Mark Wahlberg stars in the inspiring true story of a down-and-out 30-year-old bartender who overcomes overwhelming odds to reach his dream in the National Football League. Experience all the action and excitement through the wonder of Blu-ray's revolutionary new format. Vince Papale never played a game of college football in his life, but with a never-say-die attitude, this scrappy underdog helped his hometown team rediscover their winning spirit and rallied an entire city when they needed it most. "You'll stand up and cheer," raves MAXIM. Now, witness every play in astonishing 1080p, and feel each bone-crushing hit in 5.1 48 kHz, 16-bit uncompressed audio. Enjoy INVINCIBLE like never before — with a pristine high definition picture and theater quality sound.

Peter Parker (Tobey Maguire) finally has the girl of his dreams, Mary Jane Watson (Kirsten Dunst), and New York City is in the throes of Spider-mania! But when a strange alien symbiote turns Spider-Man¿s suit black, his darkest demons come to light changing Spider-Man inside as well as out. Spider-Man is in for the fight of his life against a lethal mix of villains - the deadly Sandman (Thomas Haden Church), Venom (Topher Grace), and the New Goblin (James Franco) - as well as the enemy within himself.

Robert Neville is a brilliant scientist, but even he could not contain the terrible virus that was unstoppable, incurable, and man-made. Somehow immune, Neville is now the last human survivor in what is left of New York City and maybe the world. For three years, Neville has faithfully sent out daily radio messages, desperate to find any other survivors who might be out there. But he is not alone. Mutant victims of the plague — The Infected — lurk in the shadows... watching Neville's every move... waiting for him to make a fatal mistake. Perhaps mankind's last, best hope, Neville is driven by only one remaining mission: to find a way to reverse the effects of the virus using his own immune blood. But he knows he is outnumbered... and quickly running out of time.

Suit up for action with Robert Downey Jr. in the ultimate adventure movie you’ve been waiting for, Iron Man! When jet-setting genius-industrialist Tony Stark is captured in enemy territory, he builds a high-tech suit of armor to escape. Now, he’s on a mission to save the world as a hero who’s built, not born, to be unlike any other. Co-starring Gwyneth Paltrow, Terrence Howard and Jeff Bridges, it’s a fantastic, high-flying journey that is "hugely entertaining" (Joe Morgenstern, The Wall Street Journal).

A FRUSTRATED OFFICE WORKER LEARNS THAT HE IS THE SON OF A PROFESSIONAL ASSASSIN, AND THAT HE SHARES HIS FATHER'S SUPERHUMAN KILLING ABILITIES.

Afro Samurai (Academy Award ® nominee Samuel L. Jackson) avenged his father and found a life of peace. But the legendary master is forced back into the game by a beautiful and deadly woman from his past. The sparks of violence dropped along Afro’s bloody path now burn out of control – and nowhere are the flames of hatred more intense than in the eyes of Sio (Lucy Liu: Kill Bill). She won’t quit until Afro is schooled in the brutal lessons he dealt those who stood in his way.  There’s no such thing as final vengeance. The cycle of bloodshed spinning around the Number One Headband must roll on. Featuring the voice of Mark Hamill (Star Wars) and fresh production from The RZA (Wu-Tang Clan), the saga that began in the best-selling anime DVD of 2007 continues in AFRO SAMURAI: RESURRECTION.

The Director's Cut and Blu-ray features: A limited edition art book featuring forwards from the RZA, Bob Okazaki (creator) and Fuminori Kizaki (director) as well as never before seen images from the anime and the original manga.Over an hour of exclusive behind the scene featurettes including the making of the anime, the making of the video game, interviews with the cast and crew, RZA in the studio, commentary from the creators and much more!

