Library

Languages: English

Sound: Dolby Digital 2.0 Mono

Summary: Once upon a time, during the tail end of the psychedelic sixties, a program appeared that captured the imagination of children as much as the tenor of the times. Not that "H.R. Pufnstuf", which premiered on NBC in 1969, dealt with heavy topics like the Vietnam War. Instead, this colorful Sid and Marty Krofft creation mixed live action with puppetry and kept things groovy with song, dance, bad puns, trippy sets, and wacky sound effects. Like "The Wizard of Oz" and "Puff the Magic Dragon," its charming innocence appealed as much to kids as to the kinds of adults who flocked to "Pee-wee's Playhouse" and "SpongeBob SquarePants" in later years. The story begins when Jimmy ("Oliver!"'s Jack Wild) is tricked by Witchiepoo (Billie Hayes) into taking a boat ride on a sunny day. Next thing he knows he's stranded on Living Island, where everything--the houses, the trees--talks. And Witchiepoo is endlessly scheming to steal Freddie, his magical golden flute (or "Fweddie" as Wild pronounces it). Pufnstuf, the island's mayor, is Jimmy's Glinda the Good Witch--as a friendly dragon with an aw-shucks accent. Throughout these 17 episodes, Jimmy and Puf are joined by Dr. Blinky, Cling and Clang, and a host of other odd, but benevolent characters. Witchiepoo meanwhile, has Orson Vulture and Seymour Spider on her (dark) side. Standout episodes include "Mechanical Boy," in which Jimmy "does the robot"--years before the dawn of disco--and "Dinner for Two Please Orson," in which Blinky's Time Machine malfunctions and Jimmy is turned into an old man--who Witchiepoo plans to marry! With "H.R. Pufnstuf", the Kroffts ("Lidsville", "The Bugaloos") combined the best qualities of the top shows of its time, like "Laugh-In" and "The Monkees", and created something fresh and new that's just as relevant--and "irreverent"--today. "--Kathleen C. Fennessy"

Languages: English

Sound: Dolby Digital 2.0 Surround

Summary: John Waters made his bid for PG respectability with this enjoyably trashy comedy about the racial integration of a teen dance show on Baltimore television in the early '60s. Waters, as always, makes a virtue of junk culture and the powerful emotional forces it can represent as kids vie to get on the show. Meanwhile, a parade of former stars (Pia Zadora, Debbie Harry, Sonny Bono) and pseudostars (Divine, Ricki Lake) cross the screen, playing freakish characters absorbed by thoughts of fame. (Waters himself turns up as a weirdo psychiatrist.) This transitional film for Waters is rough going at times and not as interesting or funny as his later features "Cry-Baby" and "Serial Mom", but it's worth a look. "--Tom Keogh"

Languages: English

Summary: "Halloween" is as pure and undiluted as its title. In the small town of Haddonfield, Illinois, a teenage baby sitter tries to survive a Halloween night of relentless terror, during which a knife-wielding maniac goes after the town's hormonally charged youths. Director John Carpenter takes this simple situation and orchestrates a superbly mounted symphony of horrors. It's a movie much scarier for its dark spaces and ominous camera movements than for its explicit bloodletting (which is actually minimal). Composed by Carpenter himself, the movie's freaky music sets the tone; and his script (cowritten with Debra Hill) is laced with references to other horror pictures, especially "Psycho". The baby sitter is played by Jamie Lee Curtis, the real-life daughter of "Psycho" victim Janet Leigh; and the obsessed policeman played by Donald Pleasence is named Sam Loomis, after John Gavin's character in "Psycho". In the end, though, "Halloween" stands on its own as an uncannily frightening experience--it's one of those movies that had audiences literally jumping out of their seats and shouting at the screen. ("No! Don't drop that knife!") Produced on a low budget, the picture turned a monster profit, and spawned many sequels, none of which approached the 1978 original. Curtis returned for two more installments: 1981's dismal "Halloween II", which picked up the story the day after the unfortunate events, and 1998's occasionally gripping "Halloween H20", which proved the former baby sitter was still haunted after 20 years. "--Robert Horton"

Languages: English

Sound: Dolby

Summary: "Halloween" is as pure and undiluted as its title. In the small town of Haddonfield, Illinois, a teenage baby sitter tries to survive a Halloween night of relentless terror, during which a knife-wielding maniac goes after the town's hormonally charged youths. Director John Carpenter takes this simple situation and orchestrates a superbly mounted symphony of horrors. It's a movie much scarier for its dark spaces and ominous camera movements than for its explicit bloodletting (which is actually minimal). Composed by Carpenter himself, the movie's freaky music sets the tone; and his script (cowritten with Debra Hill) is laced with references to other horror pictures, especially "Psycho". The baby sitter is played by Jamie Lee Curtis, the real-life daughter of "Psycho" victim Janet Leigh; and the obsessed policeman played by Donald Pleasence is named Sam Loomis, after John Gavin's character in "Psycho". In the end, though, "Halloween" stands on its own as an uncannily frightening experience--it's one of those movies that had audiences literally jumping out of their seats and shouting at the screen. ("No! Don't drop that knife!") Produced on a low budget, the picture turned a monster profit, and spawned many sequels, none of which approached the 1978 original. Curtis returned for two more installments: 1981's dismal "Halloween II", which picked up the story the day after the unfortunate events, and 1998's occasionally gripping "Halloween H20", which proved the former baby sitter was still haunted after 20 years. "--Robert Horton"

Languages: English

Summary: More of a supercharged revamp than a remake, Rob Zombie's take on John Carpenter's "Halloween" expands the back story of masked killer Michael Myers in an attempt to examine the motivation for his first deadly attack, as well as some reasons for his longevity as a horror icon. Zombie's Myers is a blank-eyed teen (played by Daeg Faerch) whose burgeoning mental problems are left unchecked in a horrific home environment; harassed by schoolmates, a randy sister, and his mother's deadbeat boyfriend (William Forsythe, terrific as usual), Myers' homicidal explosion seems inevitable, and intervention by Dr. Sam Loomis (Malcolm McDowell, who offers a fast-talking, hippiefied version of the Donald Pleasance character) does little to impede his development into a mute, unstoppable killing machine (Tyler Mane) bent on finishing off the only survivor of his family's massacre--his sister, now grown into teenaged Laurie Strode (Scout Taylor-Compton). Opening up the psychological motivation of a cipher like Michael Myers is an interesting approach, but Zombie's script possesses neither a depth of character nor dialogue to offer more than a clichéd thumbnail character sketch, and devoting over a hour of the unrated cut's 120-minute-plus running time to this history feels bloated and self-indulgent (especially when compared to the lean efficiency of the Carpenter original). Zombie's "Halloween" isn't terribly suspenseful, either; he has a keen eye for visuals and the details of chaotic environments, but his scares are nothing more than brutal showcases for his special effects team. The end result barely surpasses the original film's numerous sequels, though the Who's Who of cult and character actors in the cast (including Zombie regulars Sid Haig, Bill Moseley and Ken Foree, as well as Brad Dourif, Udo Kier, Clint Howard, Richard Lynch, Danny Trejo, Dee Wallace, and Danielle Harris) adds a touch of late-night monster movie charm. However, the film's best performance belongs to the director's spouse, Sheri Moon Zombie, who brings unexpected pathos to the role of Myers' downtrodden mother.
The two-disc Unrated Director's Cut offers a full disc's worth of extras that should please Zombie fans; chief among the supplemental features is his commentary, which details the film's shooting history and the numerous edits required to deliver the theatrical version. A making-of featurette offers further details of Zombie's vision for the film, and there are featurettes on his cast choices and the many masks that Myers makes while incarcerated. Seventeen deleted scenes (two of which feature Adrienne Barbeau and Tom Towles) and an alternate ending (all with Zombie's commentary) are also provided, as well as footage from the casting sessions. A blooper reel, which is highlighted by unchecked mischief by McDowell and Dourif, offers the set's sole moment of levity. "-- Paul Gaita"

Languages: English

Subtitles: English

Sound: AC-3

Summary: Rocker turned writer-director Rob Zombie returns to the horror field with this visually ambitious and aggressively brutal follow-up to his 2007 reinvention of John Carpenter’s seminal slasher "Halloween". The 1981 sequel to the Carpenter film is completely ignored here (and for good reason) in favor of an extension of the central focus of Zombie’s "Halloween", and all of his films, for that matter: the corruption at the heart of the nuclear family. Here, Laurie Strode (Scout Taylor Compton) is attempting to heal the psychic wounds from her previous encounter with brother Michael Myers (Tyler Mane) by bonding with Sheriff Brackett (Brad Dourif, a pleasure to watch as always) and his daughter Anne (Danielle Harris, herself a vet from the original run of Halloween sequels). Her previous surrogate father, Dr. Loomis (Malcolm McDowell) has forsaken his connection to Laurie by exploiting his connection to Michael with a tell-all book; meanwhile, Michael himself roams the lonely outskirts of Haddonfield, driven by visions of his mother (Sheri Moon Zombie) and a single-minded urge to bond with his sister at any cost.
Aesthetically, "H2" is striking, thanks largely to the ashen color scheme by cinematographer Brandon Trost ("Crank 2: High Voltage"), which underscores the doom-laded spiral track each of the main characters seem to travel in the film. And Zombie is to be commended for venturing outside of his comfort zone--the grimy, pop-culture ironic, white trash environment his characters frequently inhabit--with the scenes between Michael and his mother. But again, his ambitions don’t meet with his abilities--Moon looks impressive, but her apocalyptic mutterings ring more silly than spectral, especially when she’s forced to play opposite an enormous pale horse (insert heavy-handed Biblical imagery here). Most fans will find these moments more tedious than inspired, and a distraction from the murders, which retain Zombie’s preference for mayhem. He succeeds in this department, but if the end result is a menu of ugly killings, the point of revamping the Halloween franchise is somewhat moot, since the threadbare follow-ups to the Carpenter original already achieved that goal. Zombie’s knack for offbeat casting remains his most inspired talent: Haddonfield is filled with cult icons like Caroline Williams ("Texas Chainsaw Massacre 2"), Margot Kidder, and Daniel Roebuck, who jostle for space with rough-hewn character players like Duane Whitaker, Mark Boone Junior, and Dayton Callie ("Deadwood") and left-field cameos by Howard Hesseman and “Weird Al” Yankovic. "--Paul Gaita"

Languages: English, French, Japanese, Spanish

Subtitles: English, French, Spanish, Japanese

Sound: AC-3

Summary: For "Halo Legends", various anime directors made eight short films that explore the universe of the popular video game franchise, just as the shorts in "Animatrix" expanded on the "Matrix" features. Although "Halo" ranks among the top first-person shooter games, the AI narrator of Hideki Futamura's two-part introductory episode complains about humanity's violent tendencies: "Like a virus, war is always with you." "The Duel," which pits two Covenant warriors in a samurai-like battle over honor, has a watercolor look that recalls "Gankutsuou: Count of Monte Cristo". Unfortunately, the effect is applied too evenly, and the characters get lost in the backgrounds. Daisuke Nishio's "Odd Man Out" injects a welcome note of comedy, as warrior Spartan 337 copes with three difficult children and their pet tyrannosaur. Other Spartans in single fighters attack the flagship of the Covenant fleet in "The Package," by Shinji Aramaki. The elaborately choreographed space battle is obviously modeled on the attack on the Death Star in "Star Wars", but the sequence packs more visual punch than the other films in the anthology. Dr. Catherine Halsey ends this segment with the line, "Something tells me this is just the beginning," so additional films may be in the works. "Halo Legends" was clearly intended to expand the audience for the already-popular franchise, but the shorts aren't strong enough as films to win many viewers who aren't currently members of the "Halo Nation." The disc comes loaded with extras, including a standard making-of mini-documentary about each segment. Although the cover bears the warning "Parents strongly cautioned: Violent Content Throughout," the action in "Halo Legends" is surprisingly tame. (Rated PG-13: violence, violence against women) "--Charles Solomon"

Languages: English

Subtitles: English, Spanish

Sound: AC-3

Summary: Movie DVD

Languages: English, French, Spanish, Portuguese

Subtitles: Cantonese, English, French, Korean, Spanish

Sound: Dolby

Summary: "Hancock" turns the standard superhero movie inside-out: The title character (Will Smith) can fly, has superstrength, and is invulnerable, but he's also a sloppy, alcoholic jerk who causes millions of dollars in property damage whenever he bothers to fight crime. When he saves the life of a public-relations agent named Ray (Jason Bateman, "Arrested Development"), Ray decides to improve Hancock's image--starting by having Hancock surrender himself to the authorities and go to prison for his lawless behavior. The idea is that once he's in prison, the crime rate will go up, and people will start to realize Hancock might be of value after all. This is only the first act of "Hancock"--from there, the movie takes several clever turns that shouldn't be revealed. "Hancock" isn't a great movie (among other things, director Peter Berg overuses close-ups with a hand-held camera to a degree that may cause motion sickness), but it is an extremely entertaining one. The script, which holds together far better than most superhero movies, has a propulsive plot, good dialogue, some compassion for its characters, and even an actual idea or two. The spectacular action at least gestures towards obeying the laws of physics, which actually makes the special effects more vivid. The three leads (Smith, Bateman, and Charlize Theron as Ray's wife, Mary) deftly balance the movie's mixture of comedy, action, and drama. All in all, a smart subversive twist on a genre that all too often takes itself all too seriously. --"Bret Fetzer"

Stills from "Hancock" (click for larger image)

