomime. Many cartoons follow the pattern of "Playful Pluto": the ochre dog tries to cope with either a recalcitrant object--skates in "On Ice," an inflatable rubber horse in "Beach Picnic"--or a cute but troublesome animal: a seal in "Pluto's Playmate," a gopher in "Canine Caddy" and the title character in "Pluto and the Armadillo."
Pluto's quick temper and willingness to rush in where pedigrees fear to tread made him a popular subject for cartoons (and military insignias) during World War II. In "First Aiders," Pluto serves as a reluctant subject when Minnie practices splinting and bandaging. Eager to do his bit, he serves as a military watch dog in "Private Pluto," "Dog Watch," and "Canine Patrol." In several of these cartoons, Mickey is reduced to playing straight man to Pluto, who gets the laughs. Pluto is pitted against a black housekeeper, reminiscent of Mammy Two-Shoes in the Tom and Jerry cartoons in "Pantry Pirate"--a rare example of ethnic stereotyping in a Disney short. (Unrated, suitable for ages 5 and older: cartoon violence, occasional ethnic stereotypes) "--Charles Solomon"

Languages: English

Subtitles: English

Sound: Dolby Digital 2.0

Summary: Before man ventured into space, Walt Disney took the nation there. This set of the "Walt Disney Treasures" consists of "Science Factual" shows that aired mostly in the 1950s. On the first disc, Ward Kimball, one of the company's ace animators, directs three 50-minute segments on space travel dealing with space flight, going to the moon, and going to Mars. A combination of lecture (by the tops in the field, including lead rocket designer Dr. Werner von Braun), animation, live-action segments, and models, the three segments are still relevant as they effortlessly teach such elements as why rockets are in stages, what is gravitational force, orbiting, air pressure, and even the psychological effects on the mind. It is impressive how easily these "Tomorrowland" features entertain audiences of all ages. Of course, some of the details are wrong, but the wonder is not, and the final segment--a most poetic survey about what life might be like on Mars--illustrates Disney animated magic at its best.
The second disc takes on weather reporting (including a James Bond-ish way of changing the weather), how satellites work, and the touchstone 1958 short "Our Friend the Atom," a staple of explaining the world of atomic energy. Shown for the first time in its entirety is an informative pitch for EPCOT. It's not a version of the theme park now in Florida, but Walt Disney's lyrical vision of a city of the future, a dream never realized with his death two months after filming in 1966. Leonard Maltin introduces each segment, putting it in historical context and noting some political incorrectness and oversights, like atomic energy having no downside. The programs still entertainingly show the promises of the future: humans on Mars seem so tangible, even though the space program lost its way in the forthcoming decades. "--Doug Thomas"

Languages: English, Spanish, French

Subtitles: English, French, Spanish

Sound: AC-3

Summary: As the impresario behind gravity-defying Russian blockbuster Night Watch, it's inevitable that Hollywood would come calling for Timur Bekmambetov. With a studio budget and an international cast, including two Oscar winners, Timur cooks up a Hong Kong-styled actioner bursting with fast cars and big guns. Our unlikely hero is mild-mannered Chicago accountant Wesley Gibson (Atonement's James McAvoy), whose father died when he was a tot. Wesley never learned to stand up for himself, and his girlfriend, boss, and best buddy all take advantage until the seductive Fox (Angelina Jolie) rescues him from a sharpshooter named Cross (The Pianist’s Thomas Kretschmann). After which, she whisks him away to a mansion on the edge of town to meet the other members of the Fraternity, where leader Sloan (Morgan Freeman) informs Wesley that Cross, a rogue agent, executed his father. Sloan believes Wesley has the goods to take him out, so he undergoes the Fraternity's brutal training regimen (Marc Warren and Common dish up some of the abuse). When he's ready, Sloan sends him out to fulfill his duty, but matters become complicated when Wesley finds out someone isn't telling the truth, leading our former milquetoast to exact an elaborate revenge. For those who've been following McAvoy's career to date, Wanted will surely come as a surprise. In adapting Mark Millar's comic series, Timur offers buckets of blood and a smidgen of depth, but fans of The Matrix and Mr. and Mrs. Smith will want to give this one a look. --Kathleen C. Fennessy




Stills from Wanted (Click for larger image)

















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Languages: English

Subtitles: English, Spanish

Sound: AC-3

Summary: Pitting Hong Kong legend Jet Li against UK tough guy Jason Statham seems like a surefire way to generate on-screen heat, and action fans will get a good deal of just that from the action-heavy "War". Unfortunately, they also have to slog through a clichéd-riddled story about world-weary FBI agent Statham, who's gunning for Li, the master assassin that killed his partner years before, and who's currently neck-deep in a turf war between yakuza and triad gangs. Philip G. Atwell's style-over-substance direction doesn't help matters either, though he does have a way with shootouts and other combative set pieces. As for Li and Statham, their scenes together are surprisingly limited; there's also a twist in the film's final third that begs for serious suspension of disbelief. In short, those that found the duo's last movie team-up (2001's "The One") lacking won't find much here to supplant that memory. The DVD includes three commentary tracks: one by Atwell, one by screenwriters Lee Anthony Smith and Gregory J. Bradley (it's the liveliest of the lot) and an audio trivia track that delves deep into the film's production, which is also covered in detail by nine separate featurettes. A gag reel and deleted/extended scenes round out the supplemental features. " -- Paul Gaita"

Languages: English, French, Spanish

Subtitles: English, Spanish, French

Sound: Dolby

Summary: Cute but silly, this 1983 cautionary fantasy stars Matthew Broderick as a teenage computer genius who hacks into the Pentagon's defense system and sets World War III into motion. All the fun is in the film's set-up, as Broderick befriends Ally Sheedy and starts the international crisis by pretending while online to be the Soviet Union. After that, it's not hard to predict what's going to happen: government agents swoop in, but the story ends up in the "hands" of machines talking to one another. Thus we're stuck with flashing lights, etc. John Badham ("Saturday Night Fever") directs in strict potboiler mode. Kids still like this movie, though. The DVD release has a widescreen presentation, theatrical trailer, Dolby sound, director commentary, optional English, French and Spanish subtitles. "--Tom Keogh"

Languages: English, French

Subtitles: English, Spanish, French

Sound: AC-3

Summary: Despite super effects, a huge budget, and the cinematic pedigree of alien-happy Steven Spielberg, this take on H.G. Wells's novel is basically a horror film packaged as a sci-fi thrill ride. Instead of a mad slasher, however, Spielberg (along with writers Josh Friedman & David Koepp) utilizes aliens hell-bent on quickly destroying humanity, and the terrifying results that prey upon adult fears, especially in the post-9/11 world. The realistic results could be a new genre, the grim popcorn thriller; often you feel like you're watching Schindler's List more than Spielberg's other thrill-machine movies (Jaws, Jurassic Park). The film centers on Ray Ferrier, a divorced father (Tom Cruise, oh so comfortable) who witnesses one giant craft destroy his New Jersey town and soon is on the road with his teen son (Justin Chatwin) and preteen daughter (Dakota Fanning) in tow, trying to keep ahead of the invasion. The film is, of course, impeccably designed and produced by Spielberg's usual crew of A-class talent. The aliens are genuinely scary, even when the film--like the novel--spends a good chunk of time in a basement. Readers of the book (or viewers of the deft 1953 adaptation) will note the variation of whom and how the aliens come to Earth, which poses some logistical problems. The film opens and closes with narration from the novel read by Morgan Freeman, but Spielberg could have adapted Orson Welles's words from the famous Halloween Eve 1938 radio broadcast: "We couldn't soap all your windows and steal all your garden gates by tomorrow night, so we did the best next thing: we annihilated the world." --Doug Thomas
"War of the Worlds" at Amazon.com
The Soundtrack
"The War of the Worlds" (1953)
"War of the Worlds - The Complete First Season" (TV series)
Classic Sci-Fi Movies and Their Remakes
Aliens Invade on DVD
The Prog-rock Opera (no kidding)

Languages: English, French

Subtitles: English, Spanish, French

Sound: AC-3

Summary: Despite super effects, a huge budget, and the cinematic pedigree of alien-happy Steven Spielberg, this take on H.G. Wells's novel is basically a horror film packaged as a sci-fi thrill ride. Instead of a mad slasher, however, Spielberg (along with writers Josh Friedman & David Koepp) utilizes aliens hell-bent on quickly destroying humanity, and the terrifying results that prey upon adult fears, especially in the post-9/11 world. The realistic results could be a new genre, the grim popcorn thriller; often you feel like you're watching Schindler's List more than Spielberg's other thrill-machine movies (Jaws, Jurassic Park). The film centers on Ray Ferrier, a divorced father (Tom Cruise, oh so comfortable) who witnesses one giant craft destroy his New Jersey town and soon is on the road with his teen son (Justin Chatwin) and preteen daughter (Dakota Fanning) in tow, trying to keep ahead of the invasion. The film is, of course, impeccably designed and produced by Spielberg's usual crew of A-class talent. The aliens are genuinely scary, even when the film--like the novel--spends a good chunk of time in a basement. Readers of the book (or viewers of the deft 1953 adaptation) will note the variation of whom and how the aliens come to Earth, which poses some logistical problems. The film opens and closes with narration from the novel read by Morgan Freeman, but Spielberg could have adapted Orson Welles's words from the famous Halloween Eve 1938 radio broadcast: "We couldn't soap all your windows and steal all your garden gates by tomorrow night, so we did the best next thing: we annihilated the world." --Doug Thomas
"War of the Worlds" at Amazon.com
The Soundtrack
"The War of the Worlds" (1953)
"War of the Worlds - The Complete First Season" (TV series)
Classic Sci-Fi Movies and Their Remakes
Aliens Invade on DVD
The Prog-rock Opera (no kidding)

Languages: English

Subtitles: Spanish

Sound: AC-3

Summary: A wobbly mix of violence and sentiment, "War, Inc." takes up where "Grosse Pointe Blank" left off. A conscience-stricken killer in the previous film, producer/co-writer Cusack now plays an international assassin. In Joshua Seftel's political satire, corporations operate like governments. In the volatile nation of Turaqistan, Cusack's hot sauce-addicted Brand Hauser sets his sights on Omar Sharif--the oil baron, not the actor (it's never clear why this is meant to be funny). As a cover, Hauser passes as the producer for an economic trade show with fellow operative Marsha (Joan Cusack) acting as his assistant. Trained by Southern smoothie Walken (Ben Kingsley) in his CIA days (depicted though flashbacks), Hauser now takes orders from an oily CEO ("Grosse Pointe" co-star Dan Aykroyd). Offing Sharif, however, turns out to be harder than expected. Hauser's obstacles include left-wing journalist Natalie Hegalhuzen (Marisa Tomei) and foul-mouthed pop tart Yonica Babyyeah (Hilary Duff, erasing innocent images of "Lizzy McGuire"). Cusack and his crew come up with a few clever ideas, but too many crass gags blunt their thesis about military contractors run amok. Pitched somewhere between Stanley Kubrick’s "Dr. Strangelove" and Mike Judge’s "Idiocracy", "War, Inc." registers as more of a miss than a hit. On the plus side, Cusack and Tomei have a snappy rapport; it's the more over-the-top performers who look out of place, especially Ms. Cusack and Kingsley, though the latter's deft turn as a boozy hit man in the overlooked "You Kill Me" almost makes up for this misfire. "--Kathleen C. Fennessy"