Stills from Afro Samurai: Resurrection (Click for larger image)

Paul W.S. Anderson No description available for this title.
Item Type: BLU-RAY DVD Movie
Item Rating: UN
Street Date: 12/21/08
Wide Screen: yes
Director Cut: no
Special Edition: no
Language: ENGLISH
Foreign Film: noSubtitles: no
Dubbed: no
Full Frame: no
Re-Release: no
Packaging: Sleeve

Peter Berg Academy Award® nominee Will Smith (Best Actor, The Pursuit of Happyness, 2006) stars in this action-packed comedy as Hancock, a sarcastic, hard-living and misunderstood superhero who has fallen out of favor with the public. When Hancock grudgingly agrees to an extreme makeover from idealistic publicist Ray Embrey (Jason Bateman, Juno), his life and reputation rise from the ashes and all seems right again—until he meets a woman (2003 Academy Award® winner Charlize Theron, Best Actress, Monster) with similar powers to his and the key to his secret past.

Christopher Cain The year is 1878, Lincoln County. John Tunstall, a British ranchowner, hires six rebellious boys as "regulators" to protect his ranch against the ruthless Santa Fe Ring. When Tunstall is killed in an ambush, the Regulators, led by the wild-tempered Billy the Kid (Estevez), declare war on the Ring. As their vendetta turns into a bloody rampage, they are branded outlaws, becoming the objects of the largest manhunt in Western history.

Douglas Cohen As the Earth grapples with the effects of global warming, science has increasingly looked to outer space for answers to the glaring threats facing our world. Are there other planets in the Universe with the unique ability to support life—or is there truly no place like home? HISTORY ventures into the uncharted territory of outer space through the visions, studies, and predictions of scientists and explorers, utilizing cutting-edge computer graphics and stunning footage to bring the universe down to Earth.

Now available on Blu-Ray DVD for the first time, HISTORY presents all 13 visually arresting, awe-inspiring episodes from THE UNIVERSE: THE COMPLETE SEASON ONE plus the feature-length documentary Beyond the Big Bang . From the planets to the stars to the edge of the known universe, history and science collide in this epic exploration of space and its limitless potential.

DISC 1: Secrets of the Sun / Mars: The Red Planet / The End of the Earth: Deep Space Threats To Our Planet / Jupiter: The Giant Planet / The Moon
DISC 2: Spaceship Earth / The Inner Planets: Mercury & Venus / Saturn: Lord of the Rings / Alien Galaxies / Life and Death of a Star
DISC 3: The Outer Planets / The Most Dangerous Place in the Universe / Search for ET / Beyond the Big Bang (2hr)

David Fincher “I was born under unusual circumstances.” And so begins The Curious Case of Benjamin Button, adapted from the 1920s story by F. Scott Fitzgerald about a man who is born in his eighties and ages backwards: a man, like any of us, who is unable to stop time. We follow his story, set in New Orleans, from the end of World War I in 1918 into the 21st century, following his journey that is as unusual as any man’s life can be. Directed by David Fincher and starring Brad Pitt and Cate Blanchett with Taraji P. Henson, Tilda Swinton, Jason Flemyng, Elias Koteas and Julia Ormond, “Benjamin Button,” is a grand tale of a not-so-ordinary man and the people and places he discovers along the way, the loves he finds, the joys of life and the sadness of death, and what lasts beyond time.

Ricky Gervais, Matthew Robinson Studio: Warner Home Video Release Date: 01/19/2010

Spike Jonze "Let the wild rumpus start!" Nine-year-old Max runs away from home and sails across the sea to become king of the land Where the Wild Things Are. King Max rules a wondrous realm of gigantic fuzzy monsters—but being king may not be as carefree as it looks! Filmmaker Spike Jonze directs a magical, visually astonishing film version of Maurice Sendak's celebrated children's classic, starring an amazing cast of screen veterans and featuring young Max Records in a fierce and sensitive performance as Max. Explore the joyous, complicated and wildly imaginative wild rumpus of the time and place we call childhood.

Allan Kroeker, David Solomon, David Straiton, Dwight H. Little, Elodie Keene From Joss Whedon comes a new groundbreaking show starring Eliza Dushku as Echo, an operative in an underground organization that provides hired personas for various missions.