Languages: English, French

Sound: Dolby

Summary: A potboiler featuring a demented caretaker and a seemingly hapless suburban family, this is "The Nanny" of the 1990s. However, it is much more predictable than that 1965 Bette Davis psychodrama, and more graphic. It works only because Rebecca De Mornay makes us intensely uncomfortable as the disturbed au pair who wants to take care of much more than her employer's well-being.
Annabella Sciorra plays the perfect mother of a flawless family. Her obstetrician, however, is less than wonderful, having enjoyed her examination much more than he should have. When she files sexual harassment charges against the repugnant doctor, he loses face--literally--after shooting himself in the head. Several months later, an ideal nanny shows up at her home. You guessed it--she's the doc's widow.
The movie follows a tried and true formula, with the audience in on everything. However, the story does surprise us in intense and intimate ways. The visit to the obstetrician is one of the creepiest moments in the film. You definitely hear the voice of writer Amanda Silver in a plot concerned with the vulnerabilities of a family, a newborn, a marriage.
Since we know so much up front, there is an overall lack of inventiveness in the plot machinations. It may not jolt us, but De Mornay does. It's unsettling to watch someone who appears so attractive and who behaves so kindly suddenly reveal hideous psychopathic tendencies. Restraining herself from going over the top, she instead oozes such malevolence you'll want to shudder. "--Rochelle O'Gorman"

Languages: English, French, Spanish

Subtitles: English, French, Spanish, Portuguese

Sound: Dolby Digital 5.1

Summary: If you like your humor broadside up, hold the subtlety, you'll want to nurse this "Hangover" with your best buds. The ensemble cast meshes perfectly--it's like a super-R-rated episode of "Friends": silly, slapstick, and completely in the viewer's face. When four pals go to Vegas to celebrate the imminent nuptials of one of them, they partake in a rooftop toast to "a night we'll never forget." But they're in for a big surprise: their celebration drinks were laced with date-rape drugs, so when they awake in their hotel room 12 hours later, not only are they hung over, but they can't remember what they did all night long. Oh, and they're missing the groom-to-be.
The film is so cheerfully raunchy, so fiercely crude, that the humor becomes as intoxicating as the mind-altering substances. The standout in the ensemble is Zach Galifianakis, who is alternately creepy and hilarious. Ed Helm ("The Office"), in addition to his memory, loses a tooth in uncomfortably realistic fashion, and Bradley Cooper ("He's Just Not That into You") has deadpan comic timing that whips along at the speed of light. "Ma'am, you have an incredible rack," he blares to a pedestrian from the squad car the guys have "borrowed." "I should have been a [bleeping] cop," he tells himself approvingly.
Director Todd Phillips brings back his deft handling of the actors and the dude humor that worked so well in "Old School", as well as the unctuous Dan Finnerty, memorable as a lounge/wedding singer in both films. But it's the nonstop volley of jokes--most cheerily politically incorrect--that grabs the audience and thrashes it around the hotel room. Just watch out for the tiger in the bathroom. "--A.T. Hurley"

Languages: English

Subtitles: French, Spanish

Sound: Dolby

Summary: Yes, he's back, and he's still hungry. Ten years after "The Silence of the Lambs", Dr. Hannibal "the Cannibal" Lecter (Anthony Hopkins, reprising his Oscar-winning role) is living the good life in Italy, studying art and sipping espresso. FBI agent Clarice Starling (Julianne Moore, replacing Jodie Foster), on the other hand, hasn't had it so good--an outsider from the start, she's now a quiet, moody loner who doesn't play bureaucratic games and suffers for it. A botched drug raid results in her demotion--and a request from Lecter's only living victim, Mason Verger (Gary Oldman, uncredited), for a little Q and A. Little does Clarice realize that the hideously deformed Verger--who, upon suggestion from Dr. Lecter, peeled off his own face--is using her as bait to lure Dr. Lecter out of hiding, quite certain he'll capture the good doctor.
Taking the basic plot contraptions from Thomas Harris's baroque novel, "Hannibal" is so stylistically different from its predecessor that it forces you to take it on its own terms. Director Ridley Scott gives the film a sleek, almost European look that lets you know that, unlike the first film (which was about the quintessentially American Clarice), this movie is all Hannibal. Does it work? Yes--but only up to a point. Scott adeptly sets up an atmosphere of foreboding, but it's all buildup for anticlimax, as Verger's plot for abducting Hannibal (and feeding him to man-eating wild boars) doesn't really deliver the requisite visceral thrills, and the much-ballyhooed climatic dinner sequence between Clarice, Dr. Lecter, and a third unlucky guest wobbles between parody and horror. Hopkins and Moore are both first-rate, but the film contrives to keep them as far apart as possible, when what made "Silence" so amazing was their interaction. When they do connect it's quite thrilling, but it's unfortunately too little too late. "--Mark Englehart"

Languages: English, French, Spanish

Subtitles: English, French, Spanish

Sound: AC-3

Summary: Specs:
Audio: English: 5.1 DTS HD Master Audio / French: 5.1 Dolby Surround, Mono Language: Dubbed & Subtitled: English, French & Spanish Theatrical Aspect Ratio: Disc 1: Widescreen: 2.35:1, Disc 2 & 3: Widescreen: 1.85:1
Episodes-Bonus Features:
Disc 1: Manhunter Blu-ray Disc 2: Silence of The Lambs Blu-ray Disc 3: Hannibal Blu-ray

Languages: English, German

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

Languages: English, Spanish, French

Subtitles: English, French, Spanish

Sound: AC-3

Summary: You'd expect the end of the world to be no day in the park, but in M. Night Shyamalan's "The Happening", a day in the park is where the end begins. One otherwise peaceful summer morning, New Yorkers strolling in Central Park come to a halt in unison, then begin killing themselves by any means at hand. At a high-rise construction site a few blocks over, it's raining bodies as workers step off girders into space. And all the while, the city is so quiet you can hear the gentle breeze in the trees. That breeze carries a neurotoxin, and what or who put it there (terrorists?) is a question raised periodically as the film unfolds. But the question that really matters is how and whether anybody in the Middle Atlantic states is going to stay alive. "The Happening" is Shyamalan's best film since "The Sixth Sense", partly because he avoids the kind of egregious misjudgment that derailed "The Village" and "Lady in the Water", but mostly because the whole thing has been structured and imagined to keep faith with the point of view of regular, unheroic folks confronted with a mammoth crisis. Focal characters are a Philadelphia high-school science teacher (Mark Wahlberg, excellent), his wife (Zooey Deschanel) and math-teacher colleague (John Leguizamo), and the latter’s little girl (Ashlyn Sanchez). Instinct says get out of the cities and move west; most of the film takes place in the delicately picturesque Pennsylvania countryside, with menace hovering somewhere in the haze. There are no special effects (apart from a wind machine and some breakaway glass), but the movie manages to be deeply unsettling in the matter-of-factness of its storytelling. Especially effective is its feel for what we might call the surrealism of banality. One warning sign that someone has been infected by the neurotoxin is irrational or erratic speech and behavior, yet Shyamalan has a genius for dialogue that sounds normal and everyday as it's spoken, yet flies apart grenade-like a second later as its logic (or illogic) sinks in. Then there's Deschanel's eye-rolling dodginess about the messages some guy has been leaving on her cellphone. Or the fellow (Frank Collis) who addresses his greenhouse plants as though they were his children--has a stray toxic zephyr wafted his way, or is this just his idea of normal? "--Richard T. Jameson"


Beyond "The Happening " on DVD
"Jumper" on DVD
"Street Kings" on DVD
"Deception" on DVD


Stills from "The Happening" (Click for larger image)

Languages: English, French, Spanish

Subtitles: English, Spanish, French

Sound: Dolby

Summary: For anyone who thought the Oscar-winning documentary "March of the Penguins" was the most marvelous cinematic moment for these nomads of the south, you haven't seen nothing yet. "Happy Feet" is an animated wonder about a penguin named Mumble who can't sing, but can dance up a storm. George Miller, the driving force behind the "Babe" (and "Mad Max") movies, takes another creative step in family entertainment with this big, beautiful, music-fueled film that will have kids and their parents dancing in the streets. From his first moment alive, Mumble (voiced Elijah Woods) feels the beat and can't stop dancing. Unfortunately, emperor penguins are all about finding their own heart song, and the dancing youngster--as cute as he is--is a misfit. Luckily, he bumps into little blue penguins and a Spanish-infused group (led by Robin Williams) and begins a series of adventures. Miller has an exceptional variety of entertainment: Busby Berkley musical numbers, amusement-park thrills, exciting chase sequences (seals and orca lovers might like think otherwise), and even an environmental message that doesn't weigh you down. Best of all, you don't know where the movie is going in the last act, a rare occurrence these days in family entertainment. A fusion of rock songs, mashed-up and otherwise, are featured; this movie is as much a musical as a comedy. Mumble's solo dance to a new version of Stevie Wonder's "I Wish" by Fantasia, Patti, and Yolanda may be the most joyful moment on camera in 2006. "--Doug Thomas"

More "Happy Feet"
Other DVDs and products
Blu-ray
More Penguin DVDs

Languages: English, French, Spanish

Subtitles: English, French, Spanish

Sound: AC-3

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

Languages: English, French

Subtitles: English, Spanish

Sound: Dolby

Summary: In this raucous, high-energy action thriller from 1991, Michael J. Fox plays a spoiled Hollywood movie star who wants to bring vivid authenticity to his latest role as a big-city cop, so he recruits the real thing (James Woods) as his experienced mentor. This unlikely partnership doesn't sit too well with Woods, a hot-headed New York street cop who's a magnet for action-packed trouble. But that makes him just the right guy for Fox's research, which goes so far as to include Woods's girlfriend (Annabella Sciorra) and participation in some death-defying crime work. Fast, vulgar, and cranked at high volume, this is the kind of movie that contributed to the destruction of quality storytelling in mainstream Hollywood movies, but the screenplay scores bonus points for its lively characters and even livelier dialogue. Director John Badham is no slouch when it comes to action scenes, either, so if you buckle up and hold on tight, doing things "The Hard Way" can be surprisingly entertaining. To display the action in full widescreen glory, the DVD presents the film in its original 2.35:1 aspect ratio. "--Jeff Shannon"

Languages: English

Subtitles: English, French, Spanish

Sound: AC-3

Summary: This cute movie by William Dear stars John Lithgow as a family man who befriends a Sasquatch (a.k.a. Bigfoot) and brings the friendly monster's oversized, hairy self into his Seattle home. Mayhem and comedy ensue, but things take a heavier turn when a hunter (David Suchet) gets on the creature's trail. Everything hinges on the relationship between Lithgow's character and Harry (the Sasquatch), and that relationship is really quite effective and touching. Don Ameche is a hoot as an old guy who has dreamed of meeting Bigfoot all his life and finally gets the glorious chance. "--Tom Keogh"

Subtitles: English, French, Spanish

Summary: The 4-Disc Ultimate Blu-ray Edition contains an additional disc featuring over 65 minutes of exclusive bonus content, plus a lenticular cover featuring Lord Voldemort and Harry! Only available for a limited time.

Harry, Ron and Hermione set out on their perilous mission to track down and destroy the secret to Voldemort's immortality and destruction -- the Horcruxes. On their own and on the run, the three friends must now rely on one another more than ever...but Dark Forces in their midst threaten to tear them apart. Meanwhile the wizarding world has become a dangerous place. The long-feared war has begun and the Dark Lord has seized control of the Ministry of Magic and even Hogwarts, terrorizing and arresting all who might oppose him. The Chosen One has become the hunted one as the Death Eaters search for Harry with orders to bring him to Voldemort...alive.

Special features:

- Maximum Movie Mode

- The seven Harrys

- On the green with Rupert, Tom, Oliver, and James

- Dan, Rupert, and Emma's running competition

- Additional scenes

- Behind the soundtrack

- Opening scene of the final film

Languages: English

Summary: The sixth installment of the "Harry Potter" series begins right where "The Order of the Phoenix" left off. The wizarding world is rocked by the news that "He Who Must Not Be Named" has truly returned, and the audience finally knows that Harry is "the Chosen One"--the only wizard who can defeat Lord Voldemort in the end. Dark forces loom around every corner, and now regularly attempt to penetrate the protected walls of Hogwarts School. This is no longer the fun and fascinating world of magic from the first few books—it's dark, dangerous, and scary.
Harry (Daniel Radcliffe) suspects Draco Malfoy (Tom Felton) to be a new Death Eater recruit on a special mission for the Dark Lord. In the meantime, Professor Dumbledore (Michael Gambon) seems to have finally removed the shroud of secrecy from Harry about the dark path that lies ahead, and instead provides private lessons to get him prepared. It's in these intriguing scenes that the dark past of Tom Riddle (a.k.a. Voldemort) is finally revealed. The actors cast as the different young versions of Riddle (Hero Fiennes-Tiffin and Frank Dillane) do an eerily fantastic job of portraying the villain as a child. While the previous movies' many new characters could be slightly overwhelming, only one new key character is introduced this time: Professor Horace Slughorn (with a spot-on performance by Jim Broadbent). Within his mind he holds a key secret in the battle to defeat the Dark Lord, and Harry is tasked by Dumbledore to uncover a memory about Voldemort's darkest weapon--the Horcrux. Despite the long list of distractions, Harry, Ron (Rupert Grint), and Hermione (Emma Watson) still try to focus on being teenagers, and audiences will enjoy the budding awkward romances. All of the actors have developed nicely, giving their most convincing performances to date.
More dramatic and significant things go down in this movie than any of its predecessors, and the stakes are higher than ever. The creators have been tasked with a practically impossible challenge, as fans of the beloved J.K. Rowling book series desperately want the movies to capture the magic of the books as closely as possible. Alas, the point at which one accepts that these two mediums are very different is the point at which one can truly enjoy these brilliant adaptations. "Harry Potter and the Half-Blood Prince" is no exception: it may be the best film yet. For those who have not read the book, nail-biting entertainment is guaranteed. For those who have, the movie does it justice. The key dramatic scenes, including the cave and the shocking twist in the final chapter, are executed very well. It does a perfect job of setting up the two-part grand finale that is to follow. "--Jordan Thompson"

Languages: English, Spanish, French

Subtitles: English, French, Spanish

Sound: AC-3

Summary: Studio: Warner Home Video Release Date: 11/11/2008 Rating: Pg

Languages: English, German, French, Spanish

Subtitles: Spanish, French

Sound: AC-3

Summary: Anyone who appreciates subtle tension will enjoy this World War II prison-camp drama, based on John Katzenbach's novel, in which honor, courage, and sacrifice are revealed in unexpected ways. Bruce Willis plays the ranking U.S. prisoner in a Nazi POW camp, joined in December 1944 by a law-student lieutenant (up-and-coming star Colin Farrell) who'd been captured despite his father's powerful military connections. When a black pilot (Terrence Dashon Howard) from the famous Tuskeegee airmen is falsely accused of murdering a fellow prisoner, Farrell tries his case and discovers the real motivation behind Willis's kangaroo court. While combining elements of "Stalag 17" and "The Great Escape", director Gregory Hoblit ("Primal Fear", "Frequency") spices this moral dilemma with well-crafted suspense and a rousing dogfight sequence, but the human drama remains muted despite fine, understated performances by Willis, Farrell, and Howard. An escape thriller with an ethical twist, "Hart's War" works best as a study of heroism under extraordinary circumstances. "--Jeff Shannon"

Languages: English

Summary: HAUNTED HISTORIES COLLECTION - THE REAL STORIES BEHIND HISTORY S SPOOKIES PHENOMENA: HAUNTINGS, WITCHES, POLTERGEISTS, VAMPIRES, AND MORE!