Languages: English

Summary: The Oscar for Animated Short Film has been a useful if not entirely accurate gauge of the state of American animation, as this three-disc set demonstrates. The Academy created the category in the early '30s to honor Walt Disney's contributions to the art form. But most of the films in the collection date from the '40s and '50s, when Warner Bros. and MGM artists won most of the Oscars for pushing the Hollywood cartoon in a new direction that was fast-paced, violent, and very, very funny. Many of these cartoons remain hilarious, decades after they were released: "Birds Anonymous," "For Scent-imental Reasons," "Blitz Wolf," and "High Note." Others have aged less gracefully. Changes in racial attitudes have reduced Speedy Gonzales and Mammy Two-Shoes in the Tom and Jerry shorts to uncomfortable reminders of a less respectful era in American history. The collection also demonstrates that the Academy voters' taste can be capricious at best. Many of the best Warners shorts--"A Mouse Divided," "What's Opera, Doc?" "Duck Amuck," "Rabbit of Seville" and "One Froggy Evening"--weren't even nominated. Tex Avery, who did more than any other director to move cartoons in that brash, funny direction, is represented only by "Blitz Wolf" and "Little Johnny Jet." Like Cary Grant and Marilyn Monroe, Avery never won an Oscar. Most of the transfers were made from first-rate prints, although a few are missing their credits and the framing of the Cinemascope films is problematic. The rarest item in the collection is "So Much for So Little," an animated documentary that earned Chuck Jones his first Academy Award. Extras include commentaries by animators and historians, and the interesting new documentary, "Drawn for Glory". (Unrated, suitable for ages 5 and older: cartoon violence, ethnic stereotypes, alcohol and tobacco use) "--Charles Solomon"
(1. The Milky Way, 2. Yankee Doodle Mouse, 3. Mouse Trouble, 4. Quiet Please, 5. The Cat Concerto, 6. Tweetie Pie, 7. The Little Orphan, 8. For Scent-Imental Reasons, 9. So Much for So Little, 10. Two Mouseketeers, 11. Johann Mouse, 12. Speedy Gonzales, 13. Birds Anonymous, 14. Knighty-Knight Bugs, 15. The Dot and the Line, 16. Popeye the Sailor Meets Sinbad the Sailor, 17. Peace on Earth, 18. A Wild Hare, 19. Puss Gets the Boot, 20. Superman, 21. Hiawatha's Rabbit Hunt, 22. Rhapsody In Rivets, 23. The Night Before Christmas, 24. Blitz Wolf, 25. Pigs in a Polka, 26. Swooner Crooner, 27. Walky Talky Hawky, 28. Dr. Jekyll & Mr. Mouse, 29. Mouse Wreckers, 30. Hatch Up Your Troubles, 31. Jerry's Cousin, 32. Little Johnny Jet, 33. Touché, Pussy Cat! 34. From A to Z-Z-Z-Z, 35. Sandy Claws, 36. Good Will To Men, 37. Tabasco Road, 38. One Droopy Knight, 39. High Note, 40. Nelly's Folly, 41. Now Hear This, 42. "Drawn for Glory: Animation's Triumph At The Oscars®," 43. What's Cookin' Doc?)

Languages: English

Sound: Dolby

Summary: James Spader stars as Joel Campbell, a former detective traumatized by the death of his lover at the hands of a serial killer he'd been hunting--a psychopath who has taken their combative relationship a little too personally, and has now tracked the retired Campbell down in Chicago. The killer, who methodically studies his victims before killing them, starts sending Campbell photographs of prospective victims and gives him a day to find them before they're killed. Campbell rises to the challenge, returns to his role as detective, and launches a comprehensive manhunt for the killer and the women in the photographs. "The Watcher" is surprisingly watchable--though it does suffer from an excessive use of arty cinematography. But while the psychological interpretation of the killer's behavior is a little too schematic to be convincing, the portrayal of Campbell is quite strong, particularly due to Spader's performance. A much-underrated actor, Spader is lean and efficient in his portrayal, rarely given to flashy histrionics, but compelling and emotionally complex. Unfortunately, the killer is played by Keanu Reeves; and though Reeves isn't as terrible an actor as some critics may say, he's out of his depth here. Still, Spader carries most of the movie, and the sequences in which the police are trying to track down the victims are nicely suspenseful--in fact, the movie is overall more interested in suspense than gore, making it a pleasant change from most contemporary thrillers. Also starring Marisa Tomei as Campbell's psychiatrist and budding romantic interest. "--Bret Fetzer"

Languages: English

Summary: The Watchmen: The Ultimate Cut is a new and final version of the blockbuster film from Zack Snyder. This version weaves Tales of the Black Freighter into the Watchmen Director’s Cut film that makes this the perfect gift for every die hard fan of the graphic novel.

Languages: English, French, Portuguese, Spanish

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

Sound: AC-3

Summary: Based on a novel by Dick King-Smith, author of "The Sheep Pig" (from which "Babe" was adapted), the touching and often spectacular "The Water Horse: Legend of the Deep" ingeniously presumes to explain the truth behind "Nessie," i.e., the Loch Ness Monster. The story, told in present day to a couple of American tourists by a kindly gentleman (Brian Cox) in a pub, begins with a lonely boy, Angus (Alex Etel), pining for his father, who is serving in the Royal Navy during World War II. Angus, along with his sister (Priyanka Xi) and mother (Emily Watson), live on an estate that has been billeted by soldiers in the Scottish Highlands, near Loch Ness. The troop’s commander (David Morissey) has an eye for mom, suspicions about a mysterious handyman, Lewis (Ben Chaplin), who is also a war hero, and an absurd contention that the Highlands are the real frontline in the war against Germany.

Into this intriguing drama comes a completely different element, a fantastical creature of Celtic mythology that befriends Angus and is, in fact, the sea-beast who will eventually be known as the Loch Ness Monster. Trying to hide the dinosaur-like fellow, nicknamed Crusoe, Angus enlists Lewis to transfer it to the lake, where boy and serpent have extraordinary adventures together until human stupidity threatens Crusoe’s existence. A true family film, there is a lot for adults to like about the grownup story in "The Water Horse". Meanwhile, the wistful relationship between Angus and Crusoe--each of whom helps the other move past obstacles toward their individual destinies--will leave children feeling both happy and melancholy in the best possible sense. Directed by Jay Russell ("My Dog Skip"), "The Water Horse" is the best of a mini-genre of films about or inspired by old Nessie. "--Tom Keogh"

Beyond "The Water Horse: Legend of the Deep"
Two-Disc Special Edition
Paperback Novel
CD Soundtrack
Stills from "The Water Horse: Legend of the Deep" (click for larger image)

Languages: English, French

Sound: Dolby Digital 5.1

Summary: Adam Sandler vaulted into the $20-million-salary stratosphere with this, his second $100-million hit in 1998--a movie that further shows just how deeply embedded he is in the Jerry Lewis tradition of idiot comedy. He plays Bobby Boucher, a backwoods Cajun and a mentally challenged individual with a fixation on water: specifically, on serving the coolest, most refreshing H2O available to the college football team he has served since he was an adolescent. But when he's fired from his position, he takes up a similar job with a lowlier college team coached by neurotic Henry Winkler. One day at practice, Bobby loses his temper and delivers a bone-shaking tackle to the starting quarterback; before he can say, "blackened crawdads," he's the star of the team and leading it to a bowl game. But it's all against the wishes of his overprotective mother (Kathy Bates), who wants to keep her Bobby to herself--and that includes keeping him away from the floozy girlfriend (Fairuza Balk) who's sweet on him. There are two kinds of people in this world: People who find Sandler funny and people who view him as a neon-lit symbol of the decline of popular taste. You know who you are and, based on that, you can decide whether this is a movie for you. "--Marshall Fine"

Languages: English, French, German, Italian, Japanese, Spanish

Subtitles: Cantonese, Danish, Dutch, English, French, German, Greek, Italian, Japanese, Korean, Norwegian, Portuguese, Spanish, Swedish

Sound: AC-3

Summary: See one of the screen’s biggest action-adventure epics like never before – on Blu-ray™ Hi-Def! Set in the future when Earth is completely covered in water and the human race is struggling to survive, mankind’s one remaining hope for a better future is a drifter (Kevin Costner) who gets caught up in a battle between the evil Deacon (Dennis Hopper) and a child’s secret key to a wondrous place called “Dryland.” Featuring groundbreaking special effects, Waterworld is a visually stunning, futuristic thriller beyond your wildest imagination!

Languages: English, French, Spanish

Subtitles: English, Spanish

Sound: Dolby Digital 5.0

Summary: Let's be honest: this 1995 epic isn't nearly as bad as its negative publicity led us to expect. At the time it was the most expensive Hollywood production in history (it had a "Titanic"-sized $200 million budget), and the film arrived in theaters with so much controversy and negative gossip that it was an easy target for ridicule. The movie itself, a flawed but enjoyable post-apocalypse thriller, deserves better. "Waterworld" stars Kevin Costner as the Mariner, a lone maverick with gills and webbed feet who navigates the endless seas of Earth after the complete melting of the polar ice caps. The Mariner has been caged like a criminal when he's freed by Helen (Jeanne Tripplehorn) and enlisted to help her and a young girl (Tina Majorino) escape from the Smokers, a group of renegade terrorists led by Dennis Hopper in yet another memorably villainous role. It is too bad the predictable script isn't more intelligent, but as a companion piece to "The Road Warrior", this seafaring stunt-fest is adequately impressive. "--Jeff Shannon"

Languages: English, French, Spanish

Subtitles: English, Spanish, French

Sound: AC-3

Summary: In "We Own the Night", Joaquin Phoenix, whose eyes burn with sullen anger even when he's looking at the woman he loves, plays Bobby Green, a nightclub manager in the 1980s who gets caught between his blood family he tried to leave behind--a long line of police officers--and his chosen family of friends and business partners, who turn out to be drug dealers. His father (Robert Duvall) and brother (Mark Wahlberg) want Bobby to help their investigation, but Bobby resists--until the conflict takes a brutal turn. Writer/director James Gray wears his influences on his sleeve; he's clearly seen every movie that Martin Scorsese and Francis Ford Coppola ever made and aspires to follow in their footsteps. The familiarity of the movie's territory dilutes its impact, but the plot of "We Own the Night" remains unpredictable, the performances have a clean vitality, and Gray's moody visual style brings some life to the genre. Phoenix ("Walk the Line") dives into his role, sifting through layers of guilt and familial resentment; Wahlberg and Duvall play parts they've essentially played a dozen times, but do so with commitment and integrity. Also featuring Eva Mendes (Ghost Rider) as Bobby's devoted girlfriend, who questions just how much she'll have to give up for him. "--Bret Fetzer"

Beyond "We Own the Night"
On DVD
Original Soundtrack
Stills from "We Own the Night" (click for larger image)

Languages: English

Subtitles: English

Sound: THX

Summary: Based on the book by Lt. Col. Harold Moore (ret.) and journalist Joseph Galloway, "We Were Soldiers" offers a dignified reminder that the Vietnam War yielded its own crop of American heroes. Departing from Hollywood's typically cynical treatment of the war, writer-director Randall Wallace focuses on the first engagement of American soldiers with the North Vietnamese enemy in November 1965. Moore (played with colorful nuance by Mel Gibson) and nearly 400 inexperienced troopers from the U.S. Air Cavalry were surrounded by 2,000 North Vietnamese Army soldiers, and the film re-creates this brutal firefight with graphic authenticity, while telling the parallel story of grieving army wives back home. While UPI reporter Galloway (Barry Pepper) risks his life to chronicle the battle, Wallace offers a balanced (though somewhat fictionalized) perspective while eliciting laudable performances from an excellent cast. Like the best World War II dramas of the 1940s, "We Were Soldiers" pays tribute to brave men while avoiding the pitfalls of propaganda. "--Jeff Shannon"

Languages: English

Subtitles: English, Spanish

Sound: AC-3

Summary: With Vince Vaughn and Owen Wilson as a pair of brazen wedding crashers, this buddy/romantic comedy milks a few big laughs from its foolproof premise. Under the direction of David Dobkin (who previously worked with Wilson on "Shanghai Knights"), the movie ranges from bawdy romp to mushy romance, and that tonal identity crisis curtails the overall hilarity. But when the well-teamed costars are firing on all pistons with fast-paced dialogue and manic situations, belly laughs are delivered at a steady clip. Things get complicated when the guys infiltrate the family of the Treasury Secretary (Christopher Walken), resulting in a romantic pair-off between Vaughn and the congressman's oversexed daughter Gloria (Isla Fisher) while Wilson sincerely woos another daughter, Claire (Rachel McAdams), who's unhappily engaged to an Ivy League cheater (Bradley Cooper). Walken is more or less wasted in his role, but Jane Seymour and Henry Gibson make amusing appearances, and a surprise guest arrives late in the game for some over-the-top scene-stealing. It's all a bit uneven, but McAdams (considered by some to be "the next Julia Roberts") is a pure delight, and with enough laughs to make it easily recommended, "Wedding Crashers" will likely find its place on DVD shelves alongside other flawed but enjoyable R-rated comedies that embrace a naughtier, nastier brand of humor with no need for apologies. "--Jeff Shannon"
On the DVD
The "Uncorked" edition of "Wedding Crashers" adds about 8 minutes of footage to the theatrical release. Of chief interest are extended beach and bathroom scenes between Vince Vaughn and Isla Fisher, and Vaughn's extended confession to Father O'Neil (Henry Gibson), but there are also new scenes featuring Keir O'Donnell as the eccentric Todd and Ellen Albertini Dow as the potty-mouthed grandmother. This edition is billed as unrated because it wasn't resubmitted to the MPAA, but the sexier bathroom scene and coarser confession aren't particularly raunchier than the original film, and there's no additional nudity. You can watch the Uncorked edition once to see the new footage, but for subsequent viewings you'll probably choose to stick with the theatrical release, which is also included on the DVD.
Bonus features consist of two very good commentary tracks, one by director David Dobkin and another by Vaughn and Owen Wilson. Dobkin's is more technically informative, and he specifically discusses why the added scenes were originally cut. Vaughn and Wilson are a little more subdued than might be expected, but they share some laughs, recall some material that was left out, and wander into irrelevant territory such as football and Wilson's dog. Other features include four deleted scenes with optional commentary by Dobkin, and two featurettes covering the making of the film (including the logistics of staging five different weddings, and interviews with the "magic and balloon consultant") and Vaughn and Wilson's meandering discussion of "the rules" of wedding crashing. For a more organized recap, there's a 24-screen text-only list of all the rules. The opening menu is clever, but slow to load after you've watched it the first time. "--David Horiuchi"