Disc 1: 230 Minutes
Forced Trailers: Wolverine, Joss Whedon Properties Trailer, I Love You Beth Cooper, Nobel Son, Wrong Turn 3, The KeeperGhostEpisode Commentary with Joss Whedon and Eliza DushkuThe TargetStage FrightGray HourTrue Believer
Disc 2: 230 Minutes
Man on the StreetEpisode Commentary by Joss WhedonEchoesNeedsA Spy in the HouseHaunted
Disc 3: 229 Minutes
Briar RoseOmegaEpitaph OneEpisode Commentary by Jed Whedon and Maurissa TancharoenOriginal Unaired Pilot - "Echo"Commentary w/ Cast & CrewDeleted ScenesMaking DollhouseComing Back HomeFinding EchoDesigning the Perfect DollhouseA Private Engagement

Lisa Lassek, Joss Whedon Genre: Action/Adventure
Rating: PG13
Release Date: 30-DEC-2008
Media Type: Blu-Ray

Louis Leterrier Academy Award® nominee Edward Norton stars as scientist Bruce Banner, a man who has been living in shadows, scouring the planet for an antidote to the unbridled force of rage within him: the Hulk. But when the military masterminds who dream of exploiting his powers force him back to civilization, he finds himself coming face to face with his most formidable foe: the Abomination -– a nightmarish beast of pure aggression whose powers match the Hulk’s own!

Doug Liman Widescreen/ Blu-Ray PG 13. Jumper

Adam McKay The fastest man on four wheels, Ricky Bobby (Will Ferrell) is one of the greatest drivers in NASCAR history. A big, hairy American winning machine, Ricky has everything a dimwitted daredevil could want, a luxurious mansion, a smokin' hot wife and all the fast food he can eat. But Ricky's turbo-charged lifestyle hits an unexpected speed bump when he's bested by flamboyant Euro-idiot Jean Girard (Sacha Baron Cohen, TV's "Da Ali G Show") and reduced to a fear-ridden wreck. Losing his wife and job to best bud and fellow fool, Cal Naughton, Jr. (John C. Reilly), Ricky must kick some serious asphalt if he's to get his career back on the track, beat Girard and reclaim his fame and fortune. 'Cause as Ricky Bobby always says, IF YOU AIN'T FIRST, YOU'RE LAST!

Pierre Morel Genre: Action/Adventure
Rating: PG13
Release Date: 12-MAY-2009
Media Type: Blu-Ray

Jonathan Mostow How do you save humanity when the only thing that's real is you? From the director of TERMINATOR 3 comes a jaw-dropping psychological thriller starring the ultimate action hero, Bruce Willis. In the not-so-distant future, where people experience life through perfect surrogates controlled from the safety of their own homes, murder is a thing of the past. But when a college student linked to the creator of these replicants is killed, one FBI agent must re-enter reality and risk his life to unravel the mystery. In the battle of technology versus humanity, who can you trust? Experience every electrifying moment of this mind-blowing movie. Based on the acclaimed graphic novel and exploding with unforgettable action, SURROGATES is nonstop entertainment from start to finish!

Bonus Features include: Exclusive To Blu-ray: Deleted Scenes, Exclusive To Blu-ray: A More Perfect You: The Science Of Surrogates, Exclusive To Blu-ray: Breaking The Frame: A Graphic Novel Comes To Life, I Will Not Bow Music Video By Breaking Benjamin, Feature Audio Commentary By Director Jonathan Mostow

Todd Phillips They planned a Vegas bachelor party that they would never forget. Now they really need to remember what exactly went down! A baby? A tiger? Why is one of them missing a tooth? And most of all, where is the groom?! What the guys did while partying can't compare to what they must do sober in an outrageous caper that has them piecing together all their bad decisions from the night before— one hazy clue at a time. Director Todd Phillips (Old School) and an all-aces comedy cast tie one on... big time!