The HAUNTED HISTORIES COLLECTION takes viewers on a spine-tingling tour of truly frightening phenomena. Uncover the real stories behind the Salem Witch Trials, vampires, demon spirits, and haunted houses. From interviews with victims who have been attacked by evil spirits to eyewitness accounts of corpses with pulses and graves where nothing will grow, you don t have to believe in ghosts to be spooked by these chilling tales.

Featuring in-depth profiles of the world s scariest stories, including: Hauntings, Vampire Secrets, Salem Witch Trials, The Haunted History of Halloween, and Poltergeists.

Languages: English

Subtitles: Spanish

Sound: Dolby

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

Languages: English, French

Subtitles: English, Spanish

Sound: AC-3

Summary: Based on a chilling true story, Lionsgate's The Haunting in Connecticut charts one family's terrifying, real-life encounter with the dark forces of the supernatural. When the Campbell family moves to upstate Connecticut, they soon learn that their charming Victorian home has a disturbing history: not only was the house a transformed funeral parlor where inconceivable acts occurred, but the owner's clairvoyant son Jonah served as a demonic messenger, providing a gateway for spiritual entities to cross over. Now, unspeakable terror awaits when Jonah, the boy who communicated with the dead, returns to unleash a new kind of horror on the innocent and unsuspecting family.

Languages: English

Summary: After the runaway success of "He-Man and the Masters of the Universe" in 1983 led to a spate of toy-based series that were broadcast in syndication in America, "He-Man" returned in 2002, after the toys had been redesigned. Adam lost his Dutch boy hair cut and his body looked even more overdeveloped. The premise remained the unchanged: With the aid of the enchanted Sword of Power, Adam, the slacker-dude Prince of Eternia, becomes He-Man, the heroic defender of the realm against the evil machinations of Skeletor and his minions. Like Superman, Adam has to keep his alter-identity secret. But instead of spunky newswoman Lois Lane, his love interest is Teela, who insults and belittles him. From Snake Mountain, Skeletor hatches schemes to conquer Eternia, only to be thwarted by He-Man, with some help from Teela, Man-at-Arms, et al. With the possible exception of Evil-Lyn, Skeletor's henchmen are such doofuses, they don't feel like much of a threat. The battle between good against evil is so simplistic, it makes "Dragon Ball" look nuanced. The filmmakers try to capture some of the excitement of anime fantasy-adventures, but they pull their punches--literally and figuratively. Although the combatants twirl swords and pole arms like martial artists, no blood is shed and no one gets seriously injured. He-Man only uses his Sword of Power to deflect energy blasts: he slugs bad guys and monsters. The disc of extras includes video commentaries and animatics for three episodes, audio commentaries on five episodes and an extensive image gallery. (Rated TV Y7: violence) "--Charles Solomon"

Languages: English

Summary: This was a revival of the classic 80's cartoon He-man and the Masters of the Universe for the modern age, it focused on the early adventures of Prince Adam, who, having just become Eternia's most powerful guardian He-Man, had to learn how to handle his new powers, and lead his allies into battle against the evil Skeletor. With the aid of his own Evil Warrior henchmen, Skeletor schemes to blanket Eternia in chaos, and rule over the planet in dominion. Only He-Man, guided and advised by the Sorceress of Castle Grayskull, stands in his way.

With the aid of his trusted friends and Masters, he vows to end Skeletor's evil and the other evils that plague Eternia. The battle is joined as Good and Evil collide in a fight for Eternia's fate!

This unique take on the retro fan favorite delighted and entertained the children of this decade as it did to those living in the 80's.

Here is the second 13 episodes from the award-winning series.

Languages: English

Sound: Dolby

Summary: Witness for the first time ever on DVD, the thrilling conclusion to the Emmy award winning 2002 He-Man® and the Masters of the Universe® series!

In the last 13 episodes that comprise Season Two, the balance of power is disturbed when King Hiss and his Snake Men attempt to conquer Eternia! The Masters of the Universe® find themselves not only struggling with the Snake Men s villainous threat to awaken the Snake God, Serpos, but also Hordak, Skeletor's evil former master, is seeking to return and rule the planet! Amidst this chaos, He-Man finally learns the history of his power and of his connection to the legendary warrior, King Grayskull...

Languages: English

Sound: Dolby Digital 2.0

Summary: "He-Man and the Masters of the Universe" makes its debut on DVD in a robust collector's set, filled with extras any fan would enjoy. Part one of season one contains a whopping 33 episodes, following the hulky, well-tanned muscleman who masquerades as the irresponsible, goofy Prince Adam by day. The secret of He-Man's dual identity is only shared by The Sorceress (who's only powerful so long as she remains near Castle Greyskull, where she lives), Man-At-Arms (the king's gadget specialist) and Orko, a floating creature whose backwards magic spells often leave everyone with egg on their face (literally). He-Man's legacy was also its focus on family values, illustrated at the end of each episode through a moral lesson given by one of the characters. They range from the useful (Don't judge people by their looks) to the somewhat trite (When you're sad, sing a song). He-Man's nemesis, the wizard Skeletor, remains a fan favorite, accompanied by his motley crew of sidekicks: Beastman, Evil-Lyn, Merman, and Tri-Clops. There's even a little room for romance, though any flirtation between Adam/He-Man and the overeager captain of the guard, Teela, is usually restricted to jealous looks when the other receives the attentions of an outsider.
Memorable episodes include "Teela's Quest," in which she discovers her real mother is The Sorceress; "A Friend in Need," a drugs allegory where an insecure (and very scantily-clad) woman becomes addicted to a potion that makes her confident; "Song of Celice," where a woman's powerful singing voice is exploited by Skeletor to conquer Greyskull; and "Prince Adam No More," in which Adam struggles with seeking approval from his father, King Randor. A new behind-the-scenes documentary reveals insight into the series's launch as the inaugural first-run syndicated cartoon; the creators's encounter with a fresh-off-"Conan-the-Barbarian" star Arnold Schwarzenegger at a convention ("He looked at our drawings … and was ticked off," recalls creator Lou Scheimer). There's also a featurette in which producers and animators discuss individual episodes, animated storyboards, and scripts. Best of all, the spine of the DVD box (along with seven other He-Man and She-Ra related DVDs) creates a mural of Castle Greyskull and the Crystal Castle. --"Ellen A. Kim"

Languages: English, Spanish

Sound: Dolby Digital 2.0 Stereo

Summary: The battle for power continues on the world of Eternia! Join He-Man and the Masters of the Universe® as they battle against Skeletor and his crew of detestable villains in the greatest adventures ever told!These 32 episodes continue the saga of the most phenomenal stories ever created in animation! Relive the excitement as you enjoy the adventures of the universe s greatest warriors. The power has returned!System Requirements:Running Time 688 Mins.Format: DVD MOVIE Genre: CHILDREN/FAMILY Rating: NR UPC: 787364651894

Languages: English

Sound: Dolby Digital 2.0 Stereo

Summary: Though it aired for only two seasons the classic 1980s cartoon series HE-MAN AND THE MASTERS OF THE UNIVERSE remains a nostalgic favorite of anyone who grew up in the Reagan era. Originally created to sell a line of action figures the syndicated series transcended its toy-tie-in roots with imaginative storytelling hand-drawn animation and an adroit blend of action fantasy and science-fiction.The series follows the mythical adventures of a mild-mannered royal whose magic sword transforms him into a loinclothed Prince Valiant-coiffed muscleman known as He-Man the most powerful being in the universe. Together with a loyal band of followers--including his pet tiger Cringer; his man-at-arms Duncan; the beautiful captain of the guards Teela; a cloaked floating magician Orko; and his winged mentor Sorceress--He-Man fights to protect the magically-powered Castle Greyskull from the evil clutches of his skull-faced nemesis Skeletor who presides over his own army of supervillains. This collection presents the first half of the second season with episodes 66 through 98.Format: DVD MOVIE Genre: TELEVISION/SERIES & SEQUELS Rating: NR UPC: 787364671090

Languages: English

Sound: Dolby Digital 2.0 Stereo

Summary: The eternal battle between good and evil reaches its climactic conclusion as He-Man And The Masters Of The Universe® face exciting challenges and incredible adventures against Skeletor and his dastardly villains. Join in the fight for power with the greatest adventures ever told!The final 32 episodes of the original animated adventure series feature thrilling new stories and outstanding characters. Enjoy all the adventure the drama the humor and the man important lessons from the universe's greatest warriors. YOU have the power!Features:2 brand new documentary features bringing viewers a comprehensive look inside the creation of this landmark children's animation program:* The Stories of He-Man and the Masters of the Universe* Animating He-Man and the Masters of the Universe2 Collectible 4" x 6" Exclusive He-Man and the Masters of the Universe® Art Cards by acclaimed artists Frank Cho and Emiliano Santalucia3 Full-Episode Commentary Tracks by Lou & Erika Scheimer Larry DiTillio Tom Sito Tom Tataranowicz and Dave Teague2 Full Length Animated Storyboards with Interactive Episode Comparison for Episode #102 "Revenge is Never Sweet" and #110 "The Problem with Power"50 Detailed Profiles of Various Characters Creatures and ArtifactsFun Trivia FactsDVD-ROM Feature - 5 Complete Episode Scripts (PC/Mac Compatible) Format: DVD MOVIE Genre: CHILDREN/FAMILY UPC: 787364671793

Languages: English, Spanish

Sound: Dolby Digital 2.0

Summary: The holiday season comes to the magical worlds of Eternia and Etheria in He-Man and She-Ra A Christmas Special! When Orko accidentally winds up on Earth during the Christmas winter he befriends two children who share stories of the goodwill and merriment that the holidays embrace. When they finally return to Eternia the holiday spirit is spread amongst the entire Royal Palace but this overflowing goodwill attracts the unwelcome attention of Horde Prime and Skeletor. Will the combined power of He-Man She-Ra and the spirit of Christmas be enough to stop them?System Requirements:Running Time: 45 minutesFormat: DVD MOVIE Genre: CHILDREN/FAMILY UPC: 787364630790

Languages: English

Sound: Dolby

Summary: The controversial, Reagan-era invasion of Grenada by U.S. troops is, oddly enough, at the center of this initially interesting story of a seasoned Marine sergeant (Clint Eastwood) routinely insulted by younger officers for being a symbol of the war that America "lost" in Vietnam. Looking for both a victory and a little redemption, Eastwood's character trains a squadron of scrappy pups and turns them into fighting grunts, just in time to follow White House orders and take the little island. Marsha Mason plays Eastwood's love interest, and Mario Van Peebles is funny as an undisciplined con artist who joins Clint's men and finally catches the spirit after getting his butt kicked a few times. "--Tom Keogh"

Languages: English, Spanish, French

Subtitles: English, Spanish, French

Sound: AC-3

Summary: Having developed his skill as a master of contemporary crime drama, writer-director Michael Mann displayed every aspect of that mastery in this intelligent, character-driven thriller from 1995, which also marked the first onscreen pairing of Robert De Niro and Al Pacino. The two great actors had played father and son in the separate time periods of "The Godfather, Part II", but this was the first film in which the pair appeared together, and although their only scene together is brief, it's the riveting fulcrum of this high-tech cops-and-robbers scenario. De Niro plays a master thief with highly skilled partners (Val Kilmer and Tom Sizemore) whose latest heist draws the attention of Pacino, playing a seasoned Los Angeles detective whose investigation reveals that cop and criminal lead similar lives. Both are so devoted to their professions that their personal lives are a disaster. Pacino's with a wife (Diane Venora) who cheats to avoid the reality of their desolate marriage; De Niro pays the price for a life with no outside connections; and Kilmer's wife (Ashley Judd) has all but given up hope that her husband will quit his criminal career. These are men obsessed, and as De Niro and Pacino know, they'll both do whatever's necessary to bring the other down. Mann's brilliant screenplay explores these personal obsessions and sacrifices with absorbing insight, and the tension mounts with some of the most riveting action sequences ever filmed--most notably a daylight siege that turns downtown Los Angeles into a virtual war zone of automatic gunfire. At nearly three hours, the film qualifies as a kind of intimate epic, certain to leave some viewers impatiently waiting for more action, but it's all part of Mann's compelling strategy. "Heat" is a true rarity: a crime thriller with equal measures of intense excitement and dramatic depth, giving De Niro and Pacino a prime showcase for their finely matched talents. "--Jeff Shannon"