Vince Vaughn's Movies
Why We Love Rachel McAdams
Owen Wilson's Movies
The Soundtrack
The Return of Crass Comedy
"The 40-Year-Old Virgin"

Languages: English, French

Subtitles: English, French

Sound: Dolby

Summary: The good news is, yes, Jennifer Lopez can do comedy. In "The Wedding Planner" Lopez is Mary, a lovable woman who believes "those who can't do, teach. Those who can't wed, plan!" Her slapstick moments are lighthearted and she is spot-on as the controlling, compulsive-yet-sweet planner. The bad news is Lopez didn't get much of a vehicle in which to test drive her newfound comedic skills.
Mary's life is her career. Planning other people's weddings takes all of her time, leaving no room for a love life of her own. Her only personal life is a Scrabble club, to which she and her father (Alex Rocco, whose wandering Italian accent is painful to listen to) belong. When a handsome young doctor (Matthew McConaughey) saves her from a collision with a runaway dumpster (really, it works), she is instantly wooed by his quiet charm. Too bad he's the fiancé of Mary's biggest client, Fran (played winningly by Bridgette Wilson-Sampras), the job that will launch Mary as a partner in her firm.
The main problem with this film is that no one wants to hurt anyone else's feelings. Everyone is just so gosh-darn nice. In a subplot, Mary's father is trying to arrange her marriage to just the nicest Italian boy. Gee, he's sweet. Golly, Fran is nice. Is there ever a way out of this mess "and" to leave everyone smiling? Yet, there is a touch of old-fashioned romance to this wholesome film, which can only be described as "cute." And while things may unfold in a predictable manner, "The Wedding Planner" is still lighthearted fun of the sort that inspires dreamy romantic thoughts. "--Jenny Brown"

Languages: English

Subtitles: English

Sound: English Dolby Digital 5.1

Comments: He's gonna party like it's 1985.

Summary: You're better off having been born after, say, 1965, if you really want to enjoy this corny romantic comedy and its abundant references to the MTV culture of the mid-1980s--and even then the odds are only 50-50 that you'll have a shamelessly good time. But a lot of people beat those odds, because <I>The Wedding Singer</I> was a surprise box-office hit when released in early 1998, and it resulted in <I>Saturday Night Live</I> graduate Adam Sandler's salary going ridiculously sky-high. It's a schizophrenic film about a seemingly schizophrenic wedding singer (Sandler) who's charmingly sweet to some people but a tongue-lashing maniac to others, probably out of frustration over his fading ambition as a wannabe rock star (not to mention Sandler's penchant for loud-mouthed lunacy). When he meets an admiring young waitress (delightfully played by Drew Barrymore), it's love at first sight, complicated by their pending marriages to <I>much</I> less appealing fiancés. The plot then contorts itself to accommodate this contrived will-they-or-won't-they? scenario, so you're better off ignoring the love story and focusing on the comedy, which is sporadic but occasionally hilarious. This is also a lighter, friendlier Sandler than moviegoers had seen before, which probably accounts for the movie's success. Toss in a fine supporting cast--including a show-stopping drunk act by indie-movie stalwart Steve Buscemi--and you've got the ingredients for a no-brainer that's ultimately more fun than it is annoying. <i>--Jeff Shannon</i>

Languages: English

Subtitles: English, Spanish

Summary: With its fantastic comedy series "Weeds", cable network Showtime finally gave up its also-ran status to HBO and found itself with a controversial, buzz-worthy show that was as hilarious as it was dark, one about a truly desperate housewife. A recent widow with two growing sons, Nancy Botwin (Golden Globe winner Mary-Louise Parker) looks like a typical resident of the affluent Southern California suburb of Agrestic. She keeps a clean, upscale house (with the help of a live-in maid), attends PTA meetings, goes to her kids' soccer games, makes frequent stops at the local coffee franchise.... and sells marijuana in order to make it all possible. Left with no way to support herself after her beloved husband's fatal heart attack, Nancy turns herself into the "suburban baroness of bud," dealing to her neighbors in the area, with the help of her supplier Heylia (Tonye Patano) and point man Conrad (Romany Malco). Nancy's clients run from the local councilman (Kevin Nealon) to the just-barely-legal students at the local community college, but many in Agrestic are still in the dark as to how she keeps her family afloat, including her best friend, the sardonic Celia (Elizabeth Perkins), a wife and mother whose blistering, withering put-downs could make Dorothy Parker cringe in fear. But like many small-business owners, Nancy yearns for more success and cash, and like her workaholic neighbors, finds keeping a balance between work life and home life to be extremely precarious at best. While "Desperate Housewives" yearned to be a suburban satire with bite, "Weeds" was the real deal, skewering upper-middle class mores with a sharp eye, a keen wit, and a mostly forgiving heart. In episode after episode, the show's creative team (led by creator Jenji Kohan) pulled back the layers of Agrestic's superficiality to show what lies beneath the squeaky-clean exteriors and smiling faces; it turns out that hunger, fear, desire, and, yes, desperation aren't that far down. However, "Weeds" forsakes pulpiness and florid drama for biting yet affectionate humor--its heroine is a woman with sliding morals, but one you'll root for to the very end. The effervescent Parker, the only actress who can mix perkiness with morbidity in just the right amounts, anchored the show with her amazing turn as Nancy, who by the end of the first season had become a kind of soccer-mom version of Michael Corleone, entering a corrupt world with both trepidation and fascination--and totally enamored of the power it brought her. Also perfectly cast, Perkins found the role of a lifetime as the bitterly hilarious Celia, and entering the show in its fourth episode, Justin Kirk (Parker's co-star in Angels in America) proved to be a potent secret weapon as Nancy's brother-in-law Andy, a slacker who wasn't above peddling t-shirts to elementary school kids. As icky as these characters might appear on the surface, Weeds made them all immensely appealing and great company to be around. Don't say we didn't warn you: one hit and you'll be hooked on this show. The DVDs feature six episode commentaries with cast and crew, outtakes, original featurettes, a music video, and most enjoyably, Agrestic Herbal Recipes (for entertainment value only, we assume) and the "Smoke and Mirrors" marijuana mockumentary. "--Mark Englehart"

Languages: English

Subtitles: English, Spanish

Sound: AC-3

Summary: The first season of "Weeds" ended with a shocker: Nancy (Mary-Louise Parker) found a dreamy new boyfriend, but he turned out to be a DEA agent (Martin Donovan). Luckily, she manages to find some pretty creative ways to "deal" with it. Despite that new obstacle, she decides it’s also time to "grow" the business to higher levels, and all these risky moves lead up to another fabulous season finale cliff-hanger. Elsewhere in suburban utopia, comic relieving brother-in-law Andy (Justin Kirk) tries to dodge his army commitments by joining Rabbi school, while the hilarious Doug (Kevin Nealon) battles it out with Celia (Elizabeth Perkins) to maintain power over the Agrestic City Council. Plot aside, "Season 2" of Weeds took this potentially great show to the next level. No matter how hard they tried in the first season, the show’s makers had a heck of a time trying to shake the impression that they were mimicking the edginess of HBO’s original programming. (Some might have gone as far as to say they were trying a little too hard.) This time around, the characters and the story have grown into their own skins, and they offer something much more authentic and convincing. The second season also starts a great new tradition: Malvina Reynolds "Little Boxes" is still the opening theme song, but it is performed by a different artist for each episode (from Elvis Costello to The Shins). Just one more thing to keep us "addicted." "--Jordan Thompson"

Languages: English

Subtitles: English, Spanish

Sound: AC-3

Summary: "Weeds: Season Three" continues the dark line of comedy that emerged in the previous season for this Showtime series. The story picks up exactly where it left off, with Nancy Botwin (Mary-Louise Parker) faced with a half-dozen guns pointing at her in her own kitchen, while an Armenian gang and Nancy's buyer, U-Turn (Page Kennedy), both demand she turn over her entire stash of marijuana (worth several hundred thousand dollars). Problem is, the pot is in the trunk of on-again, off-again friend Celia (Elizabeth Perkins), whose car has been stolen by Nancy's oldest son, Silas (Hunter Parrish). Silas wants in on mom's business, but his timing couldn't be worse as Celia and a police officer show up to reclaim the car while Nancy is still at gunpoint. The fallout from all this is that Nancy ends up working for U-Turn to repay her debt to him, a dangerous relationship that sends Nancy down a rabbit hole of underworld threats and violence. Meanwhile, Celia gets booted out of her home by her husband and becomes estranged from her young daughter, Isabelle (Allie Grant), who insists she's a lesbian. Celia rebounds a bit when a corrupt developer (Matthew Modine) gives her a house in exchange for her support on city council for one of his schemes. That goes wrong, too, when Celia allows Nancy, Doug (Kevin Nealon), and Conrad (Romany Malco), all of whom go into business after U-Turn stops being a problem, to put their endangered trove of marijuana plants in her house. Nancy's other son, Shane (Alexander Gould), claims he can see and talk to the ghost of Nancy's late husband, and Nancy's brother-in-law Andy (Justin Kirk) goes AWOL from the U.S. Army after his comrade is deliberately killed in an experimental missile test. As always, it's one thing after another on "Weeds", and the blend of humor and suspense is uniquely compelling. Parker and the rest of the cast pull off some pretty surreal situations with great credibility. The show's lead star, particularly, can carry moments of blended terror and comedy: one of the season's most memorable moments finds Nancy forced to put on a sexy dance for a group of drug dealers in order to pick up a package U-Turn requires. The scene is humiliating, frightening, sexy, and comical all at once. Few actresses could have pulled it off, but Parker does. "--Tom Keogh"

Languages: English

Subtitles: English, Spanish

Sound: AC-3

Summary: Nancy goes on a long, strange trip as "Weeds" celebrates its fourth year. After Mary-Louise Parker's drug-dealing mom burns down the Agrestic rental, the Botwin clan flees to Bubbie's beach house, near Tijuana, where they reluctantly join forces with Nancy's cranky father-in-law, Lenny (Albert Brooks). While Celia (Elizabeth Perkins) does time for renting out a grow house, Nancy cozies up to a Mexican drug cartel. With nowhere else to go, Doug (Kevin Nealon) joins Nancy, Andy (Justin Kirk), Silas (Hunter Parrish), and Shane (Alexander Gould) in Ren Mar.
Sometimes change is a good thing, sometimes not. As creator Jenji Kohan explains in her commentary, "The writers were getting kind of restless." Adds writer Roberto Benabib: "We were done with suburbia." Fortunately, the new location adds interest, and Brooks makes for an inspired (albeit brief) addition, but Celia's punishment--humiliation, beating, pistol whipping--for selling out Nancy goes on too long. (The original theme song and opening credits also disappear after the premiere.) When a cigar-chomping politico (Demián Bichir) and an attractive divorcée (Julie Bowen) with an eye for 17-year-old Silas enter the picture, events take a darker, sexier turn. Even 13-year-old Shane, who longs to join the family business, acquires a couple of groupies.
As in previous years, the season ends with a cliffhanger, but in light of the insurmountable scrapes she's got herself into before, Nancy seems likely to emerge unscathed in year five when Jennifer Jason Leigh joins the show. If comedy takes a backseat to drama this time around, "Weeds" remains compulsively, addictively watchable. Bonus features include seven cast and crew commentaries--Parker and Gould are the only key players missing--and eight featurettes, including a tour of Bubbie's tchotchke-filled abode and a look at the Drug Enforcement Agency, which plays a regular part in the program. "--Kathleen C. Fennessy"

Languages: English

Subtitles: English, Spanish

Sound: AC-3

Summary: The hemptress returns in the complete fifth season of the Showtime's; Original Series, WEEDS. When pot-selling soccer mom Nancy Botwin took her homegrown business south of the border, she found the grass wasn't greener on the other side. Now she's pregnant with the child of a powerful politician turned dangerous drug lord; or is she? Doug and Silas are trying to branch out on their own, Andy is looking to score, and Celia attempts to turn the tables on her kidnappers. With enemies out to smoke the Queen of Green, Nancy's sure to find a whole new crop of trouble in an all new season of WEEDS; starring Emmy and Golden Globe winner Mary-Louise Parker.