Zack Snyder The epic graphic novel by Frank Miller (Sin City) assaults the screen with the blood, thunder and awe of its ferocious visual style faithfully recreated in an intense blend of live-action and CGI animation. Retelling the ancient Battle of Thermopylae, it depicts the titanic clash in which King Leonidas (Gerard Butler) and 300 Spartans fought to the death against Xerxes (Rodrigo Santoro) and his massive Persian army. Experience history at swordpoint. And moviemaking with a cutting edge.

Zack Snyder Studio: Warner Home Video Release Date: 07/21/2009 Run time: 128 minutes Rating: R

Quentin Tarantino Brad Pitt takes no prisoners in Quentin Tarantino’s high-octane WWII revenge fantasy Inglourious Basterds. As war rages in Europe, a Nazi-scalping squad of American soldiers, known to their enemy as “The Basterds,” is on a daring mission to take down the leaders of the Third Reich. Bursting with “action, hair-trigger suspense and a machine-gun spray of killer dialogue” (Peter Travers, Rolling Stone), Inglourious Basterds is “another Tarantino masterpiece” (Jake Hamilton, CBS-TV)!

Fernando Villena, Mark Neveldine, Brian Taylor The critics have not been very kind to Crank: High Voltage. But what do they know? Here’s what this movie has going for it: gratuitous nudity, mindless violence, constant profanity, and a ridiculous storyline. Add to that stereotypes galore (gay, Asian, Latino, the neuropsychiatrically disabled, you name it), strippers with guns, a strike by porn actors (with a cameo appearance by Ron Jeremy), and a guy who refers to his heart as a "strawberry tart," and one can only wonder what’s not to like. In fact, writer-director-producers Mark Neveldine and Brian Taylor’s sequel to 2006’s Crank is an absolute hoot, a non-stop assault of crazy sights and sounds that will leave you breathless and laughing. As the action starts, Jason Statham’s Chev Chelios has not only survived the fall from a helicopter that ended the earlier film, but is now on the operating table, awake and watching as some Chinese villains harvest his "tart" in order to implant it in their aging leader (a wacky turn by David Carradine). Chev quickly dispatches the bad guys, but the fun’s just starting; the mechanical ticker they’ve put inside him needs constant recharging, so as Chev pursues the real organ, he must use whatever’s available (jumper cables, a police taser, a car cigarette lighter, high voltage power lines) to keep the fake one going. Storywise, that’s about it. But it’s plenty, as the filmmakers’ ultra-kinetic style—with its manic edits, cartoony subtitles, and other envelope-stretching effects—and amusing performances by Amy Smart (as Chev’s girlfriend), Dwight Yoakam (as a "doctor" who helps him figure out what’s happening), and others keep things going. No, Crank: High Voltage ain’t exactly Masterpiece Theater, but this is without a doubt one of 2009’s most entertaining films. —Sam Graham

Andy Wachowski, Larry Wachowski SPEED RACER (BR-DVD/DC/GAME/2 DISC/SPECIAL FEATURE

Che-Kirk Wong BIG HIT (BR/WS 1.85 A/PCM 5.1/CH-ENG-PO-SP-KO-TH-S

Winner of 4 Academy Awards, including Best Picture, A Beautiful Mind is directed by Academy Award winner Ron Howard and produced by long-time partner and collaborator, Academy Award winner Brian Grazer. A Beautiful Mind stars Russell Crowe in an astonishing performance as brilliant mathematician John Nash, on the brink of international acclaim when he becomes entangled in a mysterious conspiracy. Now only his devoted wife (Academy Award winner Jennifer Connelly) can help him in this powerful story of courage, passion and triumph.

Black Cobra and Black Cobra II ~Starring Fred Williamson ~ Detective Robert Malone (Fred Williamson) is a maverick cop who deals out his own brand of justice in the action packed Black Cobra! When a photographer witnesses a murder, Malone is assigned to her protection, and with a crazed gang of motorcyclist hot on her trail, Malone is just the man for the job! Black Cobra II Robert Malone is back! This time with a partner (Nicholas Hammond.) While Malone is in the Philippines, his wallet is stolen by a pickpocket. However, as he investigates the theft, he and his new partner begin to unravel an increasingly thicker plot beyond just simple theft. A nonstop action romp, Black Cobra II will keep you thrilled until the credits roll!