Languages: English, French, Spanish, German, Portuguese

Subtitles: English, French, Spanish, Danish, Dutch

Sound: AC-3

Summary: Having developed his skill as a master of contemporary crime drama, writer-director Michael Mann displayed every aspect of that mastery in this intelligent, character-driven thriller from 1995, which also marked the first onscreen pairing of Robert De Niro and Al Pacino. The two great actors had played father and son in the separate time periods of "The Godfather, Part II", but this was the first film in which the pair appeared together, and although their only scene together is brief, it's the riveting fulcrum of this high-tech cops-and-robbers scenario. De Niro plays a master thief with highly skilled partners (Val Kilmer and Tom Sizemore) whose latest heist draws the attention of Pacino, playing a seasoned Los Angeles detective whose investigation reveals that cop and criminal lead similar lives. Both are so devoted to their professions that their personal lives are a disaster. Pacino's with a wife (Diane Venora) who cheats to avoid the reality of their desolate marriage; De Niro pays the price for a life with no outside connections; and Kilmer's wife (Ashley Judd) has all but given up hope that her husband will quit his criminal career. These are men obsessed, and as De Niro and Pacino know, they'll both do whatever's necessary to bring the other down. Mann's brilliant screenplay explores these personal obsessions and sacrifices with absorbing insight, and the tension mounts with some of the most riveting action sequences ever filmed--most notably a daylight siege that turns downtown Los Angeles into a virtual war zone of automatic gunfire. At nearly three hours, the film qualifies as a kind of intimate epic, certain to leave some viewers impatiently waiting for more action, but it's all part of Mann's compelling strategy. "Heat" is a true rarity: a crime thriller with equal measures of intense excitement and dramatic depth, giving De Niro and Pacino a prime showcase for their finely matched talents. "--Jeff Shannon"

Languages: English

Sound: Unknown

Summary: The Original Crabby Tabby is Back!
King of the ’80s nostalgia explosion, Heathcliff and his pals The Catillac Cats are back, ruling the neighborhood with an iron paw and a sense of adventure. Voiced by the legendary Mel Blanc, Heathcliff And The Catillac Cats is just as you remember: fun, feisty and full of laughs and entertainment for the whole family!
Heathcliff And The Catillac Cats 4-disc set will feature the first 24 complete episodes, sure to please fans as this is the first time Heathcliff (featuring the Catillac Cats segments) will appear as it aired originally on TV.
SPECIAL FEATURES: Interview with Heathcliff cartoonist Peter Gallagher Heathcliff Through The Years Click-Thru Gallery Original Promos
PROGRAM LISTING: Disc 1 1. The Great Pussini / Kitty Kat Kennels 2. Chauncey's Great Escape / Carnival Capers 3. Mad Dog Catcher / Circus Beserkus 4. Rebel Without A Claws / The Farming Life Ain't For Me 5. Heathcliff's Middle Name / Wishful Thinking 6. King Of The Beasts / Cat Can Do
Disc 2 7. Smoke Gets In My Eyes / Much Ado About Bedding 8. City Slicker Cat / House Of The Future 9. Spike's Cousin / For The Birds 10. Heathcliff's Pet / Swamp Fever 11. Teed Off / Monstro vs. The Wolf Hound 12. Say Cheese / Cat's Angels
Disc 3 13. Meow Meow Island / Iron Cats 14. Family Tree / Who's Got The Chocolate? 15. Be Prepared / Cruisin' For A Bruisin' 16. Heathcliff Gets Canned / Whackoed Out 17. Brain Sprain / Cat Balloon 18. May The Best Cat Win / Comedy Cats
Disc 4 19. Revenge Of The Kitty / Jungle Vacation 20. Hospital Heathcliff / Hector's Takeover 21. Going Shopping / Cat In The Fat 22. Wild Cat Heathcliff / Kitten Around 23. Cat Burglar Heathcliff / Lucky's Unlucky Day 24. The Blizzard Bandit / Harem Cat

Languages: English, French

Subtitles: English, Spanish, French

Sound: Dolby

Summary: David Mamet's "Heist" is--not unlike many of his previous films--amusing, manicured, and fraught with an awkward tension. If you've seen "The Spanish Prisoner" or "House of Games", you're by now familiar with the plot-subverting gambit of the double-cross turned triple- and then quadruple-cross. "Heist" sticks to the formula. Likewise, the quips and laconic wit that adorn what can most accurately be called "Mametspeak" are again on display: "Cute as a pail full of kittens," for instance, and "Everybody needs money; that's why they call it money." What you haven't yet seen in a Mamet film is the magisterial charm of Gene Hackman. In the role of Joe Moore, an aging criminal out for one final score before cashing in, Hackman shows us all (Mamet included) how it's done, embodying tough-but-clever effortlessly. Delroy Lindo, as Joe's partner Bobby, picks up on Hackman's ultra-cool and gives plenty in return. While the script and the remaining cast (Danny Devito, Rebecca Pidgeon, Sam Rockwell) are serviceable, "Heist" is entirely Hackman's show to steal. "--Fionn Meade"

Languages: English, French

Subtitles: English, French

Sound: Dolby

Summary: In the ongoing deluge of comic-book adaptations, "Hellboy" ranks well above average. Having turned down an offer to helm "Harry Potter and the Prisoner of Azkaban" in favor of bringing "Hellboy"'s origin story to the big screen, the gifted Mexican director Guillermo del Toro compensates for the excesses of "Blade II" with a moodily effective, consistently entertaining action-packed fantasy, beginning in 1944 when the mad monk Rasputin--in cahoots with occult-buff Hitler and his Nazi thugs--opens a transdimensional portal through which a baby demon emerges, capable of destroying the world with his powers. Instead, the aptly named Hellboy is raised by the benevolent Prof. Bloom, founder of the Bureau for Paranormal Research and Defense, whose allied forces enlist the adult Hellboy (Ron Perlman, perfectly cast) to battle evil at every turn. While nursing a melancholy love for the comely firestarter Liz (Selma Blair), Hellboy files his demonic horns ("to fit in," says Bloom) and wreaks havoc on the bad guys. The action is occasionally routine (the movie suffers when compared to the similar "X-Men" blockbusters), but del Toro and Perlman have honored Mike Mignola's original Dark Horse comics with a lavish and loyal interpretation, retaining the amusing and sympathetic quirks of character that made the comic-book Hellboy a pop-culture original. He's red as a lobster, puffs stogies like Groucho Marx, and fights the good fight with a kind but troubled heart. What's not to like? --"Jeff Shannon"

Languages: English, French

Subtitles: English, French

Sound: AC-3

Summary: In the ongoing deluge of comic-book adaptations, "Hellboy" ranks well above average. Having turned down an offer to helm "Harry Potter and the Prisoner of Azkaban" in favor of bringing "Hellboy"'s origin story to the big screen, the gifted Mexican director Guillermo del Toro compensates for the excesses of "Blade II" with a moodily effective, consistently entertaining action-packed fantasy, beginning in 1944 when the mad monk Rasputin--in cahoots with occult-buff Hitler and his Nazi thugs--opens a transdimensional portal through which a baby demon emerges, capable of destroying the world with his powers. Instead, the aptly named Hellboy is raised by the benevolent Prof. Bloom, founder of the Bureau for Paranormal Research and Defense, whose allied forces enlist the adult Hellboy (Ron Perlman, perfectly cast) to battle evil at every turn. While nursing a melancholy love for the comely firestarter Liz (Selma Blair), Hellboy files his demonic horns ("to fit in," says Bloom) and wreaks havoc on the bad guys. The action is occasionally routine (the movie suffers when compared to the similar "X-Men" blockbusters), but del Toro and Perlman have honored Mike Mignola's original Dark Horse comics with a lavish and loyal interpretation, retaining the amusing and sympathetic quirks of character that made the comic-book Hellboy a pop-culture original. He's red as a lobster, puffs stogies like Groucho Marx, and fights the good fight with a kind but troubled heart. What's not to like? --"Jeff Shannon"

Languages: English, French

Subtitles: English, French

Sound: AC-3

Summary: In the ongoing deluge of comic-book adaptations, "Hellboy" ranks well above average. Having turned down an offer to helm "Harry Potter and the Prisoner of Azkaban" in favor of bringing "Hellboy"'s origin story to the big screen, the gifted Mexican director Guillermo del Toro compensates for the excesses of "Blade II" with a moodily effective, consistently entertaining action-packed fantasy, beginning in 1944 when the mad monk Rasputin--in cahoots with occult-buff Hitler and his Nazi thugs--opens a transdimensional portal through which a baby demon emerges, capable of destroying the world with his powers. Instead, the aptly named Hellboy is raised by the benevolent Prof. Bloom, founder of the Bureau for Paranormal Research and Defense, whose allied forces enlist the adult Hellboy (Ron Perlman, perfectly cast) to battle evil at every turn. While nursing a melancholy love for the comely firestarter Liz (Selma Blair), Hellboy files his demonic horns ("to fit in," says Bloom) and wreaks havoc on the bad guys. The action is occasionally routine (the movie suffers when compared to the similar "X-Men" blockbusters), but del Toro and Perlman have honored Mike Mignola's original Dark Horse comics with a lavish and loyal interpretation, retaining the amusing and sympathetic quirks of character that made the comic-book Hellboy a pop-culture original. He's red as a lobster, puffs stogies like Groucho Marx, and fights the good fight with a kind but troubled heart. What's not to like? --"Jeff Shannon"

Languages: English

Summary: In some ways, "Blood and Iron" captures more of graphic novelist Mike Mignola's original vision than Guillermo del Toro's lackluster feature did in 2004. Hellboy, the demon brought into this world by the Nazis, but raised by "Professor Broom" to fight for good, was conceived as a drawing, not an actor buried under make-up and latex. The story, which incorporates elements from Mignola's "Wake the Devil" collection, sends Hellboy, Abe Sapien, Liz Sherman, and Prof. Broom to the haunted mansion of a vulgar millionaire. Hoping to cash in on the supernatural angle, he's filled the house with relics of "Blood Countess" Erzsebet Ondrusko (based on the 16th century Hungarian noblewoman Elizebeth Bathory), whom Prof. Broom defeated in 1939. It's really haunted, and the gang tackles harpies, ghosts, witches, werewolves, vampires, and the goddess Hecate. The key actors from the live action film repeat their roles as voices: Ron Perlman (Hellboy), Selma Blair (Liz), Doug Jones (Abe), and John Hurt (Broom). Perlman makes a suitably underplayed Hellboy, growling his annoyance at everything from a bad donut to a vicious blow from the iron-clad goddess. The limits of the animation would be less problematic if the direction were more dynamic. Tad Stones and Victor Cook don't get the needed power out of the action sequences, especially the prolonged battle between Hellboy and Hecate. It would be interesting to see what a talented director like Kazuhiro Furuhashi ("Ruruoni Kenshin") or Hiroyuki Okiura ("Jin-Roh") would do with this material. "Blood and Iron" will appeal to some "Hellboy" fans, but it lacks the dark panache of the original books. (Unrated, suitable for ages 14 and older: violence, grotesque imagery, potentially offensive religious imagery) "--Charles Solomon"

Languages: English, Spanish, French

Subtitles: English, French, Spanish

Sound: AC-3

Summary: The feverish Hellboy II: The Golden Army is a very busy sequel that might have looked unhinged in the hands of a less visionary director than Guillermo del Toro. Ron Perlman returns as Hellboy, aka "Red," the Dark Horse Comics demon-hero with roots in the mythical world but personal ties in the human realm. Still working, as he was in Hellboy, for a secret department of the federal government that deals (as in "Men In Black") with forces of the fantastic, Red and his colleagues take on a royal elf (Luke Goss) determined to smash a longtime truce between mankind and the forces of magic. Meanwhile, Red's relationship with girlfriend Liz (Selma Blair), who can burst into flames at will, is going through a rocky stage observed by Red's fishy friend Abe (Doug Jones), himself struck by love in this film. Del Toro brilliantly integrates the ordinary and extraordinary, diving into an extended scene set in a troll market barely hidden behind the façade of typical city streets. He also unleashes a forest monster that devastates an urban neighborhood, but then--interestingly--brings a luminous beauty to the same area as the creature (an "elemental") succumbs to a terrible death. Del Toro's art direction proves masterful, too, in a climactic battle set in a clockworks-like stronghold tucked away in rugged Irish landscape. But it's really the juxtaposition of visual marvels with not-so-unusual relationship issues that gives Hellboy II a certain jaunty appeal hard to find in other superhero movies. --Tom Keogh




Stills from Hellboy II: The Golden Army (Click for larger image)

