Languages: English, Spanish

Subtitles: Spanish, French

Sound: Dolby

Summary: Yes, that is Bill Paxton as Ilan Mitchell-Smith's militaristic big brother. And that's Robert Downey Jr. as one of the in-crowd jerks who makes nerds Mitchell-Smith and Hall's lives miserable. Fortunately, this is a John Hughes comedy and our smart nerds create the perfect woman, Lisa (Kelly LeBrock), using a computer and voodoo. Lisa is a willing sex toy, has magical powers, and just wants to help the boys get even and meet nice babes. She even cleans up. The fantasy ebullience of Hughes is given full rein here and that's good and bad (mostly good). It's all aimed at a certain kind of hormone-addled, 16-year-old sensibility; but who doesn't have a little bit of that in them? "--Keith Simanton"

Languages: English, French, Spanish

Subtitles: English, Spanish, French

Sound: Dolby

Summary: The winner of 10 Academy Awards, this 1961 musical by choreographer Jerome Robbins and director Robert Wise ("The Sound of Music") remains irresistible. Based on a smash Broadway play updating Shakespeare's "Romeo and Juliet" to the 1950s era of juvenile delinquency, the film stars Natalie Wood and Richard Beymer as the star-crossed lovers from different neighborhoods--and ethnicities. The film's real selling points, however, are the highly charged and inventive song-and-dance numbers, the passionate ballads, the moody sets, colorful support from Rita Moreno, and the sheer accomplishment of Hollywood talent and technology producing a film so stirring. Leonard Bernstein and Stephen Sondheim wrote the score. "--Tom Keogh"

Languages: English

Subtitles: English, Spanish, French

Sound: Dolby Digital 2.0 Surround

Summary: Conventional wisdom prior to season one of "The West Wing" was that the only successful television shows were half hour sitcoms and hour long police, legal, or medical dramas. Building on surplus ideas from his film "The American President" and the walk-and-talk style of comedy and drama from his critically acclaimed television show "Sports Night", Aaron Sorkin bucked the trend and created his masterpiece, one of the most memorable American political depictions to reach the big or small screen. Season one introduces viewers to a Nobel Prize-winning economist and unabashed intellectual president Jed Bartlet (Martin Sheen) and his key staff members, a newly elected Democratic administration trying to find its footing amidst the corridors of the White House's west wing. To the credit of its cast and their brilliant ensemble acting, "The West Wing" manages to immediately conjure nearly a dozen distinct and memorable characters. Perhaps the greatest star of all is Sorkin's rapid-fire dialogue, especially as delivered by Press Secretary C.J. Craig (Alison Janney), Deputy Chief of Staff Josh Lyman (Bradley Whitford), Deputy Communications Director Sam Seaborn (Rob Lowe), and Chief of Staff Leo McGarry (John Spencer). They carry on conversations while stalking purposefully and unhaltingly down corridors, around corners, and through doorways, and all of it unfurls with the choreographic precision of a classical ballet and the pace of an Olympic ping-pong rally.
What emerges is more than a collective liberal dream of an impassioned administration battling back ultra-conservative bogeymen ranging from the religious right to bigots to gun-toting militants. Wonderful episodes like "The Pilot" and "In Excelsis Deo" portray a government led by heroic, intelligent, and decent men and women. Whether or not one regards that as a political fantasy, it's a remarkably refreshing and appealing vision of politics and its practitioners, one that the public embraced with consistently strong television ratings. In a country whose citizens are used to viewing their elected leaders with mistrust and cynicism, that might be "The West Wing"'s greatest accomplishment. "--Eugene Wei"

Languages: English

Subtitles: English, Spanish, French

Sound: Dolby

Summary: The second season of "The West Wing" takes up literally where the first season left off and, after a few moments of patriotic sentimentalism, maintains the series' astonishingly high standards in depicting the everyday life of the White House staff of a Democratic administration. The two-part opener covers the immediate aftermath of the assassination attempt on President Bartlet (Martin Sheen), switching between the anxious wait on the injured and flashbacks to Bartlet's campaign for the Presidency. Other peaks in a series exceedingly short on lows include "Noel," the episode in which Alan Arkin's psychiatrist forces Josh Lynam to confront his post-traumatic stress disorder and the episodes in which President Bartlet, following a tragic car accident, rails angrily against God in Latin.
Other new aspects include the introduction of Ainsley Hayes, a young Republican counsel hired after she beats communications deputy Sam Seaborn (Rob Lowe) in a TV debate ("Sam's getting his ass kicked by a girl!" crow his colleagues), as well as the revelation that the President has been suffering from multiple sclerosis. Tensions grow between him and the First Lady (Stockard Channing) as she realizes, in the episode "Third State of the Union," that he intends to run for a second term in office. It becomes clear to Bartlet that he must go public with his MS, and his staff is forced to come to terms with this, as well as deal with the usual plethora of domestic and international incidents, which apparently preclude any of them from having any sort of private lives. These include crises in Haiti and Columbia, an obstinate filibuster, and a Surgeon General's excessively frank remarks about the drug situation. Thankfully, the splendid Lord John Marbury (Roger Rees) is on hand to make chief of staff Leo McGarry's life more of a misery in "The Drop-In."
These episodes, though occasionally marred by a sentimental soundtrack and an earnest and wishfully high regard for the Presidential office, are master classes in drama and dialogue, ranging from the wittily staccato to the magnificently grave, capturing authentically the hectic pace of political intrigue and the often vain efforts of decent, brilliant people to do the right thing. "The West Wing" is one of the all-time great TV dramas. "--David Stubbs"

Languages: English, Spanish

Subtitles: English, Spanish, French

Sound: Dolby

Summary: There is no letdown in talent or skill for the third season of this blue ribbon drama. One could say these 22 episodes play as a continuation of the second season; there are no major new characters or earth-shattering plots and the Emmys rewarded the series with its third straight award for Best Drama (and unlike season 4, no one argued about the laurels). The third year starts with a stand-alone episode "Isaac & Ishmael", a special show created, shot, and broadcast 22 days after the 9/11 events. Although the final results tend to be sermonic, the fact the show was able to drop everything and commit to a new season opener is evident not only of talent, but of a disciplined work force operating at the top of their game.
President Bartlet's (Martin Sheen) decision to run for reelection after the disclosure of suffering MS fuels the fire for the first half of the season. Depositions are filed against the staff, minor mistakes take on more significance, and the White House consul (Oliver Platt) has the run of the table warning of worst-case scenarios. The focus soon turns to the First Lady (Stockard Channing) as the potential "Lady Macbeth" of the scandal. Channing aces her role and turns her birthday celebration ("Dead Irish Writers") into one of the season's highlights. Assistant Donna (Janel Moloney), her boss Josh Lyman (Bradley Whitford), and press secretary C.J. (Alison Janney) all have charismatic romances, but the ace supporting player this year is John Spencer as the relentlessly loyal Chief of Staff Leo McGarry. Whether delivering the hard truth, accepting the proverbial bullet for the President, or being our guide to how Bartlet ran in the first place (in another wonderful flashback episode, "Bartlet for America"), all roads lead to McGarry. Acting Emmys went to Channing, Spencer, and Janney, but the strength of this show is that the entire cast has glorious moments (Toby's taking on the President's mode of operation, Sam's belief in government, or the President's peculiarities of Thanksgiving are just a few). Recurring guest stars--the likes of Ron Silver, Tim Matheson, Mary Louise Parker, and Mark Harmon--deliver some of their career-best work. Crack writing, a breathless pace, plus you learn a bit about government. What else do you want from a TV drama? "--Doug Thomas"

Languages: English

Subtitles: English, Spanish, French

Sound: Dolby

Summary: The winning streak for this veritable show continues through its fourth year. As with many long-running series, "The West Wing" faces the inevitable--a cast member chooses to leave. But this show handles Rob Lowe's exit with such well-executed grace, a could-be-harmful experience (or at least sudden) is turned into an asset. The season begins with three staff members marooned in the heartland (played mostly for laughs) and ends with a dramatic cliffhanger even more powerful than the initial season's shooting. In between are 20 excellent episodes packed with the series' trademark wit and pace, and an uncannily ability to create excellent moments for the entire cast. The election nears and "West Wing"ers brace for the final onslaught including a make-or-break debate. There's a horrible genocide in Africa changing the course of the Bartlett administration and a covert assassination with effects lingering throughout the season. There's also the now-annual flashback episode, this time to the first days at the White House (with another comforting appearance by Kathryn Joosten as Mrs. Landingham). The series also has its first episode set mostly outside the West Wing when C.J. (Alison Janney) goes back to Ohio for a high school reunion and visits her father (Donald Moffat) who is starting to feel the effects of Alzheimer's.
Lowe's Sam Seaborn picks a new fate at the spur of the moment and is eventually replaced by the very person whose verve he was swept up by--a harried, vastly intelligent campaign manager, Will Bailey (Josh Malina, best known for his work in creator Aaron Sorkin's previous show, "Sports Night"). He's an excellent fit for the West Wing, both fictionally and for the series. Part of the show's success belongs to the continuity, helped immensely by high-caliber guest stars continuing long runs on the show, including Mary-Louise Parker, John Amos, Marlee Matlin, Tim Matheson, Timothy Busfield, Lily Tomlin, Anna Deavere Smith, and Ron Silver (hey, that's a pretty good cast for their "own" show). One-time guest stars are also used to the fullest. Notice how a single-episoe appearance by Christian Slater (as a naval attaché who strikes Donna's fancy) turns into a three-episode arc. Matthew Perry delivers an Emmy-nominated performance in a key role in the season's final arc. This fourth season was capped by the departure of creator-writer Sorkin and producer-director Thomas Schlamme, plus another Emmy win for Best Drama, its fourth straight. Many were surprised or even angered that the series kept up the winning streak. Perhaps the series was not as relevant to the times as four years earlier, but the proof is in the pudding--the series was still in rarefied air by the end of this season.
Luckily, Sorkin and Schlamme were invited to air the commentaries for the DVDs, here on three episodes. It allows them to talk about their departure, a subject barely mentioned in the two making-of featurettes. One deals with speechwriters and other with Stockard Channing's role on the show. Note: the documentaries and deleted scenes are hard to find. Look for the pointer (>) at the bottom right of the special features menu of the sixth disc. "--Doug Thomas"