Two disc set- two all new workouts!

With sidesplitting dialogue and rampant profanity, Jay and Silent Bob Strike Back reunites Kevin Smith's dynamic duo in supreme lowbrow style. It's the fifth comedy in Smith's celebrated New Jersey "trilogy." Here Quick-Stop potheads Jay (Jason Mewes) and Silent Bob (Smith) wreak vengeance on Hollywood, where Miramax is making a "Bluntman & Chronic" feature inspired by J. and S.B., but without their permission. En route from Jersey to La La Land, Jay and his "hetero life mate" encounter sexy jewel thieves (including the delightful Shannon Elizabeth), a precocious orangutan, a dimwit wildlife marshal (Will Ferrell), and a nonstop parade of in-jokes, harmless (yet controversial) gay jokes, and splendid celebrity cameos. While gently biting the Miramax hand that feeds him, and paying affectionate homage to the Star Wars saga, Smith sheds all inhibitions to give Jay and Silent Bob a stellar sendoff that's nasty, sassy, and undeniably hilarious. —Jeff Shannon

In a fitting follow-up to Rushmore, writer-director Wes Anderson and cowriter-actor Owen Wilson have crafted another comedic masterwork that ripples with inventive, richly emotional substance. Because of the all-star cast, hilarious dialogue, and oddball characters existing in their own, wholly original universe, it's easy to miss the depth and complexity of Anderson's brand of comedy. Here, it revolves around Royal Tenenbaum (Gene Hackman), the errant patriarch of a dysfunctional family of geniuses, including precocious playwright Margot (Gwyneth Paltrow), boyish financier and grieving widower Chas (Ben Stiller), and has-been tennis pro Richie (Luke Wilson). All were raised with supportive detachment by mother Etheline (Anjelica Huston), and all ache profoundly for a togetherness they never really had. The Tenenbaums reconcile somehow, but only after Anderson and Wilson (who costars as a loopy literary celebrity) put them through a compassionate series of quirky confrontations and rekindled affections. Not for every taste, but this is brilliant work from any perspective. —Jeff Shannon

With the smash hit Scream, novice screenwriter Kevin Williamson and veteran horror director Wes Craven (A Nightmare on Elm Street) revived the moldering corpse of the teen horror picture, both creatively and commercially, by playfully acknowledging the exhausted clichés and then turning them inside out. Scream is a postmodern slasher movie, a horror film that cleverly deconstructs horror films, then reassembles the dead tissue, and (like Frankenstein's monster) creates new life. When a serial killer starts hacking up their fellow teens, the media-savvy youngsters of Scream realize that the smartest way of sticking around for the sequel is to avoid the terminal behaviors that inevitably doom supporting players in the movies. They've seen all the movies, and the rules of the genre are like second nature to them. One of the scariest/funniest setups features a kid watching John Carpenter's seminal Halloween on video. As Jamie Lee Curtis is shadowed by Michael Meyers and the kid on the couch yells at her to turn around, Craven reverses his camera and we see that the kid should be taking his own advice. The fresh-faced young cast (including Drew Barrymore, Neve Campbell, Skeet Ulrich, Courtney Cox, and David Arquette) is fun to watch, and their tart dialogue is sprinkled with enough archly self-conscious pop-culture references to make Quentin Tarantino blush. —Jim Emerson

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

This hugely funny action-comedy hit stars big-screen favorites Martin Lawrence (BAD BOYS) and Tim Robbins (HIGH FIDELITY). Advertising executive Nick Beam (Robbins) has completely bottomed out. His career is a mess, his marriage is on the rocks ... and a fast-talking would-be carjacker (Lawrence) has just jumped into his car! So what does he do? Nick throws common sense out the window and turns the tables on his captor! Soon this mismatched pair speeds off on a comical crime spree that includes holdups, high-speed chases, and revenge! Set to a hot hit soundtrack, NOTHING TO LOSE is another wild comedy success from the creator of ACE VENTURA and THE NUTTY PROFESSOR!