Click to learn more about the BD-Live Experience

Languages: English

Sound: Dolby Digital 2.0 Surround

Summary: In this first animated feature from Director Tad Stones (Buzz Lightyear of Star Command), and Creative Producers Mike Mignola (creator of HELLBOY comics) and Guillermo del Toro (writer/director of the HELLBOY movie), a folklore professor becomes unwittingly possessed by the ancient Japanese demons of Thunder and Lightning. But when The Bureau of Paranormal Research & Defense dispatches a team of agents to investigate, a cursed samurai sword sends Hellboy (Ron Perlman) to a supernatural dimension of ghosts, monsters and feudal mayhem.Now while pyrokinetic Liz Sherman (Selma Blair) and fishboy Abe Sapien (Doug Jones) battle one very pissed-off dragon, a lost and cranky Hellboy must find his way home. Even if he can survive the perilous journey, how much crap does a guy have to put up with from the two most vengeful and ferocious spirits of Japanese legend?
Features:
Widescreen Presentation enhanced for 16x9 TVs
Teaser Trailer
Still Galleries
Original Production Art
A New Breed: Creating - The New Hellboy
A VIEW FROM THE TOP - The "Heads" sequence
Also on DVD
Audio Commentary Featuring Hellboy Creator Mike Mignola, Supervising Producer/Director Tad Stones and Director Phil Weinstein
Conquering Hellboy - The Actor's Role
DVD Rom - Live Transcript; Live Transcript Search; Synced Storyboards; Enhanced Script to Screen; Documentary Sync; Kill count - which keeps track of each of the major characters' kills; Character sync; A ""Key Moments"" list; Weblinks
Hellboy Goes East: A Revealing look at many of the inspirations, backstories and secrets of Hellboy: Sword of Storms. This includes: Tale Spin - A deconstruction of the ""Spider Lady"" sequence; Prop Perfecture - A look at how ordinary objects animate to life; Origins - The filmmakers are inspired by Japanese mythology; Samurai Songs - Hellboy's music to live and fight by
Keepers of Hellboy: A Comic Con 2006 Panel Discussion
Motion Menus
To Hell And Back - How Mike Mignola Created Hellboy (Part I)

Languages: English, French, Spanish

Sound: Dolby Digital 5.1

Summary: Not the egregious foul it seemed to be in theaters, "Hercules" stands up as an entertaining spritzer of an animated feature. The continual peppering of in-jokes and cultural references becomes less irksome on video. That there's no majesty or awe invested in the beloved Greek legends also seems less of an error. Also on the plus side is the bounciest Alan Menken music since "Little Shop of Horrors". With Zeus's blood in his veins, young Hercules's amazing strength makes him an outcast (sorry, that still doesn't fly), so he trains with a satyr named Phil to become a hero. Along the way Herc meets Meg, a common mortal who falls hard for him. They're both against the jocular Hades, who has to destroy Hercules to take over Olympus. The hydra is the computer-animated set piece for this little number, a no-chance attempt to beat that wildebeest herd from "The Lion King". "--Keith Simanton"

Languages: Mandarin Chinese, English, French

Subtitles: English, Spanish

Sound: Dolby

Summary: Director Zhang Yimou brings the sumptuous visual style of his previous films ("Raise the Red Lantern", "Shanghai Triad") to the high-kicking kung fu genre. A nameless warrior (Jet Li, "Romeo Must Die", "Once Upon a Time in China") arrives at an emperor's palace with three weapons, each belonging to a famous assassin who had sworn to kill the emperor. As the nameless man spins out his story--and the emperor presents his own interpretation of what might really have happened--each episode is drenched in red, blue, white or another dominant color. "Hero" combines sweeping cinematography and superb performances from the cream of the Hong Kong cinema (Maggie Cheung, "Irma Vep", "Comrades: Almost a Love Story"; Tony Leung Chiu-Wai, "In the Mood for Love", "Hard Boiled"; and Zhang Ziyi, "Crouching Tiger, Hidden Dragon"). The result is stunning, a dazzling action movie with an emotional richness that deepens with every step. "--Bret Fetzer"

Summary:

Languages: English, French, Spanish

Subtitles: Spanish, French

Sound: Dolby

Summary: Director Joe Johnston has always had an entertaining sense of adventure, and with "Hidalgo" he proves it in spades. It's yet another underrated film for Johnston (along with such enjoyable popcorn flicks as "The Rocketeer" and "Jurassic Park III"), dismissed by many critics but a welcome treat for anyone drawn to good ol'-fashioned movie excitement. In his first role since playing Aragorn in the "Lord of the Rings" trilogy, Viggo Mortensen brings handsome appeal to his low-key portrayal of Frank T. Hopkins, a real-life long-distance horse racer who, as the movie opens, has witnessed the appalling massacre of Native Americans at Wounded Knee in 1890. Drifting into Buffalo Bill's Wild West Show, he agrees to compete, with his trusty mustang, Hidalgo, in "The Ocean of Fire," a treacherous 3,000-mile horse race across the Arabian desert. Toss in a bunch of conspiring competitors, a noble sheik (Omar Sharif), his lovely daughter (Zuleikha Robinson), and enough fast-paced danger to fill 133 minutes, and you've got a rousing, humorous, and lightly spiritual adventure that's a lot of fun to watch. It hardly matters that it's almost pure fiction (the real Hopkins was known by many as "a pathological liar"). More important is the love of movies and moviemaking that Johnston so delightfully conveys. "--Jeff Shannon"

Languages: English, French, Spanish

Subtitles: English, Spanish

Sound: Dolby

Summary: Dakota Fanning--the elfin star of "Uptown Girls", "The Cat in the Hat", and "Man on Fire"--trades in her blond locks for a semi-gothic brunette do in "Hide and Seek". Fanning plays Emily, a young girl whose mother commits suicide. To help Emily through the trauma, her father David (Robert DeNiro), a psychologist, takes her to an isolated house in upstate New York. But instead of healing, Emily gets dark circles under her eyes, mutilates her favorite doll, and develops an imaginary friend named Charlie. In no time at all, things get spooky and David suspects this imaginary friend isn't so friendly. "Hide and Seek" owes a lot to "The Shining", but whether the creepiness is borrowed or not, there's a decent dose of it (though the twist at the end is unlikely to surprise many viewers). DeNiro does his job with professional gloss, but Fanning carries the movie; she's got the kind of charisma that goes beyond acting ability--that ineffable glow that makes an audience want to watch her. "Hide and Seek" also features Famke Janssen ("X-Men"), Elisabeth Shue ("Leaving Las Vegas"), and the ever-dependable Dylan Baker ("Happiness"). "--Bret Fetzer"

Languages: English, Spanish

Subtitles: English, Spanish

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

Languages: English

Subtitles: Spanish

Sound: Dolby Digital 5.1

Summary: Transplanted from England to the not-so-mean streets of Chicago, the screen adaptation of Nick Hornby's cult-classic novel "High Fidelity" emerges unscathed from its Americanization, idiosyncrasies intact, thanks to John Cusack's inimitable charm and a nimble, nifty screenplay (cowritten by Cusack). Early-thirtysomething Rob Gordon (Cusack) is a slacker who owns a vintage record shop, a massive collection of LPs, and innumerable top-five lists in his head. At the opening of the film, Rob recounts directly to the audience his all-time top-five breakups--which doesn't include his recent falling out with his girlfriend Laura (Iben Hjejle), who has just moved out of their apartment. Thunderstruck and obsessed with Laura's desertion (but loath to admit it), Rob begins a quest to confront the women who instigated the aforementioned top-five breakups to find out just what he did wrong.
Low on plot and high on self-discovery, "High Fidelity" takes a good 30 minutes or so to find its groove (not unlike Cusack's "Grosse Pointe Blank"), but once it does, it settles into it comfortably and builds a surprisingly touching momentum. Rob is basically a grown-up version of Cusack's character in "Say Anything" (who was told "Don't be a guy--be a man!"), and if you like Cusack's brand of smart-alecky romanticism, you'll automatically be won over (if you can handle Cusack's almost-nonstop talking to the camera). Still, it's hard not to be moved by Rob's plight. At the beginning of the film he and his coworkers at the record store (played hilariously by Jack Black and Todd Louiso) seem like overgrown boys in their secret clubhouse; by the end, they've grown up considerably, with a clear-eyed view of life. Ably directed by Stephen Frears ("Dangerous Liaisons"), "High Fidelity" features a notable supporting cast of the women in Rob's life, including the striking, Danish-born Hjejle, Lisa Bonet as a sultry singer-songwriter, and the triumphant triumvirate of Lili Taylor, Joelle Carter, and Catherine Zeta-Jones as Rob's ex-girlfriends. With brief cameos by Tim Robbins as Laura's new, New Age boyfriend and Bruce Springsteen as himself. "--Mark Englehart"

Languages: English

Subtitles: English, Spanish, French

Sound: Dolby

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

Languages: English, Spanish

Sound: Dolby

Summary: This 1986 fantasy/action thriller has since spawned two sequels, a popular syndicated TV series, numerous comic-book spinoffs, and a loyal (if somewhat oddly obsessive) following of fans. Directed by music video veteran Russell Mulcahy (which explains the dizzying camera work), the original theatrical release made hash of an intriguing story about an "Immortal" from 16th-century Scotland (Christopher Lambert) who time-leaps to modern-day America with his archenemy (Clancy Brown) in hot pursuit. It becomes a battle to the death (yes, Immortals can die), and Lambert seeks survival training from an Immortal mentor played by Sean Connery. Dazzling, energetic, and altogether confusing in its original form, the film has since been released on video, laserdisc, and DVD in this revised widescreen "director's cut," with additional footage, director and producers' commentary, a photo and artwork archive, the original trailer, and an official time line of the film's evolution from script to screen. A must for "Highlander" fans ... and you know who you are! "--Jeff Shannon"

Languages: English

Subtitles: English, Spanish

Sound: Dolby Digital 2.0 Surround

Summary: On the surface, David Cronenberg may seem an unlikely candidate to direct "A History of Violence", but dig deeper and you'll see that he's the right man for the job. As an intellectual seeker of meaning and an avowed believer in Darwinian survival of the fittest, Cronenberg knows that the story of mild-mannered small-town diner proprietor Tom Stall (Viggo Mortensen) is in fact a multilayered examination of inbred human behavior, beginning when Tom's skillful killing of two would-be robbers draws unwanted attention to his idyllic family life in rural Indiana. He's got a loving wife (Maria Bello) and young daughter (Heidi Hayes) who are about to learn things about Tom they hadn't suspected, and a teenage son (Ashton Holmes) who has inherited his father's most prominent survival trait, manifesting itself in ways he never expected. By the time Tom has come into contact with a scarred villain (Ed Harris) and connections that lead him to a half-crazy kingpin (William Hurt, in a spectacular cameo), Cronenberg has plumbed the dark depths of human nature so skillfully that "A History of Violence" stands well above the graphic novel that inspired it (indeed, Cronenberg was unaware of the source material behind Josh Olson's chilling adaptation). With hard-hitting violence that's as sudden as it is graphically authentic, this is "A History of Violence" that's worthy of serious study and widespread acclaim. "--Jeff Shannon"
On the DVD
On a single disc and with little fanfare, this DVD makes an excellent case for the best extras of the year. Dive into the one-hour-long documentary and learn more about moviemaking than on many a double-disc. The secret lies in director David Cronenberg's (and his usual crew) folksy casualness in showing off the craft, be it makeup (green screens were used), directing (Cronenberg doesn't storyboard), or art direction (the diner set). It also is very funny to hear about "fish Fridays" and how Maria Bello's Uncle Pete became an influence. Even the infamous sex-on-the-staircase scene is diagnosed with candor as stars Viggo Mortensen and Bello act as if there is no backstage camera. There's only one deleted scene, but it's uncommonly deconstructed on why it was filmed and why it was cut (it's a very Cronenbergian dream sequence). A short bit on Cannes is also a delight. So much is here that Cronenberg's smart commentary track is nearly superfluous. Isn't that a nice surprise? "--Doug Thomas"

More to Explore

The Graphic Novel

Other Graphic Novels that Inspired Movies

David Cronenberg Essentials

Why We Love Maria Bello

The work of Viggo Mortensen

The work of William Hurt

Stills from "A History of Violence"


Viggo Mortensoe as Tom Stall


Ashton Holmes as Jack Stall and Kyle Schmid as Bobby Jordan

William Hurt as Richie Cusack


Ed Harris as Carl Fogarty and Viggo Mortensen as Tom Stall


Maria Bello as Edie Stall


Director David Cronenberg

Languages: English, French

Subtitles: English, French

Sound: AC-3

Summary: Will Smith's easygoing charm makes "Hitch" the kind of pleasant, uplifting romantic comedy that you could recommend to almost anyone--especially if there's romance in the air. As suave Manhattan dating consultant Alex "Hitch" Hitchens, Smith plays up the smoother, sophisticated side of his established screen persona as he mentors a pudgy accountant (Kevin James) on the lessons of love. The joke, of course, is that Hitch's own love life is a mess, and as he coaches James toward romance with a rich, powerful, and seemingly inaccessible beauty named Allegra (Amber Valetta), he's trying too hard to impress a savvy gossip columnist (Eva Mendes) with whom he's fallen in love. Through mistaken identities and mismatched couples, director Andy Tennant brings the same light touch that made Drew Barrymore's "Ever After" so effortlessly engaging. As romantic comedies go, "Hitch" doesn't offer any big surprises, but as a date movie it gets the job done with amiable ease and style. "--Jeff Shannon"