Languages: English

Subtitles: English, Spanish, French

Sound: Dolby

Summary: Two administrative changes rocked "The West Wing"'s fifth season. Offscreen, the ship of state steered a tad off-course with the departure of series creator Aaron Sorkin and director Thomas Schalmme. Onscreen, President Josiah Bartlet (Martin Sheen) relinquished the power of his office to Speaker of the House Glenallen Walken (John Goodman) in the wake of his daughter's kidnapping. In the season opener, "7a WF 83429," Josh Lyman (Bradley Whitford) wonders if this wasn't a mistake. What if the citizenry prefer Walken to Bartlet, he ponders. What if Walken comes off more presidential? Is he kidding? Sheen's Bartlet is the president of Hollywood's dreams, and the stuff of Rush Limbaugh's nightmares. (In a character profile included as one of the bonus features on this six-disc set, Bartlet is described as an amalgam of John F. Kennedy, Jimmy Carter, and Bill Clinton!). Not to worry, though, Bartlet is back in the Oval Office by the end of the season's second episode, "The Dogs of War." The next order of business: choosing a vice president to replace the disgraced John Hoynes. Enter Gary Cole as "Bongo Bob" Russell, who, as the season unfolds, will confound misperceptions of him. Hoynes himself (Tim Matheson) returns in "Full Disclosure," in which the former vice president dishes dirt on Bartlet and chief of staff Leo McGrarry (the late John Spencer) in advance of a tell-all book. Formidable and usually unflappable press secretary C. J. has an intensely personal reason to spearhead damage control and thwart Hoynes' publishing plans.
Allison Janney, as C. J. earned "The West Wing"'s sole Emmy this season. One of her showcase hours is "Access," a format-breaking episode presented as a "Frontline"-type "day-in-the-life" documentary. Other memorable episodes that helped to right "The West Wing"'s course include "The Supremes," featuring Glenn Close as a Supreme Court nominee; the battle-of-wills episode, "Shutdown"; "Gaza," in which Donna (Janel Moloney) is severely wounded during a fact-finding mission to the Middle East; and "Memorial Day," a flashback episode that echoes "Bartlet for America" from season 3, and which ends the season on a strong note, and almost make viewers forget the "Sesame Street" Muppet cameos in the episode, "Eppu Si Muove." Almost. "--Donald Liebenson"

Languages: English

Subtitles: Spanish, French

Sound: Dolby

Summary: With the ghost of creator Aaron Sorkin fully expunged from the spotlit soundstage maze representing that most busy portion of the White House, the sixth season of The West Wing is less a return to form than it is a remaking of the things that were best about the show in the first place. There's C.J. and Josh throwing high-speed dialogue at each other; there's the tension and personality arc as characters are back in step with their original realization; there's the overarching story that runs throughout the 22 episodes along with the self-contained mini-dramas within each one; there are the new people who bind themselves to plots that are alternately tidy and messy, just like real life. The taking-stock the show's creative minds clearly did after a roundly drubbed season five had a lot of help from the necessity of thinking ahead to a new crop of faces and places as the Bartlett administration starts winding down its second term. Some of the plot points may be a little hard to swallow: Would C.J. really deserve to take over the Chief of Staff position? Would Josh really walk away from his dream job to pursue the seeming nightmare of running a presidential campaign for not-a-chance-in-hell Rep. Santos (Jimmy Smits)? Thankfully the answer turns out to be yes in these fully crafted episodes, even as they still sometimes ring with the people-don't-really-talk-that-way banter that makes up most of the conversation in the Oval Office or hallways of the elaborate set.
Jimmy Smits isn't the only welcome new regular face in season six. Alan Alda grandly returns to the medium that made him with effortless authority playing Republican senator and front-running aspirant to the West Wing's throne, Arnold Vinick. From his modest introduction, to the nuances of personality that slip through over the course of the season, Vinick is definitely one of the people we want to see more of. Adding her own personal flair and tweaking the subtleties of the scripts is Lily Tomlin as President Jed's protective secretary. Gary Cole plays smarmy and vapid with elan as the Vice President who believes he's heir apparent, and disgraced ex-VP Tim Matheson returns from the political graveyard, unbelievably believing he has a chance to win his party's nomination. The politics are still integral to the drama, with fiery President Martin Sheen refusing to go gentle into that good night of professional or personal shadows. The late, great John Spencer also brings poignancy to his last days as ex-Chief of Staff Leo McGarry, scenes made all the more touching by the actor's death in 2005. As with its best early seasons, The West Wing again proves that strong writing, top-flite production design, and authoritative acting always covers flashes of skepticism and makes great TV."--Ted Fry"

Languages: English

Subtitles: Spanish, French

Sound: Dolby

Summary: Get out your hankies for the moving final season of "The West Wing". It's not just because it's the last season, and the last time we know we'll hear that thrilling theme music. It's not just because it's the end of the line for the administration of President Josiah "Jed" Bartlet (Martin Sheen), an inspiring, beloved fictional leader of the free world in a time of great cynicism about real-life politicians. It's also because of the sudden, untimely death of costar John Spencer, who played chief of staff Leo McGarry, who, like his character, was a recovering alcoholic and died of a heart attack in December 2005. Spencer's death was worked into the season's story line, and it's both exhilarating to see some of Spencer's finest work in the early episodes here, and heartbreaking to see the impact of his death on the cast. At one point, Martin Sheen delivers a moving on-air tribute: "Johnny, it seems we hardly knew you." Other highlights of the season include the fleshing out of presidential candidates Alan Alda and Jimmy Smits, both respectable, admirable and worthy opponents. And in abundance are the things viewers had come to love about the show: the witty dialogue and spot-on delivery, especially by actors Bradley Whitford, Richard Schiff, and the crack Allison Janney and the long tracking and circular shots of characters in their element (subsequently found on creator Aaron Sorkin's follow-up series, "Studio 60 on the Sunset Strip"). If the story lines aren't as topnotch as some in earlier years, it hardly matters, as this is the season that wraps up the entire story arc. The gimmicks, like the live debate between Smits and Alda's characters, don't hold a candle to the true soul-searching and idealism found in every single episode. The set includes all 22 episodes, a glossy guide to each episode, and "Live from the Director's Chair," a mini-doc about filming the live debate episode. Hail to the chief! "--A.T. Hurley"

Languages: English

Sound: Dolby Digital 2.0 Surround

Summary: Comic wizard Bill Murray (CRADLE WILL ROCK, THE ROYAL TENENBAUMS) teams up with Academy Award(R)-winner Richard Dreyfuss teams up with (Best Actor, 1978, THE GOODBYE GIRL) in an outrageously wild comedy that's sure to drive you off the deep end! Murray plays Bob Wiley, a troubled but lovable therapy patient who fears everything! After seeking help from noted psychiatrist Dr. Leo Marvin (Dreyfuss), Bob feels revived. But when the good doctor skips town to go on a quiet family vacation, Bob, afraid of being alone, follows -- showing up unexpectedly at the therapist's lakeside retreat. That's when the fun really begins! Bob innocently becomes the houseguest who just won't leave -- endearing himself to the other family members ... and, in the end, driving the stressed-out shrink absolutely crazy!

Languages: English

Subtitles: Spanish, French

Sound: Dolby

Summary: Robin Williams and Annabella Sciorra star in this visually stunning metaphysical tale of life after death. Neurologist Chris and artist Annie had the perfect life until they lost their children in an auto accident; they're just starting to recover when Chris meets an untimely death himself. He's met by a messenger named Albert (Cuba Gooding Jr.) and taken to his own personal afterlife--a freshly drawn world reminiscent of Annie's own artwork, still dripping and wet with paint. Meanwhile a depressed Annie takes her own life, compelling Chris to traverse heaven and hell to save Annie from an eternity of despair.
The multitextured visuals seem to have been created from a lost fairy tale. Heaven recalls the landscape paintings of Thomas Cole and Renaissance architecture complete with floating cherubs, while hell is a massive shipwreck, an upside-down cathedral overgrown with thorns and a sea of groaning faces popping out of the ground (one of those faces is German director Werner Herzog). Williams is the perfect actor to play against the imaginative computer-generated imagery--he himself is a human special effect. But the lack of chemistry between Williams and Sciorra is painfully apparent, and the flashback plot structure flattens the story's impact despite its deeply felt examinations of the heart and the spirit. Still, there's no denying Eugenio Zanetti's triumphant production design and the Oscar-winning special effects, which create a fully formed universe that is at once beautiful, eerie, and a unique example of movie magic. "--Shannon Gee"

Languages: English

Subtitles: Spanish

Sound: AC-3

Summary: Somebody once dubbed Hollywood "the Dream Factory"; "What Just Happened" aims to make sad, occasionally zany comedy of the proposition that unreality is the keynote of Hollywood as place, process, and lifestyle. Art Linson wrote it, and as producer of "The Untouchables", "Fight Club", "Heat", "Fast Times at Ridgemont High", et numerous al., he must know the territory. Trouble is, after Robert Altman's way-superior "The Player" (1992), several seasons of "Entourage", and wraparound entertainment coverage on cable TV and the Internet, most of "What Just Happened" feels secondhand and superfluous. Robert De Niro gives a low-key comic performance as Ben, a seasoned producer being relegated to the edge of Tinseltown's Big Picture. The test screening of his latest movie was a disaster because his arty Cockney director (Michael Wincott, savoring a rare comic opportunity) insists on killing off not only hero Sean Penn but also, unforgivably, his dog. And Ben's next movie may not get made at all because Bruce Willis is adamant about playing his part with an outlandish beard the studio won't stand for. Meanwhile, our beleaguered protagonist is living in a soulless plastic-and-chrome apartment while supporting two ex-wives in their respective Houses Beautiful. The second wife (Robin Wright Penn) has lined up a divorce counselor to help them get on with their separate lives, even as Ben yearns for reconciliation.
"What Just Happened" re-teams De Niro with director Barry Levinson eleven years after "Wag the Dog" (1997), their surreal black comedy about Hollywood and Washington, different kinds of dream factory, collaborating on a politically expedient fiction and an unnecessary war. Nothing comparable is at stake here--though at one point studio boss Catherine Keener does evoke memories of President Lyndon Johnson issuing directives while perched on the commode. There are funny bits and deft touches from such redoubtable troupers as John Turturro--playing an agent terrified of talking to his clients--and Stanley Tucci, as a screenwriter who may be moving in on that wife Ben hopes to win back. However, Levinson's direction is so lackadaisical, there's barely a moment that doesn't nudge the whole enterprise toward the direct-to-video bin. "--Richard T. Jameson"

Languages: English

Sound: Dolby

Summary: A good old-fashioned thriller that wears its Alfred Hitchcock pedigree proudly on its sleeve, "What Lies Beneath" stars Harrison Ford and Michelle Pfeiffer as picture-perfect married couple Norman and Claire Spencer, who seem happy and content with a fabulous house, college-age daughter and still-active libidos. When said daughter heads off to college, Claire starts obsessing about her new neighbors, and becomes convinced that the moody husband killed the neurotic wife, and that the wife's ghost has a desperately important message for her. Yes, it's true, there is a ghost, and there is a message, but it has decidedly more personal--and life-threatening--implications for Claire and Norman. Suddenly, that car crash last year that Claire can barely remember and the circumstances surrounding it start falling into place, and Claire begins to realize Norman may have a secret.
Director Robert Zemeckis loads the first half of "What Lies Beneath" with humorous cheap thrills (the suddenly ringing phone, etc.) that poke fun at Claire's dilemma while simultaneously making you tense beyond belief. Between each goofy thrill, though, is one true one that will make you jump out of your seat, including a bathtub that keeps filling itself. And all the while, Zemeckis subtly telegraphs the fissures in the Spencers' marriage, slowly revealing that all is not well between these two. Yes, it's a blatant Hitchcock homage to movies such as "Rear Window" and "Suspicion", but it's sleekly made, entertaining and engrossing. Ford does his stoic thing well (and looks great doing it), and Diana Scarwid provides a refreshingly lighthearted turn as Claire's best pal, but it's pretty much Pfeiffer's movie all the way, and she carries the film on her not-so-fragile shoulders. And the third act is a suspense tour de force, complete with a breathtaking sequence featuring Pfeiffer and that menacing bathtub. In a time of obvious horror films, "What Lies Beneath" is an intelligent, fun thrill ride that will leave you breathless. "--Mark Englehart"

Languages: English

Sound: AC-3

Summary: Since the dawn of mankind, we have stared up at the lights in the sky and wondered... Now join the heroic men and women who have dared the impossible on some of the greatest adventures ever undertaken - the quest to reach out beyond Earth and into the great unknown of space! To celebrate 50 years of incredible achievements, the Discovery Channel has partnered with NASA to reveal the epic struggles, tragedies and triumphs in a bold chapter of human history. Along with the candid interviews of the people who made it happen, hundreds of hours of never-before-seen film footage from the NASA archives - including sequences on board the actual spacecraft in flight - have been carefully restored, edited and compiled for this landmark collection.

*Original NASA footage digitally remastered in high-definition featuring exclusive;''never before seen''; footage
*4 hours of bonus footage not seen in TV broadcast.