With the knockout one-two punch of 1992's Reservoir Dogs and 1994's Pulp Fiction writer-director Quentin Tarantino stunned the filmmaking world, exploding into prominence as a cinematic heavyweight contender. But Pulp Fiction was more than just the follow-up to an impressive first feature, or the winner of the Palme d'Or at Cannes Film Festival, or a script stuffed with the sort of juicy bubblegum dialogue actors just love to chew, or the vehicle that reestablished John Travolta on the A-list, or the relatively low-budget ($8 million) independent showcase for an ultrahip mixture of established marquee names and rising stars from the indie scene (among them Samuel L. Jackson, Uma Thurman, Bruce Willis, Ving Rhames, Harvey Keitel, Christopher Walken, Tim Roth, Amanda Plummer, Julia Sweeney, Kathy Griffin, and Phil Lamar). It was more, even, than an unprecedented $100-million-plus hit for indie distributor Miramax. Pulp Fiction was a sensation. No, it was not the Second Coming (I actually think Reservoir Dogs is a more substantial film; and P.T. Anderson outdid Tarantino in 1997 by making his directorial debut with two even more mature and accomplished pictures, Hard Eight and Boogie Nights). But Pulp Fiction packs so much energy and invention into telling its nonchronologically interwoven short stories (all about temptation, corruption, and redemption amongst modern criminals, large and small) it leaves viewers both exhilarated and exhausted—hearts racing and knuckles white from the ride. (Oh, and the infectious, surf-guitar-based soundtrack is tastier than a Royale with Cheese.) —Jim Emerson

In the first and finest RoboCop movie, director Paul Verhoeven combined near-future science fiction with a keen sense of social satire—not to mention enough high-velocity violence to satisfy even the most voracious bloodlust. In Starship Troopers, Verhoeven and RoboCop cowriter Ed Neumeier take inspired cues from Robert Heinlein's classic sci-fi novel to create a special-effects extravaganza that functions on multiple levels of entertainment. The film might be called "Melrose Place in Space," with its youthful cast of handsome guys and gorgeous women who look like they've been recruited (and in some cases they were) from the cast of Beverly Hills 90210. Viewers might focus on the incredible, graphically intense action sequences (definitely not for children) in which heavily armed forces from Earth go to off-world battle against vast hordes of alien "bugs" bent on planetary conquest. The attacking bugs are marvels of state-of-the-art special-effects technology, and the space battles are nothing short of spectacular. But Starship Troopers is more than a showcase for high-tech hardware and gigantic, flesh-ripping insects. Recalling his childhood in Holland during the Nazi occupation, Verhoeven turns this epic adventure into a scathingly funny satire of fascist propaganda, emphasizing Heinlein's underlying warning against the hazards of military conformity and the sickening realities of war. It's an action-packed joy ride if that's all you're looking for, but Verhoeven has a provocative agenda that makes Starship Troopers as smart as it is exciting. The DVD includes an above-average commentary by the director and Neumeier, several deleted scenes, a behind-the-scenes documentary and promotional featurette, cast bios, production notes, and more. —Jeff Shannon

Fully aware of its status as the sequel to the surprise hit thriller of 1996, this lively follow-up trades freshness for familiarity, playing on our affection for returning characters while obeying—and then subverting—the "rules" of sequels. Once again, movie references are cleverly employed to draw us into the story, which takes place two years after the events of Scream, at a small Ohio college, where the Scream survivors reunite when another series of mysterious killings begins. Capitalizing on the guesswork involving a host of potential suspects, director Wes Craven and screenwriter Kevin Williamson have crafted a thriller that's more of a Scream clone than a genuinely inventive new story. But the shocks are just as effective, and escalating tension leads to a tautly staged climax that's simultaneously logical and giddily over the top. Background information for trivia buffs: to preserve the secrecy of plot twists, copies of the screenplay were heavily guarded during production and restricted to only the most crucial personnel. When an early draft was circulated on the Internet, screenwriter Kevin Williamson did rewrites, and subsequent drafts were printed with red ink on brown paper, eliminating the threat of photocopying. None of the cast members knew who the killer was until the final scenes were filmed! —Jeff Shannon