Languages: English

Subtitles: Spanish, French

Sound: DTS Surround Sound

Summary: Don't panic! After twenty years stuck in development (a mere blink compared to how long it takes to find the answer to life, the universe, and everything), "The Hitchhiker's Guide to the Galaxy" has finally been turned into a movie. Following the radio play, TV series, commemorative towel, and books, this latest installment in the sci-fi-comedy franchise is based on the screenplay and detailed notes by Douglas Adams.
Hitching a ride.
For those unfamiliar with the story, everyman Arthur Dent (Martin Freeman) wakes up one morning to discover that his house is set to be demolished to make room for a bypass. Little does he know the entire planet Earth is also set to be destroyed for an interplanetary bypass by the Vogons, a hideous and bureaucratic race of aliens realized in the film by Jim Henson's Creature Shop. Whisked off the planet by his best friend, alien-in-disguise Ford Prefect (Mos Def), Dent embarks on a goofy jaunt across the galaxy accompanied by his trusty Hitchhiker's Guide, which looks like a really fancy PDA.
The guide itself provides some of the funniest bits of the movie, little animated shorts that explain the ludicrous life forms and extraterrestrial phenomena our heroes encounter. Along the way Arthur meets the two-headed party animal/president of the galaxy Zaphod Beeblebrox (Sam Rockwell) and develops an unrequited crush on fellow earthling Trillian (Zooey Deschanel). The creatures and sets are inspired and answer to the sci-fi fan's primal need to see lots and lots of cool stuff. In particular, there's John Malkovich's creepy, CGI-enhanced Humma Kavula. He's a guru leading a religion that worships the gigantic nose that allegedly sneezed the universe into existence (naturally all their prayers end not with "Amen" but with "Bless you.") The aliens the team encounters are inspired creations, eminently worthy of action figure-ification, and the sets belie an attention to detail worthy of freeze-framing. Fans of the other "Hitchhiker" manifestations, namely the British TV series, will be amused by a number of in-jokes sprinkled throughout the movie.
Concept art: The Heart of Gold pod on the planet Vogsphere
Where the story stumbles is in the telling--as books, the "Hitchhiker's Guide" was foremost about goofy and brilliant ideas that raised questions about our place in the universe while getting a laugh. The cast seems at times bewildered, at least when Sam Rockwell isn't picking pieces of scenery out of his teeth, perhaps a natural reaction to an adaptation of a book with no traditional plot. The movie has enough trouble figuring out how to get the characters from one fantastical location to the next that Adams's funniest concepts often feel left in the dust. While the reverence the filmmakers felt toward Adams's legacy is apparent, one wonders what we could have expected had the creator of this science fiction universe lived to see it with his own eyes. "-- Ryan Boudinot"
A Guide to the "Guide"
The Soundtrack
The Radio Play (CD)
The TV Series
"The Ultimate Hitchhiker's Guide" (Deluxe Edition)
"The Ultimate Hitchhiker's Guide" (Paperback)
"The Filming of the Douglas Adams Classic" (book)
Interviews with The Cast and Director
Watch our interviews with the cast and director of "The Hitchhiker's Guide to the Galaxy" and find out what they think of other DVDs and books:
high bandwidth
low bandwidth

Languages: English, French, Spanish

Subtitles: English, French, Spanish

Sound: AC-3

Summary: It’s hard not to feel like one has entered a certain dimension of video-game logic while watching "Hitman", a lightly enjoyable action-suspense movie indeed based on a popular and bloody game about a mysterious hired gun with a bar-code tattoo on his bald head and a number (47) in lieu of a name. Living like a chaste monk while slipping past borders to kill his targets, 47 (Timothy Olyphant of "Deadwood") moves like a determined shark and speaks softly to his contact at the enigmatic "the Organization," which raises cast-off children to become well-paid assassins. Fruitlessly pursued by an Interpol cop (Dougray Scott) who can never get sovereign governments to cooperate, 47 has no trouble slipping in and out of countries to ply his trade. Until, that is, he’s set up to take a fall in Russia by shooting a national leader who is promptly replaced by a lookalike double. Suddenly on the run, 47 has to retrace his steps and formulate a lethal plan for extricating himself from a trap. Caught in the chaos is the lovely Nika (Olga Kurylenko), forced into sex slavery by 47’s new enemies and the one person who seems uniquely qualified to break through 47’s many personal barriers. Directed by France’s Xavier Gens, "Hitman" features loads of bloody mayhem and unabashed moments of pulp absurdity, such as a scene in which 47 and three other Organization killers agree to fight one another respectfully, then proceed to pulverize each other with swords and fists. As fodder for gamers, however, "Hitman" is packed with visuals and dramatic moments that seem so odd on the big screen until one realizes they are basically placemarkers for the video-game edition. --"Tom Keogh"

Beyond "Hitman"
"Hitman" Video Games
"Hitman" Books and Game Guides
More Action and Adventure on Blu-ray


Stills from "Hitman"

Languages: English, Spanish, French

Subtitles: English, Spanish

Sound: Dolby Digital 5.1

Summary: A titanic performance by Jack Nicholson powers this fact-and-fiction biography of Teamsters president Jimmy Hoffa. From the opening moment--Hoffa sitting alone in the back of a car--Nicholson's performance is one of his best, and a rare role as a historical person. The sweeping all-American story of a common worker who reaches the highest pinnacle in the world's most powerful union is sweepingly told with wondrous detail, in wardrobe, sets, and trucks. The better-documented facts of Hoffa's life, including his struggle against Attorney General Bobby Kennedy (Kevin Anderson), supply the backbone of the story. But the hope of what the Teamsters are to the American Dream is what makes the film glow (swept along by David Newman's score). The screenplay by David Mamet takes two wild and entertaining divergences from fact. The first is the character of Hoffa's ubiquitous sidekick Bobby Ciaro, played by the film's director, Danny DeVito. It's a fictitious role, a composite character that allows the story to be clearly told, as does the second--Mamet's explanation of Hoffa's famous disappearance. "--Doug Thomas"

Languages: English

Subtitles: English, Korean

Sound: Dolby

Summary: In Paul Verhoeven's appropriately shallow "Hollow Man", Kevin Bacon plays a bad-boy egotistical scientist who heads up a double-secret government team experimenting with turning life-forms invisible. How do we know he's a bad boy? Because he (a) wears a leather overcoat, (b) compares himself to God, (c) drives a sports car, and (d) spies on his comely next-door neighbor while eating Twinkies. Sadly, this is the most character development anyone gets in this undernourished action/sci-fi thriller, which boasts some amazing special effects and some amazingly ridiculous plot twists. After experimenting rather ruthlessly on a menagerie of lab animals, Bacon finally cracks the code that will turn the invisible gorillas, dogs, and so on, back into their visible forms. Does it work on humans? Faster than you can say "six degrees," Mr. Bacon appoints himself human guinea pig, strapping down for an injection of fluorescent-colored serum. Thanks to some phenomenal, seamless and Oscar-worthy computer effects, Bacon is indeed rendered invisible, organ by organ, vein by vein. And what's the first thing you'd do if you were invisible? Why, spy on your female coworkers in the bathroom and molest your comely next-door neighbor, of course! Soon, Bacon is thoroughly psychotic, and it's up to Elisabeth Shue (Bacon's coworker and ex-girlfriend) and hunky Josh Brolin (her current snuggle bunny) to defeat the invisible man, who's picking off the science team one by one. You'd think this would be a prime opportunity for copious amounts of cheesy sex and aggressive violence--which Verhoeven served up so well and so exuberantly in "Starship Troopers" and "Basic Instinct"--but if anything, the director seems to tone down the proceedings, and really, who wants a muted Paul Verhoeven movie? Shue (who got top billing and a bad haircut to boot) and Brolin (who, yes, does take off his shirt at least once) generate little heat, and while Bacon does give an effective, primarily voice-oriented performance, his character is so underdeveloped that, well, you can see right through him. "--Mark Englehart"

Languages: English, French

Subtitles: French, English

Sound: Dolby

Summary: In Paul Verhoeven's appropriately shallow "Hollow Man", Kevin Bacon plays a bad-boy egotistical scientist who heads up a double-secret government team experimenting with turning life-forms invisible. How do we know he's a bad boy? Because he (a) wears a leather overcoat, (b) compares himself to God, (c) drives a sports car, and (d) spies on his comely next-door neighbor while eating Twinkies. Sadly, this is the most character development anyone gets in this undernourished action/sci-fi thriller, which boasts some amazing special effects and some amazingly ridiculous plot twists. After experimenting rather ruthlessly on a menagerie of lab animals, Bacon finally cracks the code that will turn the invisible gorillas, dogs, and so on, back into their visible forms. Does it work on humans? Faster than you can say "six degrees," Mr. Bacon appoints himself human guinea pig, strapping down for an injection of fluorescent-colored serum. Thanks to some phenomenal, seamless and Oscar-worthy computer effects, Bacon is indeed rendered invisible, organ by organ, vein by vein. And what's the first thing you'd do if you were invisible? Why, spy on your female coworkers in the bathroom and molest your comely next-door neighbor, of course! Soon, Bacon is thoroughly psychotic, and it's up to Elisabeth Shue (Bacon's coworker and ex-girlfriend) and hunky Josh Brolin (her current snuggle bunny) to defeat the invisible man, who's picking off the science team one by one. You'd think this would be a prime opportunity for copious amounts of cheesy sex and aggressive violence--which Verhoeven served up so well and so exuberantly in "Starship Troopers" and "Basic Instinct"--but if anything, the director seems to tone down the proceedings, and really, who wants a muted Paul Verhoeven movie? Shue (who got top billing and a bad haircut to boot) and Brolin (who, yes, does take off his shirt at least once) generate little heat, and while Bacon does give an effective, primarily voice-oriented performance, his character is so underdeveloped that, well, you can see right through him. "--Mark Englehart"

Languages: English, French

Subtitles: English, French

Sound: Dolby

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

Languages: English, Spanish, French

Subtitles: English, French, Spanish

Sound: AC-3

Summary: The fact-based mystery of "Hollywoodland" takes place in 1959, when the death of "Adventures of Superman" TV star George Reeves cast a pall over the waning days of golden-age Hollywood. As written by Paul Bernbaum, this intriguing whodunit effectively evokes the tainted atmosphere that surrounded Reeves' death (officially ruled a suicide but never conclusively solved), and speculates on circumstances to suggest that Reeves may have been murdered. In combining the melancholy course of Reeves' career with the investigation of a down-and-out private detective into the possible causes of Reeves' death, the film evolves into an engrossing study of parallels between lives on either side of the Hollywood dream. Building upon a distinguished career in TV including episodes of HBO's "The Sopranos", "Rome" and "Six Feet Under", director Allen Coulter finds a satisfying balance between the tragic overtones of the Reeves case and the time-honored elements of the gumshoe genre, with Adrien Brody doing fine work as private eye Louis Simo, a fictional composite character who is our conduit to the desperate yearnings of Reeves' final months.
In a critically acclaimed performance, Ben Affleck plays Reeves in moody flashbacks, caught between "Superman" stardom and financial dependence on his lover Toni Mannix (Diane Lane), the somewhat predatory wife of Hollywood "fixer" and MGM honcho Eddie Mannix (Bob Hoskins), whose mob connections suggest foul play as Simo's investigation progresses. Reeves' subsequent lover (played by Robin Tunney) may also be culpable, and as Simo's own personal life unravels, his empathy for Reeves takes on added significance. In presenting its mystery as a set of plausible scenarios, "Hollywoodland" holds interest as a mystery that's refreshingly compassionate toward the fate of its characters. Warts and all, they're likable dreamers in a town where dreams don't always come true. "--Jeff Shannon"

Languages: English, French, Spanish

Subtitles: English, Spanish

Sound: Dolby

Summary: Now and forever a favorite among kids, this 1990 comedy written by John Hughes ("The Breakfast Club") and directed by Chris Columbus ("Mrs. Doubtfire") ushered Macaulay Culkin onto the screen as a troubled 8-year-old who doesn't comfortably mesh with his large family. He's forced to grow a little after being accidentally left behind when his folks and siblings fly off to Paris. A good-looking boy, Culkin lights up the screen during several funny sequences, the most famous of which finds him screaming for joy when he realizes he's unsupervised in his own house. A bit wooden with dialogue, the then-little star's voice could grate on the nerves (especially in long, wise-child passages of pure bromide), but he unquestionably carries the film. Billie Bird and John Candy show up as two of the interesting strangers Culkin's character meets. Joe Pesci and Daniel Stern are entertainingly cartoonish as thieves, but the ensuing violence once the little hero decides to keep them out of his house is over-the-top. "--Tom Keogh"

Languages: Arabic, English, Spanish

Summary: The fact that "Home of the Brave" is about soldiers coming home from a war that isn't even over is just one of the things that's off in this film; director Irwin Winkler and screenwriter Mark Friedman's 2006 tale of the problems faced by the men and women returning from Iraq is also hampered by thoroughly predictable storytelling, sub-par acting, and sometimes painfully on-the-nose dialogue, reducing what could have been a provocative and challenging effort into so much TV movie fodder. When Army medic Will Marsh (Samuel L. Jackson, who does his best to rise above the level of the material) and soldiers Vanessa Price (Jessica Biel) and Tommy Yates (Brian Presley) return to Spokane, Washington, major readjustment problems loom, mostly due to a chaotic ambush in a small Iraqi town (occurring less than two weeks before they were to be sent home, the incident is so unsurprising that anyone could have seen it coming). Will and his angry teenage son wage their own war, while Dad takes to the bottle; Vanessa's learning to cope with a prosthetic hand, while Tommy's grieving over the best buddy who died in the ambush and the loss of his job, girlfriend, and self-respect. Those matters and the clichéd, unconvincing way in which they're handled, along with the film's refusal to take a strong stand either for or against the war, obscure the potentially much more interesting issues. Are these soldiers patriots, or merely pawns? Were they doing their righteous duty by serving in this conflict, or were they victims sent off to suffer and perhaps die by a bunch of men in suits who never saw a minute of combat themselves? Other home-from-war films, from 1946's "The Best Years of Our Lives" to 1978's "Coming Home" to 1989's "Born on the Fourth of July", have dealt with these and other issues a good deal more effectively than the earnest and well-intentioned but not very compelling "Home of the Brave". "--Sam Graham"

Languages: English

Sound: Dolby Digital 5.1

Summary: A spiky animation style and cowboy yodelling give "Home on the Range" some charisma. A trio of cows--Maggie (voiced by Roseanne, "She-Devil"), Mrs. Calloway (Judi Dench, "Iris"), and Grace (Jennifer Tilly, "Bound")--hit the high prairie to track down a cattle rustler named Alameda Slim (Randy Quaid, "Kingpin") in hopes that the reward money will save their farm. With the aid of Buck, a horse with heroic ambitions (Cuba Gooding Jr., "Jerry Maguire"), the bovine avengers track the villain to his lair and save the day, to the accompaniment of tunes warbled by k.d. lang, Bonnie Raitt, and Tim McGraw. These songs--composed by Alan Menken (who wrote the music for "The Little Mermaid" and "Beauty and the Beast")--are the movie's strongest element; the characters are largely trumped up to fit a number of weak jokes that reference current pop culture, thus rupturing the movie's Old West world. Still, it looks nifty. "--Bret Fetzer"