Languages: English, French

Subtitles: English, Spanish, French

Sound: Dolby

Summary: Scorned by reviewers when it came out, this concentrated dose of commando death-dealing to legions of Nazi machine-gun fodder has acquired a cult over the years. In 1968 Clint Eastwood was just getting used to the notion that he might be a world-class movie star; Richard Burton, whose image had been shaped equally by classical theater training and his headline-making romance with Elizabeth Taylor, was eager to try on the action ethos Eastwood was already nudging toward caricature. Alistair MacLean's novel "The Guns of Navarone" had inspired the film that started the '60s vogue for World War II military capers, so he was prevailed on to write the screenplay (his first). The central location, an impregnable Alpine stronghold locked in ice and snow, is surpassing cool, but the plot and action are ultra-mechanical, and the switcheroo gamesmanship of just who is the undercover double (triple?) agent on the mission becomes aggressively silly. "--Richard T. Jameson"

Languages: English, French

Subtitles: Spanish, French

Sound: Dolby Digital 5.0

Summary: Linda Fiorentino is her lean, sexy self as Carol, a former prom queen who's grown up to be a nurse in an old-age home, which isn't quite what she imagined her future would be. She's married to her prom king, Wayne (Dermot Mulroney), who's grown a little dull. Then Henry (Paul Newman) gets delivered into her care. He's an imprisoned bank robber who has had a stroke. Or has he? Carol begins to try to suss him out, even going so far as to straddle him in his wheelchair and fondle his ears, but it's not until she pushes him into a reservoir that he breaks his masquerade. Carol, desperate to get some excitement in her life, convinces Henry to pull a job with her. She starts casing banks and scoping out armored cars. When Wayne gets jealous of the time she's spending with Henry, he gets pulled into the deal--and a heist is underway. What makes "Where the Money Is" click isn't the fairly standard plot, it's the character details. Written in part by E. Max Frye--who wrote "Something Wild" (one of the best and most unappreciated movies of the 1980s)--the film consistently manages to give every character, no matter how small, something that makes them seem real. Though the pace starts out slow, and there are some not entirely convincing story elements, once the heist starts all this nuance pays off--every complication produces real tension because you've gotten to know Carol, Henry, and Wayne so well. Newman's effortless performance shows how he's stayed a star through five decades. "--Bret Fetzer"

Languages: English

Subtitles: English, French, Spanish

Sound: AC-3

Summary: Through his handcrafted ode to the trials of childhood, Spike Jonze puts his own unique imprint on Maurice Sendak's enduring classic. In the prologue, 9-year-old Max (Max Records) stomps around the house, feeling neglected. When his mom (Catherine Keener) sends him to bed without supper, Max runs away (something he doesn't do in the book). He finds a boat and sails to a distant land where fuzzy monsters are raising a rumpus in the forest. Since his wolf suit allows him to fit right in, he joins the fray, catching the eye of Carol (James Gandolfini, excellent), who notes, approvingly, "I like the way you destroy stuff. There's a spark to your work that can't be taught." With that, they pronounce the diminutive creature king, hoping he can bring cohesion to their fractured family. After Max comes across Carol's scale-model town, he decides they should build a real one, but the project stalls as Alexander (Paul Dano) and Douglas (Chris Cooper) mope, Judith (Catherine O'Hara) browbeats Ira (Forest Whitaker), and Carol pines for K.W. (Lauren Ambrose), who prefers the company of owls Bob and Terry. Max realizes he has to make a choice: stay with the wild things or return home, where he has to keep his aggressive impulses in check. For readers of Sendak's slim tome, his decision won't come as a surprise, but Jonze ends the story on a lovely grace note. Until that time, the squabbling is a bit much--these monsters never stop talking--but Jonze, cowriter Dave Eggers, the Jim Henson Company, and singer/songwriter Karen O. have gone all-out to re-create the inner world of a child with as much empathy as was mustered for the inner adult world of Jonze's "Being John Malkovich". "--Kathleen C. Fennessy"

Languages: English

Subtitles: Spanish, French

Sound: Dolby Digital 2.0 Surround

Summary: Ethan Hawke, fresh faced and full of determination, tackles the icy wilds and rowdy boom towns of Alaska in Disney's 1991 adaptation of Jack London's turn-of-the-century gold rush classic. Though somewhat tamed for young audiences, the story of a city kid who befriends a feral half-wolf/half-dog orphan while learning to survive the dangers of nature and man has its share of peril and rousing scenes of wilderness adventure. But the humans are upstaged by both the animals (the standoff between White Fang and a wild brown bear is a highlight) and the Alaskan landscape, from the snow-covered mountains and frozen lakes of winter to the rich green forests and whitecap rivers of summer. The scenes of dogfights and wild wolves hunting game are carefully shot to avoid bloodshed (the opening disclaimer takes pains to remind viewers that all such scenes have been simulated), but they may still be too intense for young children. Recommended for 9 and up. "--Sean Axmaker"

Languages: English

Subtitles: Spanish

Sound: Dolby

Summary: Despite an abundance of gaping plot holes, "White Noise" serves up enough spooky atmosphere to make it worth a look-see for fans of supernatural thrillers. Even when hampered with a shoddy, clumsily written screenplay, Michael Keaton brings professional conviction to his role as a grieving widower who is introduced to the mysterious (and according to paranormal researchers, highly documented) existence of EVP, or Electronic Voice Phenomenon, which allows the dead to communicate (one-way only, it seems) from the great beyond, through images and voices recordable on a variety of electronic media such as VCRs, computers, etc. Seeking contact with his recently deceased wife, Keaton finds dire warnings of evil in the afterlife, with connections (all too convenient) to killings and disappearances in his Vancouver, British Columbia vicinity. British TV director Geoffrey Sax brings slick style to this hokum, and a few moments of genuine eeriness, but you may find yourself giggling too much to appreciate the highlights. "--Jeff Shannon"

Languages: English

Sound: Dolby

Summary: This zany, eye-popping, knee-slapping landmark in combining animation with live-action ingeniously makes that uneasy combination itself (and the history of Hollywood) its subject. "Who Framed Roger Rabbit" is based on classic L.A. private-eye movies (and, specifically, "Chinatown"), with detective Eddie Valiant (Bob Hoskins) investigating a case involving adultery, blackmail, murder, and a fiendish plot to replace Los Angeles's once-famous Red Car public transportation system with the automobiles and freeways that would later make it the nation's smog capital. Of course, his sleuthing takes him back to the place he dreads: Toontown, the ghetto for cartoons that abuts Hollywood and that was the site of a tragic incident in Eddie's past. In addition to intermingling cartoon characters with live actors and locations, "Roger Rabbit" also brings together the greatest array of cartoon stars in the history of motion pictures, from a variety of studios (Disney, Warner Bros., MGM, Fleischer, Universal, and elsewhere): Betty Boop, Bugs Bunny, Mickey Mouse, Woody Woodpecker, Droopy Dog, and more! And, of course, there's Maroon Cartoon's greatest star, Roger Rabbit (voice by Charles Fleischer), who suspects his ultracurvaceous wife, Jessica Rabbit (voice by Kathleen Turner: "I'm not bad; I'm just drawn that way"), of infidelity. Directed by Robert Zemeckis ("Back to the Future", "Forrest Gump", "Contact"), not since the early Looney Tunes' "You Oughtta Be in Pictures" has there been anything like "Roger Rabbit". "--Jim Emerson"

Languages: English, Spanish

Subtitles: English, Spanish, Portuguese, Georgian, Chinese, Thai

Sound: Dolby

Summary: John Candy is Harry Crumb, the last in large family of private eyes. Unfortunately, big-hearted Harry's bumbling nature has led to his exile from the family for ten years while the family business was turned over to snakelike Eliot Draisen (Jeffrey Jones). Draisen plans on capitalizing on portly Harry's ineptitude when he puts Crumb on the case after kidnapping his own best client's daughter so that he can run away with the client's wife (Annie Potts). But this time, Harry, with a bizarre array of disguises, just might crack the case and prove he's one Crumb that won't be swept under the rug!

Languages: English, French, Spanish

Subtitles: English

Sound: Dolby

Summary: A cuddly koala who wants to be fierce, a squirrel in love with a sarcastic giraffe, an addle-pated anaconda, and a lion with a secret set off from their cozy zoo to rescue the lion's adolescent cub from an accidental kidnapping. After braving the dangers of the big city and stealing a boat, they find themselves in the African jungle, where a renegade herd of wildebeest have decided they want to change their position on the food chain (understandable, really). "The Wild" is hodgepodge--it's never clear why these mismatched creatures are friends and plot elements seem haphazardly plucked from "Finding Nemo", "Madagascar", and "Ice Age: The Meltdown" (though the latter two were made at the same time as "The Wild", so it's just unfortunate for this movie that they came out first). Despite a general air of manic desperation, "The Wild" does have its strengths: The animation is richly realistic, leading to some gorgeous depictions of light (not exactly a selling point for kids, but adults can appreciate it). Several characters pop out--a pair of sewer crocodiles sound like NPR's Car Talk guys; William Shatner ("Star Trek", "Boston Legal") is effectively scary as the cult-leader/choreographer of the wildebeest; and comedian Eddie Izzard lends some of his trademark smart and silly humor to Nigel, the disgruntled koala bear. Successful bits and pieces don't make for a great movie, but they keep "The Wild" from the brink of disaster. "--Bret Fetzer"

Languages: English, French, Spanish

Subtitles: French, Spanish

Sound: Dolby

Summary: A coming-of-age story starring a bunch of fiftysomething stars rather than teenage actors, "Wild Hogs" is a well-intentioned comedy starring John Travolta (Woody), Tim Allen (Doug), Martin Lawrence (Bobby), and William H. Macy (Dudley) as a group of Midwesterners facing their own versions of mid-life crises. They decide to escape their frazzled personal lives and rejuvenate themselves by taking a road trip on their slick hogs. But their journey is less "Easy Rider" than it is "Three Amigos" (plus one). As individual actors, each lead is a formidable star. But throw them all together into one crammed screenplay full of scatological humor and uncomfortable homosexual gags and it doesn't quite work. The actors spend so much time trying to outdo each other on screen that they aren't believable as friends, much less comrades. Walt Becker ("National Lampoon"'s Van Wilder) offers minimal direction on a film that could've used some reining in, especially during scenes between Macy and Marisa Tomei (as a diner owner who inexplicably falls for him). There are promises of some interesting vignettes when Ray Liotta shows up as Jack, the leader of a real motorcycle gang. When Jack threatens to break Dudley's legs, Dudley counters, "I'm a computer programmer! I don't need my legs." Without missing a beat, Jack says, "Fine, we'll break his hands." It's not that the lines are so funny, but they way Liotta delivers them that adds some life to this flailing comedy. Unfortunately, his scenes with the rest of the cast are all too few. "--Jae-Ha Kim"
Stills from "Wild Hogs" (click for larger image)

Languages: English

Subtitles: English

Sound: AC-3

Summary: As accomplished as it is superfluous, "Willard" is a stylish horror film with plenty of style and precious little horror. Genre buffs will appreciate it as a visually superior sequel/remake of its popular 1971 predecessor, giving Crispin Glover a title role perfectly suited to his uniquely odd persona, in the same league as "Psycho"'s Norman Bates. This time, Willard's the psychotically lonely son of the original film's now-deceased protagonist; a milquetoast introvert who befriends an army of obedient rats--lethal allies when Willard's pushed to his emotional breaking point by his abusive boss (R. Lee Ermey). In keeping with his memorably macabre episodes of "X-Files", writer-director Glen Morgan excels with dreary atmosphere and mischievously morbid humor (including an ill-fated cat named Scully), and Glover gives his best performance since "River's Edge". But even the furry villain Ben--an oversized rat with attitude--is more funny than frightful... so really, what's the point? With some justification, Glover's fans will appreciate the open door to a sequel. "--Jeff Shannon"

Languages: English, French

Subtitles: English, Spanish

Sound: Dolby

Summary: Baz Luhrmann ("Strictly Ballroom") takes a shot at reinventing Shakespeare's story of star-crossed lovers as a visual pastiche inspired by MTV imagery, Hong Kong action-picture clichés, and Luhrmann's own taste for deliberate, gaudy excess. The result is explosive chaos, both in terms of bullets and visual sensibility, which some may find impossible to stick with for more than a few minutes. Leonardo DiCaprio and Claire Danes play the leads, though not with much distinction, while Pete Postlethwaite makes a huge impression as this movie's version of Friar Laurence. The film is successful in spots, but overall its fever-dream game plan is difficult to ride out. "--Tom Keogh"

Languages: English

Subtitles: Spanish

Sound: English Dolby Digital 2.0 Surround

Comments: Adventure doesn't come any bigger than this.