Languages: English, French

Subtitles: Spanish, French

Sound: Dolby Digital 1.0

Summary: Fan-rrific! Hanna-Barbera's "Hong Kong Phooey" was the Saturday-morning cartoon answer to the mid-'70s martial-arts craze. Mild-mannered janitor Penry (voiced by Scatman Crothers) works in the police station alongside switchboard operator Rosemary (Kathy Gori) and beleaguered Sergeant Flint (Joe E. Ross), humans who never suspect that the diligent dog is actually "America's secret weapon against crime." Never mind that Hong Kong Phooey, although armed with his trusty book of kung fu and a Bond-meets-"Wacky Races" Phooeymobile, wouldn't even be able to get out of his quick-change file cabinet without a well-placed blow from his loyal cat, Spot (who's striped, naturally). The public is awed by him, Rosemary has a crush on him, and villains--including the Claw, the Giggler, Goldfisher, and the Gum Drop Kid--fear him, but no one notices that Hong Kong Phooey only succeeds through his own klutziness, Spot's help, or dumb luck. The two-DVD set (one single-sided, one double-sided) include all of the series' 31 episodes, though at only 11 minutes each, two of them were shown in its half-hour time slot. There's also a retrospective documentary, a storyboard of a complete episode run side-by-side with the final version, and commentary on three episodes by some of the original team: creative producer Iwao Takamoto and layout unit manager Willie Ito, and Warner animation producer-historian Scott Jeralds. Crothers also scatted the famous theme song: "Hong Kong Phooey, Number One super guy / Hong Kong Phooey, Quicker than the human eye / Chicky-chong chicky-chong / Chicky-chocky dooky-chong / Dooky-bop chop-choppin' / Da bow-wow-wow!" "Hong Kong Phooey" is harmlessly entertaining, about as harmless as Hong Kong Phooey was to bad guys everywhere. "--David Horiuchi"

Languages: English, French

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

Sound: Dolby

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

Languages: English, Spanish, French

Subtitles: Spanish, French

Sound: AC-3

Summary: One of the most rousingly enjoyable sports movies ever made, this small-town drama tells the story of the Hickory Huskers, an underdog basketball team from a tiny Indiana high school that makes it all the way to the state championship tournament. It's a familiar story, but sensitive direction and a splendid screenplay helped make this one of the best films of 1986, highlighted by the superb performances of Gene Hackman as the Huskers' coach, and Oscar nominee Dennis Hopper as the alcoholic father of one of the team's key players. As the drama unfolds we come to realize that many of the characters (including Barbara Hershey as a schoolteacher with whom Hackman falls in love) are recovering from disappointing setbacks, and this depth of character is what makes the otherwise conventional basketball story so richly rewarding. Like "Rocky, Rudy", and "Breaking Away", this is a quintessentially American movie about beating the odds and rising above one's own limitations. Just try to watch it without cheering! "--Jeff Shannon"

Languages: English, French, Spanish

Subtitles: English, Spanish, French

Sound: AC-3

Summary: One of the most rousingly enjoyable sports movies ever made, this small-town drama tells the story of the Hickory Huskers, an underdog basketball team from a tiny Indiana high school that makes it all the way to the state championship tournament. It's a familiar story, but sensitive direction and a splendid screenplay helped make this one of the best films of 1986, highlighted by the superb performances of Gene Hackman as the Huskers' coach, and Oscar nominee Dennis Hopper as the alcoholic father of one of the team's key players. As the drama unfolds we come to realize that many of the characters (including Barbara Hershey as a schoolteacher with whom Hackman falls in love) are recovering from disappointing setbacks, and this depth of character is what makes the otherwise conventional basketball story so richly rewarding. Like "Rocky", "Rudy," and "Breaking Away", this is a quintessentially American movie about beating the odds and rising above one's own limitations. Just try to watch it without cheering! "--Jeff Shannon"

Languages: English, Spanish, French

Subtitles: Cantonese, English, French, Korean, Spanish

Sound: Dolby

Summary: Dr. Seuss's classic 1954 book "Horton Hears a Who" has entertained generations of children and served as the inspiration for a 26-minute, 1970 television special "Dr. Seuss's Horton Hears a Who" and the 2000 Broadway musical "Seussical: The Musical". This 2008, full-length animated movie features the voice talents of Jim Carrey as Horton, Steve Carrell as the Mayor of Whoville, Carol Burnett as the Kangaroo, and Jesse McCartney as JoJo and promises to delight a whole new generation of children and their parents and grandparents. The technological wonders of computer animation have allowed 20th Century Fox Animation to bring to life the wacky, colorful Whoville with its minute inhabitants and the lush Jungle of Nool with its host of distinctive animals and the result is a rich, fantastical world of wonder worthy of Dr. Seuss' own imagination. All the major plot elements of Dr. Seuss' book are present, with Horton hearing the faint cry for help from a tiny dust speck atop a small clover and doing his best to protect the inhabitants of that small civilization of Whoville despite the disbelief, disdain, and persecution of his fellow animals. The feel of Dr. Seuss' original rhyming prose is partially preserved in the sparse narration by Charles Osgood that's interspersed throughout the film's dialogue and the overarching themes of staying true to one's convictions and the celebration of the power of perseverance, imagination, and kindness come through loud and clear. "Horton Hears a Who" is a fun rendering of a classic Dr. Seuss story that's sure to entertain viewers of all ages. --"Tami Horiuchi"
Beyond "Horton Hears a Who !" on DVD
"Nim’s Island" on DVD
"Alvin and the Chipmunks" on DVD
"Mr. Magorium’s Wonder Emporium" on DVD


Stills from "Horton Hears a Who!" (Click for larger image)

Languages: English

Subtitles: Spanish

Sound: Dolby Digital 5.1

Summary: You get two hostage crises for the price of one in "Hostage", an overwrought but otherwise involving thriller grounded by Bruce Willis's solid lead performance. Making a dramatic pit-stop on his way to "Die Hard 4", Willis plays a traumatized former Los Angeles hostage negotiator, now working as a nearly-divorced police chief in sleepy Ventura County, California. Willis suddenly finds himself amidst two potentially deadly stand-offs when a trio of hapless teenagers seize hostages in the fortress-like home of an accountant (Kevin Pollack) whose connections to organized crime result in Willis struggling to rescue his estranged wife and daughter, who are being held hostage by faceless thugs at an undisclosed location. Having directed two of Tom Clancy's "Splinter Cell" video games, director Florent Siri brings plenty of slick, competent filmmaking to Willis's desperate dilemma, and the film boasts a gritty, graphic style that draws attention away from implausible plot twists. The bothersome, over-the-top performances by the teenaged villains also slightly compromise this gloomy but emotionally gripping adaptation of Robert Crais's novel, named as one of Amazon.com's best books of 2001. "--Jeff Shannon"

Languages: English, French, Portuguese

Subtitles: English, French

Sound: AC-3

Summary: Well-made for the genre--the excessive-skin-displayed-before-gruesome-bloody-torture-begins genre--"Hostel" follows two randy Americans (Jay Hernandez, "Friday Night Lights", and Derek Richardson, "Dumb and Dumberer: When Harry Met Lloyd") and an even randier Icelander (Eythor Gudjonsson) as they trek to Slovakia, where they're told beautiful girls will have sex with anyone with an American accent. Unfortunately, the girls will also sell young Americans to a company that offers victims to anyone who will pay to torture and murder. To his credit, writer/director Eli Roth ("Cabin Fever") takes his time setting things up, laying a realistic foundation that makes the inevitable spilling of much blood all the more gruesome. The sardonic joke, of course, is that Americans are worth the most in this brothel of blood because everyone else in the world wants to take revenge upon them. This dark humor and political subtext help set "Hostel" above its more brainless sadistic compatriots, like "House of Wax" or "The Devil's Rejects". In general, though, there's something lacking; horror used to suggest some threat to the spirit--today's horror can conceive of nothing more troubling than torturing the flesh. For aficionados, "Hostel" features a nice cameo by Takashi Miike, director of bloody Japanese flicks like "Audition" and "Ichi the Killer". "--Bret Fetzer"

Languages: English, French

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

Sound: AC-3

Summary: With repulsion levels at least comparable to "Cannibal Holocaust", Herschell Gordon Lewis' "Blood Feast", and other gory slasher landmarks, Eli Roth's "Hostel 2" reconfigures ideas of violence to test how down and dirty a horror film can get. The film raises the stakes, leaving those who wish to make a sicker film out in the lurch for the time being. This sequel, like the first "Hostel", is set in and around a Slovakian factory where European students are kidnapped, tortured, and killed by rich businessmen who pay enormous sums to experience death firsthand. An international elite, all tattooed with a bulldog insignia, bid on young people to slaughter in a mob-organized, high-end, sex-slave trade catering to those with a death fetish. In "Hostel 2", three girls from Rome, Beth (Laura German), Whitney (Bijou Phillips), and Lorna (Heather Matarazzo), are lured to Slovakia by a sultry, vampiric hottie (Vera Jordonova) who modeled for them in figure drawing class. Sidetracked and disoriented by some Pagan Slovakian festivals and luxurious hot springs, the girls slip away one by one, until the film moves inside the torture chambers. One client sits in a bathtub beneath her victim, who she slices with a scythe to bathe in blood, Elizabeth Bathory-style. Body parts fly as clients entering the facilities select their weapons of choice in a room full of knives, power tools, and rubber clothing. As ridiculous as it sounds, haunting soundtrack and cinematography set a disturbing mood. Morbid humor, for example when a chainsaw unplugs centimeters from a victim's face, pays homage to "Hostel 2's" schlocky predecessors. Fortunately, one survivor remains, providing an ounce of vengeful, and sexy, satisfaction. As in the best exploitation films, gratuitous sex and violence are the norm here. What will be a warning to some to avoid this gruesome movie will be to others a cue to head straight to the theater. "--Trinie Dalton"

Languages: English, French, Spanish

Subtitles: English, French, Spanish

Sound: Dolby

Summary: In "Shaun of the Dead", it was the zombie movie and the anomie of modern life. In "Hot Fuzz", Edgar Wright and Simon Pegg set their sights on the buddy cop blockbuster and the eccentric English village. The two worlds collide when overachieving London officer Nicholas Angel (Pegg) is promoted to sergeant. The catch is that he's being transferred to Agatha Christie country. His superiors (the comic trifecta of Martin Campbell, Steve Coogan, and Bill Nighy) explain that he's making the rest of the force look bad. On the surface, Sandford is a sleepy little burg where the most egregious crimes, like loitering, are committed by hoody-sporting schoolboys. In truth, it's a hotbed of "Willow Man"-style evil. Upon his arrival, Chief Butterman (Jim Broadbent) partners Angel with his daft son, Danny (Nick Frost, Pegg's "Shaun" co-star), who aspires to kick criminal "arse" like the slick duo in "Bad Boys II". When random citizens start turning up dead, he gets his chance. With the worshipful Danny at his side, Angel shows his cake-eating colleagues how things are done in the big city. As in "Shaun", their previous picture, Wright and Pegg hit their targets more often than not. With the success of that debut comes a bigger budget for car chases, shoot-outs, and fiery explosions. Though "Hot Fuzz" earns its R-rating with salty language and grisly deaths, the tone is more good-natured than mean-spirited. A wall-to-wall soundtrack of boisterous British favorites, like the Kinks, T-Rex, and Sweet, contributes to the fast-paced fun. "--Kathleen C. Fennessy"

Languages: English

Subtitles: English, Spanish

Sound: AC-3

Summary: It's sick! It's twisted! It's "House of 1,000 Corpses", and it's more fun than a wholesome bowl of "Agatha Crispies"! Dropped by two studios (Universal and MGM) and doomed to obscurity until Lions Gate Films gave it a limited theatrical release, Rob Zombie's gonzo horror flick is a blood-spattered throwback to the gore-fests of the '70s, lending new meaning to the term "box-office "gross"." Most critics misunderstood this unbridled exercise in graphic style and violence, but for devoted horror buffs it's a refreshing rebuttal to the comparatively "polite" frights of the post-"Scream" era. While paying homage to "The Texas Chainsaw Massacre", "Last House on the Left", "Motel Hell", and other gory classics, Zombie's ramshackle plot (two young couples are terrorized by an inbred family of homicidal maniacs) lacks a crucial sense of dread, but his pastiche of vivid colors, grainy fetish-films, and photo-negative imagery is guaranteed to hold your attention. A bona-fide cult item, this "House" is definitely worth a visit... if you dare. "--Jeff Shannon"

Languages: Mandarin Chinese, English, French, Spanish

Subtitles: English, French, Spanish

Sound: AC-3

Summary: No one uses color like Chinese director Zhang Yimou--movies like "Raise the Red Lantern" or "Hero", though different in tone and subject matter, are drenched in rich, luscious shades of red, blue, yellow, and green. "House of Flying Daggers" is no exception; if they weren't choreographed with such vigorous imagination, the spectacular action sequences would seem little more than an excuse for vivid hues rippling across the screen. Government officers Leo and Jin (Asian superstars Andy Lau and Takeshi Kaneshiro) set out to destroy an underground rebellion called the House of Flying Daggers (named for their weapon of choice, a curved blade that swoops through the air like a boomerang). Their only chance to find the rebels is a blind women named Mei (Ziyi Zhang, "Crouching Tiger, Hidden Dragon") who has some lethal kung fu moves of her own. In the guise of an aspiring rebel, Jin escorts Mei through gorgeous forests and fields that become bloody battlegrounds as soldiers try to kill them both. While arrows and spears of bamboo fly through the air, Mei, Jin, and Leo turn against each other in surprising ways, driven by passion and honor. Zhang's previous action/art film, "Hero", sometimes sacrificed momentum for sheer visual beauty; "House of Flying Daggers" finds a more muscular balance of aesthetic splendor and dazzling swordplay. "--Bret Fetzer"