Summary: This epic Lucasfilm fantasy serves up enough magical adventure to satisfy fans of the genre, though it treads familiar territory. With abundant parallels to <I>Star Wars</I>, the story (by George Lucas) follows the exploits of the little farmer Willow (Warwick Davis), an aspiring sorcerer appointed to deliver an infant princess from the evil queen (Jean Marsh) to whom the child is a crucial threat. Val Kilmer plays the warrior who joins Willow's campaign with the evil queen's daughter (Joanne Whalley, who later married Kilmer). Impressive production values, stunning locations (in England, Wales, and New Zealand) and dazzling special effects energize the routine fantasy plot, which alternates between rousing action and cute sentiment while failing to engage the viewer's emotions. A parental warning is appropriate: director Ron Howard has a light touch aimed at younger viewers, but doesn't shy away from grisly swordplay and at least one monster (a wicked two-headed dragon) that could induce nightmares. <I>--Jeff Shannon</I>

Languages: English

Subtitles: English, French, Spanish

Sound: AC-3

Summary: Having proven itself as a favorite film of children around the world, "Willy Wonka & the Chocolate Factory" is every bit as entertaining now as it was when originally released in 1971. There's a timeless appeal to Roald Dahl's classic children's novel, which was playfully preserved in this charming musical, from the colorful carnival-like splendor of its production design to the infectious melody of the "Oompah-Loompah" songs that punctuate the story. Who can forget those diminutive Oompah-Loompah workers who recite rhyming parental warnings ("Oompah-Loompah, doopity do...") whenever some mischievous child has disobeyed Willy Wonka's orders to remain orderly? Oh, but we're getting ahead of ourselves ... it's really the story of the impoverished Charlie Bucket, who, along with four other kids and their parental guests, wins a coveted golden ticket to enter the fantastic realm of Wonka's mysterious confectionery. After the other kids have proven themselves to be irresponsible brats, it's Charlie who impresses Wonka and wins a reward beyond his wildest dreams. But before that, the tour of Wonka's factory provides a dazzling parade of delights, and with Gene Wilder giving a brilliant performance as the eccentric candyman, "Wonka" gains an edge of menace and madness that nicely counterbalances the movie's sentimental sweetness. It's that willingness to risk a darker tone--to show that even a wonderland like Wonka's can be a weird and dangerous place if you're a bad kid--that makes this an enduring family classic. "--Jeff Shannon"

Languages: English

Sound: Dolby Digital 2.0 Stereo

Summary: This 1983 film adaptation of Kenneth Grahame's classic novel remains faithful to the spirit and prose of the original tale as it brings to life the timeless adventures of Rat, Mole, Badger, and Toad. Viewers familiar with the book, set in early 20th-century Britain, will at once be charmed by stop-motion animation's exquisite renderings of this quartet of friends. Bespectacled Mole, a shy yet inquisitive chap who detests spring cleaning, joins kind-hearted Ratty and the two set off for a day on the river. Their journey leads them to the home of venerable Badger, their stern yet sagacious comrade. Of course, the star of the show is irrepressible Toad, who steers himself into all sorts of mischief because of a motor car obsession. From Wild Wood to Toad Hall, the story pulsates with exuberance, punctuated with lively songs and dialogue taken directly from the pages of the beloved children's story. The British voiceovers are delectable, especially David Jason's Toad. (Ages 6 and older) "--Lynn Gibson"

Languages: English, French

Subtitles: English, Spanish, French, Portuguese

Sound: Dolby

Summary: Having earned Hollywood's respect with blockbusters like "Face/Off" and "Mission: Impossible 2", Hong Kong action master John Woo lends his signature style to serious World War II action in "Windtalkers". Recognizing the long-forgotten contribution of Navajo "code talkers," whose use of an unbreakable Navajo-language radio code was instrumental in defeating the Japanese, the film serves as an admirable tribute to those Native American heroes. Unfortunately, it falls short of importance with its standard-issue story about a battle-scarred sergeant (Nicolas Cage) assigned to protect a code-talker (Adam Beach, from "Smoke Signals"), with unspoken orders to kill him if Japanese capture is imminent. This allows for an involving drama of hard-won friendship, but cardboard supporting characters suffer in the shadow of nonstop action that's as repetitious as it is technically impressive. "Windtalkers" is best appreciated as a more substantial vehicle for Woo's trademark ballet of bullets. "--Jeff Shannon"

Subtitles: Spanish, French

Sound: Dolby

Summary: Jack Nicholson was born to play the devil, and in George Miller's adaptation of John Updike's novel he plays it for all he's worth. As a wolfish womanizer summoned by three bored women in a picturesque New England town, he's sating all of his appetites with a rakish grin. Cher, Susan Sarandon, and Michelle Pfeiffer play the women who discover their untapped magical powers by accident. The smart and sexy singles, out of place in the conservatism of their village, find happiness, however briefly, in the arms and bed of the libidinous devil, but he's got his own ulterior motives. Miller revels in the sensual display of sex, food, and magic, whipping up a storm of effects that finally get out of hand in an overblown ending. It's a handsome film with strong performances all around, but the mix of anarchic comedy and supernatural horror doesn't always gel and Miller seems to lose the plot in his zeal for cinematic excitement. The performances ultimately keep the film aloft: the hedonistic joy that Nicholson celebrates with every leering gaze and boorish vulgarity is almost enough to make bad form and chauvinism cool. "--Sean Axmaker"

Summary:

Subtitles: English, French, Spanish

Summary: Review

When it was released during Hollywood's golden year of 1939, "The Wizard of Oz" didn't start out as the perennial classic it has since become. The film did respectable business, but it wasn't until its debut on television that this family favorite saw its popularity soar. Young Dorothy Gale (Judy Garland), her dog, Toto, and her three companions on the yellow brick road to Oz--the Tin Man (Jack Haley), the Cowardly Lion (Bert Lahr), and the Scarecrow (Ray Bolger)--have become pop-culture icons and central figures in the legacy of fantasy for children. As the Wicked Witch who covets Dorothy's enchanted ruby slippers, Margaret Hamilton has had the singular honor of scaring the wits out of children for more than six decades. The film's still as fresh, frightening, and funny as it was when first released. It may take some liberal detours from the original story by L. Frank Baum, but it's loyal to the Baum legacy while charting its own course as a spectacular film. Shot in glorious Technicolor, befitting its dynamic production design (Munchkinland alone is a psychedelic explosion of color and decor), "The Wizard of Oz" may not appeal to every taste as the years go by, but it's required viewing for kids of all ages. "--Jeff Shannon"

Special Features

- Commentary by Historian John Fricke

- Sing-Along Feature

- Archival, Making-of and Retrospective Featurettes

- Outtakes and Deleted Scenes

- Photo galleries

- Audio jukebox of over 6 hours of recording sessions, radio shows and promos

- Documentary: "Victor Fleming: Master Craftsman"

- TV Movie Special "The Dreamer of Oz"

- All-new Munchkins Tribute Featurette

- 7 Short-Subject/Feature-Film Screen Visualizations of "Oz"!

- "MGM: When The Lion Roars" 6-hour Award-Winning Studio Chronicle

Sound: AC-3

Summary: The mist rising over the moors feels right, and so does the slant of moonlight coming over a Victorian village-scape. And if the moon is full, this must be "The Wolfman", Universal's 2010 attempt to revive one of the crown jewels in its deservedly legendary horror stable. Benicio Del Toro takes on the old Lon Chaney Jr. role of Lawrence Talbot, an American visitor to his ancestral home in England. Talbot's brother has recently been torn to bits by a beast in the forest, leaving behind a grieving fiancée (Emily Blunt) and a not-visibly-grieving father (Anthony Hopkins). This central situation seems drained of blood even before the full-moon transfigurations begin to bloom, and Del Toro's Talbot--an actor by trade, which raises interesting possibilities for a story of a man divided by different personalities--is mystifyingly blank. The intriguing casting of Del Toro (what an opportunity for a cool werewolf!) comes to naught as Talbot seems to languish on the periphery of his own story. Hugo Weaving tries to generate some interest as the police inspector on the case, but he too is defeated by the combination of mechanical storytelling and bland computer-generated werewolves. The script skips from one exposition scene to the next, but nothing registers long enough to create character, tension, or the slimmest desire to see what happens in the next scene. Every once in a while director Joe Johnston ("Jumanji") finds a grand staircase or CGI fog that conjures up the atmosphere of the old Universal horror classics, but otherwise this is a clueless affair--not as bad as "Van Helsing", but flat-out dull. The movie can't even find a way to get the old Gypsy lady (Geraldine Chaplin stepping into Maria Ouspenskaya's tiny shoes) to deliver a proper recitation of screenwriter Curt Siodmak's great "Even a man who is pure in heart" doggerel from the 1941 film. Instead, it's thrown away in a voice-over at the beginning--one hairy way to start the movie. "--Robert Horton"

Languages: English, Spanish

Summary: On the mystical island of Themyscira, a proud and fierce warrior race of Amazons have raised a daughter of untold beauty, grace and strength Princess Diana. When an Army fighter pilot, Steve Trevor, crash-lands on the island, the rebellious and headstrong Diana defies Amazonian law by accompanying Trevor back to civilization. Meanwhile, Ares (the god of War) has escaped his imprisonment at the hands of the Amazonians and has decided to exact his revenge - intending to start a world war that will not only last for centuries but will wipe out every living being on the planet, starting with the Amazons! It is up to Princess Diana to save her people and the world by using her gifts and becoming the ultimate Wonder Woman!

Languages: English

Subtitles: English, French, Spanish

Sound: Dolby

Summary: Walter Lantz produced cartoons for Universal for more than 40 years, from 1929 until 1972, but his studio's output remained the animated equivalent of "B" pictures. His cartoons broke no new ground in animation, story telling, or humor. This generous set includes the first 45 Woody Woodpecker cartoons, 10 "Cartune Classics," five "Swing Symphonies," and five shorts with Andy Panda, Chilly Willy, and Oswald Rabbit (a character originally created by Walt Disney and Ub Iwerks). Woody Woodpecker made his debut in "Knock Knock" (1940) as a loony-bin zany, similar to the very early Bugs Bunny. But Woody never developed the kind of nuanced personality Bugs displays in later cartoons, despite the impressive array of animators and directors who passed through the studio. Tex Avery directed "The Legend of Rockabye Point" (1955), probably the funniest cartoon Lantz ever released, but he failed to make any lasting changes in the house style. Some cartoons are more interesting as historical documents than entertainment. In "Confidence" (1933), Oswald cures the effects of a spectre labeled "Depression" with a hypodermic needle full of confidence that he gets from Franklin Roosevelt. The "Swing Symphonies" and "Cartune Classics" feature performances by noteworthy jazz musicians, including Jack Teagarden in "The Pied Piper of Basin Street" (1945). But they lack the lavish beauty of Disney's "Silly Symphonies" and the rambunctious energy of the Fleischer jazz cartoons, their obvious models. "The Boogie Woogie Bugle Boy of Company 'B'" (1941) earned Lantz his first Oscar nomination, but decades later, it's little more than a collection of spot gags featuring unflattering African-American stereotypes. (Unrated, suitable for ages 10 and older: violence, tobacco use, ethnic and racial stereotypes) "--Charles Solomon"

Languages: English

Subtitles: English, Spanish, French

Sound: Dolby

Summary: The second installment in "The Walter Lantz Archive" includes 45 Woody Woodpecker cartoons from 1952 to 1958, and an assortment of films made between the early '30s and the mid-'60s. During the '50s, when the Warner Bros. directors were crafting some of the funniest cartoons ever made and MGM's "Tom and Jerry" series was winning Oscars, the Lantz shorts ranked as second-rate at best. Although some talented artists worked on them, the Woody films from this era feel stale and formulaic: the gags lack punch and the character never develops as a personality. Five Oswald the Lucky Rabbit films qualify as genuine rarities. Walt Disney and Ub Iwerks created the character; Universal's Carl Laemmle took Oswald from Disney and ultimately gave him to Lantz. "Carnival Capers" (1932), "Five and Dime" (1933), and "Wax Works" (1934) reveal just how strongly the early Oswald resembled Mickey, down to the two-button shorts and chunky shoes. But the animation remains crude, rubbery and weightless. The most interesting of these cartoons is "Puppet Show" (1936), which juxtaposes live action footage of marionettes with drawn animation of the same characters. At this point, Oswald, who pulls the puppets' strings, had been re-designed to look like a white Easter Bunny. "A Haunting We Will Go" (1939), starring Li'l Eight Ball, a forgotten stereotypical African American boy, exemplifies the dubious ethnic humor that was popular at the time in America. The extras include a dozen of Lantz's short explanations of the animation process from "The Woody Woodpecker Show." (Unrated, suitable for ages 10 and older: cartoon violence, alcohol and tobacco use, ethnic and racial stereotypes) "--Charles Solomon"

Languages: English

Summary: Did you know that Cookie Monster speaks Albanian and Serbian? Or that Kami, a South African Muppet sings in Zulu? Have you met Tuktuki, a new character who might reach over 13 million kids in Bangladesh? In more than 120 countries all over the globe, Sesame Workshop and an international team of Muppets tackle the world's most challenging issues for 3-5 year olds including: HIV/AIDS in South Africa, post conflict resolution in a divided Kosovo, school and play for kids in Bangladesh where kids start working at 5 years old. The World According to Sesame Street explores the behind-the-scenes drama, challenges, and rewarding outcome of producing local versions of the world's most watched children's television program. The film follows dedicated Sesame producers around the globe as they team with local producers to bring to life the shows in Bangladesh, Kosovo and South Africa. The World According to Sesame Street celebrates the child in each of us, the critical need and desire for children's education around the globe, and the enduring love that adults have for Sesame Street and all its characters. Reccomended for ages 13 and up.

Languages: English

Subtitles: Spanish, French

Sound: Dolby Digital 5.1

Summary: In his 19th screen outing, Ian Fleming's superspy is once again caught in the crosshairs of a self-created dilemma: as the longest-running feature-film franchise, James Bond is an annuity his producers want to protect, yet the series' consciously formulaic approach frustrates any real element of surprise beyond the rote application of plot twists or jump cuts to shake up the audience. This time out, credit 007's caretakers for making some visible attempts to invest their principal characters with darker motives--and blame them for squandering "The World Is Not Enough"'s initial promise by the final reel.
By now, Bond pictures are as elegantly formal as a Bach chorale, and this one opens on an unusually powerful note. A stunning pre-title sequence reaches beyond mere pyrotechnics to introduce key plot elements as the action leaps from Bilbao to London. Bond 5.0, Pierce Brosnan, undercuts his usually suave persona with a darker, more brutal edge largely absent since Sean Connery departed. Equally tantalizing are our initial glimpses of Bond's nemesis du jour, Renard (Robert Carlyle), and imminent love interest, Elektra King (Sophie Marceau), both atypically complex characters cast with seemingly shrewd choices, and directed by the capable Michael Apted. The story's focus on post-Soviet geopolitics likewise starts off on a savvy note, before being overtaken by increasingly Byzantine plot twists, hidden motives, and reversals of loyalty superheated by relentless (if intermittently perfunctory) action sequences.
Indeed, the procession of perils plays like a greatest hits medley, save for a nifty sequence involving airborne buzz saws that's as enjoyable as it is preposterous. Bond's grimmer demeanor, while preferable to the smirk that eventually swallowed Roger Moore whole, proves wearying, unrelieved by any true wit. The underlying psychoses that propel Renard and Elektra eventually unravel into unconvincing melodrama, while Bond is supplied with a secondary love object, Denise Richards, who's even more improbable as a nuclear physicist. Ultimately, this "World" is not enough despite its better intentions. "--Sam Sutherland"

Languages: English

Subtitles: English

Sound: AC-3

Summary: Regardless of whether it was "too early" in 2006 to dramatize the events of September 11th, 2001, "World Trade Center" succeeds as a tribute to the courage and sacrifice of those who served at "ground zero" in the wake of terrorist attacks on the WTC's twin towers in New York City. Removed from the politics of war and terrorism (yet still, like all films, inherently political in expressing its point of view), Oliver Stone's potent drama focuses on the nightmarish ordeal, and subsequent rescue, of Port Authority policemen John McLoughlin (Nicolas Cage) and Will Jimeno (Michael Peña), who were buried deeply within the rubble of the WTC after the twin towers collapsed. Granted, it's only the film's historical context that distinguishes it from any other dramatic rescue story, but in focusing on the goodness of humanity in response to the evil of terrorists who remain unnamed and off-screen, Stone and first-time screenwriter Andrea Berloff create an emotional context as powerful as anything Stone has directed since "Platoon". Even as he resorts to some questionable tactics typically lacking in subtlety, Stone refrains from much of the blunt-force filmmaking that has made him a critical punching bag, rising to this challenging occasion with a heartfelt and deeply American portrait of unity – personal, familial, and national. Flaws and all, "World Trade Center" serves an honorable purpose, reminding us all that for those fleeting days in September 2001, America showed its best face to a sympathetic world. --"Jeff Shannon"

Languages: English

Subtitles: English

Sound: Dolby

Summary: Studio: Paramount Home Video Release Date: 05/25/2004

Languages: English

Sound: Dolby

Summary: THE WRAITH is one of those films that definitely cannot deny its 80s heritage. With a soundtrack laden with 80s greats like Bonnie Tyler, Ozzie Osbourne and Robert Palmer among others, the movie is a homage to those delightfully corny times. And the hairdos...Clint Howard's pompadour, Nick Cassavettes "bad guy" look; the punk look of Skank, and of course Charlie Sheen's nice guy fluff. Not to mention the divine Sherilyn Fenn in her pre-Twin Peaks day. The movie opens with something coming from outer space that morphs into a hot car and a costumed driver. We learn that a gang of punks (led by the irrepressibly vile Nick Cassavettes) have murdered a young man who was messing around with Nick's honey (Fenn). Soon the guys are picked off one by one by the mysterious driver in the souped up car and Sheriff Randy Quaid sets out to find out who this mysterious stranger is. Viewers will figure it out pretty quickly, but THE WRAITH is an entertaining movie, with little unpredictable twists, but the sense of poetic justice is satisfied and that 80s soundtrack is pretty exciting.

Languages: English, Spanish

Subtitles: English, Spanish

Sound: AC-3

Summary: The mystery of Mickey Rourke's career comes to a grungy apotheosis in The Wrestler the much-battered actor's triumphant return to the top rope. He plays Randy "The Ram" Robinson, a heavily scarred and medicated battler who's twenty years past his best moment in the ring. But he still schleps to every second-rate fight card he can get to, stringing out the paychecks (more likely a fistful of cash) and nursing what's left of his pride. His attempts to adjust to a more normal kind of life form the most absorbing sections in the movie, whether it's flirting with a stripper (Marisa Tomei is in good form, in every sense), establishing a bond with his understandably angry daughter (Evan Rachel Wood), or working behind the deli counter at a nondescript megastore. Rourke is commanding in the role; he obviously spent hours in the gym and the tanning salon, and his ease with the semi-documentary style adopted by director Darren Aronofsky allows him to naturalistically interact with the colorful real-life wrestlers who crowd the movie's ultra-believable locations. All of which helps distract from the film's overall adherence to ancient formula. You might find yourself waiting for the scene where the risk-taking Aronofsky (Requiem for a Dream) pulls the switch and reveals his true motives for pursuing this otherwise sentimental story, but there's no switch. The Wrestler is an old-fashioned hoke machine, given grit by an actor who doesn't seem to be so much performing the role of ravaged survivor as embodying it. --Robert Horton


Stills from The Wrestler (Click for larger image)



 

Languages: English, Spanish, French

Subtitles: English, Spanish

Sound: Dolby

Summary: Sultry Eliza Dushku runs for her life in a snug white tanktop, pursued by inbred backwoods cannibals in "Wrong Turn". Dushku ("Bring It On", "Buffy the Vampire Slayer") and a clump of other attractive young people (including "Six Feet Under"'s Jeremy Sisto and Desmond Harrington of "We Were Soldiers") get waylaid in the deep West Virginia wilds by a trio of grotesque mountain men, all given realistic ugliness by makeup artist Stan Winston ("Interview with the Vampire", "Terminator 2"). "Wrong Turn" is the sort of movie where you know who's going to die by the order they appear in the credits, but fans of the inbred backwoods cannibals genre ("The Texas Chainsaw Massacre", "The Hills Have Eyes") will find much to savor, particularly the scene in which Dushku and Harrington are trapped under a squalid bed while the inbred backwoods cannibals prepare one of their friends for dinner. Grisly. "--Bret Fetzer"

Languages: English

Sound: Dolby Digital 2.0 Surround

Summary: There are a couple of ways to look at "Tough Enough", MTV and the WWF's collaborative effort to join the fantasy worlds of sports-entertainment wrestling and reality television. To cynics (and hard-core wrestling fans), this is a cheap attempt by both companies to try to capitalize on the reality-TV fad. On paper it reads like "Big Brother" meets "Smackdown": 13 would-be wrestlers are trapped inside a house trying to pick each other off and win a guaranteed WWF contract. Meanwhile, to ensure wrestling fans will watch, a different WWF superstar (Triple H, Stone Cold Steve Austin, the Hardy Boyz) pops by each episode to offer encouragement or demean their efforts. Now, wrestling fans will complain (accurately) that in no way does this resemble the path wrestlers take to make it to the WWF. These folks have been afforded luxuries that many of the viewers at home lack (nice house, free food, a hot tub, etc.). In this respect, nothing about "Tough Enough" is real.
However, if you're a casual fan of wrestling and are interested in how wrestlers train or would like to peak behind the "fake" curtain and see how these performers work, the show is endlessly entertaining. After a couple of episodes, the first thing that is apparent is that though the world of wrestling is "fake" entertainment, it is by no means easy. Judges are supposed to vote contestants off after each episode, but in many cases, the poor kids quit due to injury or lack of desire. As a typical MTV-style reality soap opera, the show is less successful. The focus here is on wrestling, not love affairs and petty arguments (though there are a few here and there). But if you want a small glimpse of what it takes to be a WWF superstar, this is a good place to start. "--Dave McCoy"

Languages: English, French, Spanish

Subtitles: English, French, Spanish

Sound: AC-3

Summary: This massive, in-depth study of the dark Western icon comes off with mixed results. Trying to capture the whole life, (warts and all) of the lawman-criminal-brother-fortune hunter, director Lawrence Kasdan gains points for sheer scale, giving us a rich epic painted in dark colors with gritty settings. But the visual poetry and extensive foreshadowing ruin the dramatic drive. Some scenes have as much impact as stalker movies; you're just waiting for someone to get knocked off. As Earp, Kevin Costner is not afraid to look rumpled and play colorlessly (as in "The Bodyguard"), but it saps the energy of this 3-hour-plus film. The only relief is Dennis Quaid as a droll Doc Holiday, a much more engaging character. New faces Linden Ashby and Joanna Going (as an Earp brother and a lover, respectively) are solid finds, though the remainder of the female cast is barely given anything to do. Best is the first half, with Costner, as hip as he was in his "Silverado" days, going through a series of ups and downs until he accidentally finds his profession. Great set design (Ida Random) utilizes dozens of similar settings that always look distinctive. Recommended to fans of the star and the genre, but the story never justifies its length. "--Doug Thomas"

Languages: English

Subtitles: English, Spanish, French

Sound: AC-3

Summary: This massive, in-depth study of the dark Western icon comes off with mixed results. Trying to capture the whole life, (warts and all) of the lawman-criminal-brother-fortune hunter, director Lawrence Kasdan gains points for sheer scale, giving us a rich epic painted in dark colors with gritty settings. But the visual poetry and extensive foreshadowing ruin the dramatic drive. Some scenes have as much impact as stalker movies; you're just waiting for someone to get knocked off. As Earp, Kevin Costner is not afraid to look rumpled and play colorlessly (as in "The Bodyguard"), but it saps the energy of this 3-hour-plus film. The only relief is Dennis Quaid as a droll Doc Holiday, a much more engaging character. New faces Linden Ashby and Joanna Going (as an Earp brother and a lover, respectively) are solid finds, though the remainder of the female cast is barely given anything to do. Best is the first half, with Costner, as hip as he was in his "Silverado" days, going through a series of ups and downs until he accidentally finds his profession. Great set design (Ida Random) utilizes dozens of similar settings that always look distinctive. Recommended to fans of the star and the genre, but the story never justifies its length. "--Doug Thomas"