Languages: English, French

Subtitles: English

Sound: Dolby Digital 2.0 Surround

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

Sound: AC-3

Summary: A winning mixture of adventure, slapstick comedy, and friendship, How to Train Your Dragon rivals Kung Fu Panda as the most engaging and satisfying film DreamWorks Animation has produced. Hiccup (voice by Jay Baruchel) is a failure as a Viking: skinny, inquisitive, and inventive, he asks questions and tries out unsuccessful contraptions when he's supposed to be fighting the dragons that attack his village. His father, chief Stoick the Vast (Gerard Butler), has pretty much given up on his teenage son and apprenticed him to blacksmith Gobber (Craig Ferguson). Worse, Hiccup knows the village loser hasn't a chance of impressing Astrid (America Ferrera), the girl of his dreams and a formidable dragon fighter in her own right. When one of Hiccup's inventions actually works, he hasn't the heart to kill the young dragon he's brought down. He names it Toothless and befriends it, although he's been taught to fear and loathe dragons. Codirectors and cowriters Chris Sanders and Dean DeBlois, who made Disney's delightful Lilo and Stitch, provide plenty of action, including vertiginous flying sequences, but they balance the pyrotechnics with moments of genuine warmth that make the viewer root for Hiccup's success. Many DreamWorks films get laughs from sitcom one-liners and topical pop culture references; as the humor in Dragon comes from the characters' personalities, it feels less timely and more timeless. Toothless chases the spot of sunlight reflected off Hiccup's hammer like a giant cat with a laser pointer; Hiccup uses his newly found knowledge (and an icky smoked eel) to defeat two small dragons--and impress the other kids. How to Train Your Dragon will be just as enjoyable 10 or 20 years from now as it is today. (Rated PG: suitable for ages 8 and older, violence, some intense action and scary dragons) --Charles Solomon

Summary: Howard Shore - Creating The Lord of the Rings Symphony - A Composer's Journey Through Middle-earth Includes excerpts of live concert footage from The Lord of the Rings Symphony: Six Movements for Orchestra, Chorus and Soloists, documentary commentary by Howard Shore, and the illustrations of Alan Lee and John Howe. The concert footage was recorded live at Salle Wilfrid-Pelletier, Place des Arts, Montreal, Canada in February 2004.

Languages: English

Subtitles: English, French, Spanish

Sound: AC-3

Summary: If you concentrate on the fact that Howard the Duck was a notorious box office dud (still brought up today) and considered one of the worst films of the '80s, it's entirely possible to enjoy this special effects piffle. Howard, played by a special effect puppet, lives on a planet where ducks evolved instead of apes, but one day he's sucked into a vortex and deposited on Earth. There he befriends Beverly Switzler (Lea Thompson), lead singer for the Cherry Bombs, becomes their manager, and, oh yeah, saves the Earth from the Dark Overlords. Jeffrey Jones is the villain and Tim Robbins (!) is there for comic relief. And who can resist the culmination of synthesizer pop, the Howard the Duck theme song, as realized by the Cherry Bombs? A midnight movie that your kids might watch more than you. --Keith Simanton

Languages: English

Subtitles: English, Spanish, French

Sound: Dolby

Summary: A graduate of Roger Corman's school of low-budget ingenuity, Joe Dante gained enough momentum with 1978's "Piranha" to rise to the challenge of "The Howling", and he brought along "Piranha" screenwriter John Sayles to cowrite this instant werewolf classic. Makeup wizard Rob Bottin was recruited to create what was then the wildest onscreen transformation ever seen. With Gary Brandner's novel "The Howling" as a starting point, Sayles and Dante conceived a werewolf colony on the California coast, posing as a self-help haven led by a seemingly benevolent doctor (Patrick Macnee), and populated by a variety of "patients," from sexy, leather-clad sirens (among them Elisabeth Brooks) to an old coot (John Carradine) who's quite literally long in the tooth. When a TV reporter (Dee Wallace) arrives at the colony to recover from a recent trauma, the resident lycanthropes prepare for a howlin' good time.
Dante handles it all with equal measures of humor, sex, gore, and horror, pulling out all the stops when the ravenous Eddie (Dante favorite Robert Picardo, later known as the Doctor on "Star Trek: Voyager") transforms into a towering, bloodthirsty werewolf. (Bottin's mentor Rick Baker would soon raise the makeup ante with "An American Werewolf in London".) As usual, in-jokes abound, from characters named after werewolf-movie directors, amusing cameos (Corman, Sayles, Forrest J. Ackerman), and hammy inserts of wolfish cartoons and Allen Ginsberg's "Howl." It's best appreciated now as a quintessential example of early-'80s horror, with low-budget limitations evident throughout, but "The Howling" remains a giddy genre milestone. "--Jeff Shannon"

Languages: English, French, Spanish

Subtitles: English, Spanish, French

Sound: Dolby Digital 1.0

Summary: When "The Huckleberry Hound Show" debuted in syndication on October 2, 1958, it launched the Hanna-Barbera empire--and radically changed the course of American animation. After MGM closed its cartoon studio in 1957, Bill Hanna and Joe Barbera, the Oscar-winning directors of the "Tom and Jerry" shorts, started their own company. Their first cartoon series, "Ruff and Reddy" was used in a package show that included a live host, puppets, and old theatrical shorts. Hanna and Barbera realized that to succeed in television animation, they needed programs that were entirely their own, and"The Huckleberry Hound Show" was their first. Huck, who hosted the series, was an amiable, none-too-bright turquoise dog. No matter what ridiculous situation he stumbled into, his genial, good nature enabled him to come out on top, singing "Clementine" in his off-key Southern drawl. This four-disc set offers plenty of nostalgic laughs for anyone who grew up in the '50s and '60s, especially the "Reassembled Episodes," which include the familiar theme song and interstitial gags. Some of the extras are silly, but in "The Legendary Sound of Daws Butler," Nancy Cartwright (the voice of Bart Simpson) and other former students pay tribute to the gentle and talented actor who provided the voice of Huck and dozens of other Hanna-Barbera characters. It's a must-have for students of animation--and for aging Baby-Boomers who ate dinner off TV trays, rather than miss "The Huckleberry Hound Show" when it aired 40-plus years ago. (Unrated, suitable for ages 6 and older: cartoon violence, occasional ethnic stereotypes) "--Charles Solomon"

Languages: English, French, Spanish

Subtitles: Spanish, French

Sound: Dolby

Summary: When the Hulk gets angry, his movie gets good, so you wish he'd get angry more often. Accepting this challenge after the triumphant "Crouching Tiger, Hidden Dragon", director Ang Lee has created an ambitious film, based on the Marvel comic created by Stan Lee and Jack Kirby, that succeeds as a cautionary tale about mad science and traumatized children coping with legacies of pain. That's the Hulk's problem: After accidental exposure to gamma radiation, scientist Bruce Banner (Eric Bana) turns into the huge, green, and indestructible Hulk when provoked, and repressed childhood memories fuel his fury. Hobbled by the obligatory "origin story" (to acquaint neophytes with the character's Jekyll-and-Hyde-ish fate), there's room for little else in a sluggish film that struggles to reconcile Lee's stylistic flair (evident in his visual interpretation of comic-book technique) with the razzle-dazzle of a megabudget franchise. What's good is good (Jennifer Connelly essentially echoes her role from "A Beautiful Mind", and Nick Nolte is righteously tormented as Banner's father), but the movie's schizoid intentions remain largely unclear. "--Jeff Shannon"

Languages: English, Spanish

Subtitles: English, Spanish

Sound: AC-3

Summary: A whole new world of hurt! He was a monster, impossible to control, too dangerous to ignore. So Earth’s mightiest heroes exiled him into outer space. But now THE INCREDIBLE HULK crash-lands on the distant planet SAKAAR, ruled by the tyrannical RED KING. Sold into slavery, the Hulk becomes the planet’s mightiest gladiator—but his new masters get more than they bargained for when he forges a bond of brotherhood with his fellow fighters: crafty insectoid Miek, ruthless rock-man Korg, ex-shadow pirest Hiroim, and the noble-born rebel Elloe. Unlike Earth, the desperate people of Sakaar believe a monster is just what they need. But will the Hulk be the one to save their world…or destroy it?

Languages: English, Spanish

Subtitles: English, Spanish

Sound: AC-3

Summary: Marvel Animated Features premieres two all new action-packed films together on one release - "Hulk vs. Wolverine" and "Hulk vs.Thor". "Hulk vs Wolverine": Alberta, Canada. The Incredible Hulk has been tearing a line across the Canadian countryside, leaving a swath of destruction in his wake. He has to be stopped, and there's only one man up to the job. He's the best there is at what he does, but what he does isn't very nice. He's Wolverine, an elite agent of Canada's top secret Department H, and he's been put on Hulk's trail with a single objective: stop the green goliath...at all costs. Hulk and Wolverine are about to enter the fiercest battle of their lives. "Hulk vs. Thor": Asgard, realm of the gods. For ages, Loki the trickster has sought a way to bring defeat to his accursed stepbrother, Thor. But for all the battles Thor has fought, in all the nine realms, only one creature has ever been able to match his strength - a mortal beast of Midgard known as The Incredible Hulk. Now, with Odin, the almighty king of the gods, deep in a regenerative sleep, and the forces protecting Asgard at their weakest, Loki is finally ready to spring his trap. In an epic battle that will pit gods against monsters, that will test a hero's limits more than ever before, only The Mighty Thor can hope to prevail.

Languages: English

Subtitles: English

Sound: English Dolby Digital 5.1

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

Languages: English, French

Subtitles: English, Spanish

Sound: Dolby

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

Summary:

Languages: English, French

Sound: Dolby

Summary: In his direction of "The Hurricane", veteran filmmaker Norman Jewison understands that slavish loyalty to factual detail is no guarantee of compelling screen biography. In telling the story of boxer Rubin "Hurricane" Carter--who was wrongly convicted of murder in 1967 and spent nearly two decades in jail--Jewison and his screenwriters compress time, combine characters, and rearrange events with a nonchalance that would be galling if they didn't remain honest to the core truth of Carter's ordeal. Because of that emotional integrity--and because Denzel Washington brings total conviction to his title role--"The Hurricane" rises above the confines of biographical fidelity to embrace higher values of courage, compassion, and ultimate justice.
Jewison is woefully heavy-handed in his treatment of the fictionalized, absurdly villainous detective (Dan Hedaya) who zealously plots to keep Carter in jail, and anyone familiar with Carter's story may object to the film's simplified account. But what matters here is the shining star of hope that is Lesra (Vicellous Reon Shannon), the Brooklyn teenager who rejuvenates Carter's legal battle in the early 1980s. This surrogate father-son relationship is what revives Carter's hope for family and future, and makes "The Hurricane" so engrossing and emotionally effective. Lesra's real-life Canadian mentors are compressed from nine characters to three, but their efforts are superbly dramatized, and Jewison hits the small but important grace notes that make a good film even better. By its final scenes, "The Hurricane" conveys the rich, rewarding satisfaction of surviving a difficult but valuable journey of mind, body, and soul. "--Jeff Shannon"

Languages: English, Spanish

Subtitles: English, Spanish

Sound: AC-3

Summary: The making of honest action movies has become so rare that Kathryn Bigelow's magnificent "The Hurt Locker" was shown mostly in art cinemas rather than multiplexes. That's fine; the picture is a work of art. But it also delivers more kinetic excitement, more breath-bating suspense, more putting-you-right-there in the danger zone than all the brain-dead, visually incoherent wrecking derbies hogging mall screens. Partly it's a matter of subject. The movie focuses on an Explosive Ordnance Disposal team, the guys whose more or less daily job is to disarm the homemade bombs that have accounted for most U.S. casualties in Iraq. But even more, the film's extraordinary tension derives from the precision and intelligence of Bigelow's direction. She gets every sweaty detail and tactical nuance in the close-up confrontation of man and bomb, while keeping us alert to the volatile wraparound reality of an ineluctably foreign environment--hot streets and blank-walled buildings full of onlookers, some merely curious and some hostile, perhaps thumbing a cellphone that could become a trigger. This is exemplary moviemaking. You don't need CGI, just a human eye, and the imagination to realize that, say, the sight of dust and scale popped off a derelict car by an explosion half a block away delivers more shock value than a pixelated fireball.
The setting may be Iraq in 2004, but it could just as well be Thermopylae; "The Hurt Locker" is no "Iraq War movie." Bigelow and screenwriter Mark Boal--who did time as a journalist embed with an EOD unit--align themselves with neither supporters nor opponents of the U.S. involvement. There's no politics here. War is just the job the characters in the movie do. One in particular, the supremely resourceful staff sergeant played by Jeremy Renner, is addicted to the almost nonstop adrenaline rush and the opportunity to express his esoteric, life-on-the-edge genius. The hurt locker of the title is a box he keeps under his bunk, filled with bomb parts and other signatory memorabilia of "things that could have killed me." That none of it has killed him so far is no real consolation. In this movie, you never know who's going to go and when; even high-profile talent (we won't name names here) is no guarantee. But one thing can be guaranteed, and that is that almost every sequence in the movie becomes a riveting, often fiercely enigmatic set piece. This is Kathryn Bigelow's best film since 1987's "Near Dark". It could also be the best film of 2009. "--Richard T. Jameson"