Hot "Baywatch" babe Carmen Electra made the break from TV to star as the sensuous title character in The Chosen One. A cataclysmic battle between good and evil is waged by a sexy superheroine known as the Chosen One. In Legend of the Raven, a serial killer mysteriously and savagely murders a young Indian woman in rural Los Angeles county, her sister McKenna (Electra) must replace her as the keeper of a sacred and powerful amulet. Reluctantly, McKenna accepts the role of chosen one. McKenna's powers include a thirst for milk and great sexual energy. Playboy Playmate India Allen produces. Available in rated and unrated versions.

THE BLUES BROTHERS REGROUP THEIR BAND, HOPING TO RAISE MONEY TO SAVE AN ORPHANAGE, AND IN THE PROCESS, THEY RUN AMOK IN CHICAGO.CONTAINS: THE STORIES BEHIND THE MAKING OF THE BLUES BROTHERS DOCUMENTARY FEATURING INTERVIEWS WITH DIRECTOR JOHN LANDIS, DAN AYKROUD, THE BLUES BROTHERS BAND AND PRODUCER ROBERT K. WEISS.

Gross-out comedy reached its peak (or nadir, if you will) when this celebration of juvenile crudeness was released in the summer of 1998. There's Something About Mary was a surprise box-office smash at the same time, and it's a much funnier and (dare we say it?) more intelligently conceived comedy, but there's something to be said for a couple of dudes who blissfully embrace bad taste and improper decorum. As they proved with their popular cartoon series South Park, Trey Parker and Matt Stone are shameless purveyors of scatological humor, and no bodily function escapes their baser instinct for gutter-level guffaws. Here they play a couple of guys who are fed up with the hyper-commercialism of professional sports, so they invent "baseketball"—a hybrid of baseball and basketball—and soon find themselves in the middle of a booming national craze. As baseketball leagues thrive, so does the movie's appetite for puerile shock-jokes and disgusting gags. There are some great throwaway lines and a lot of funny cameos by the likes of Bob Costas, Al Michaels, Jenny McCarthy, Robert Stack, Reggie Jackson, and others, but let's face it—a little of this stuff goes a long, long way. If you laugh a lot, you may be suffering (as Parker and Stone clearly do) from an acute case of arrested development. —Jeff Shannon

The latest testosterone-saturated blow-'em-up from producer Jerry Bruckheimer and director Michael Bay (The Rock, Bad Boys) continues Hollywood's millennium-fueled fascination with the destruction of our planet. There's no arguing that the successful duo understands what mainstream American audiences want in their blockbuster movies—loads of loud, eye-popping special effects, rapid- fire pacing, and patriotic flag waving. Bay's protagonists—the eight crude, lewd, oversexed (but lovable, of course) oil drillers summoned to save the world from a Texas-sized meteor hurling toward the earth—are not flawless heroes, but common men with whom all can relate. In this huge Western-in-space soap opera, they're American cowboys turned astronauts. Sci-fi buffs will appreciate Bay's fetishizing of technology, even though it's apparent he doesn't understand it as anything more than flashing lights and shiny gadgets. Smartly, the duo also tries to lure the art-house crowd, raiding the local indie acting stable and populating the film with guys like Steve Buscemi, Billy Bob Thornton, Owen Wilson, and Michael Duncan, all adding needed touches of humor and charisma. When Bay applies his sledgehammer aesthetics to the action portions of the film, it's mindless fun; it's only when Armageddon tackles humanity that it becomes truly offensive. Not since Mississippi Burning have racial and cultural stereotypes been substituted for characters so blatantly—African Americans, Japanese, Chinese, Scottish, Samoans, Muslims, French ... if it's not white and American, Bay simplifies it. Or, make that white male America; the film features only three notable females—four if you count the meteor, who's constantly referred to as a "bitch that needs drillin'," but she's a hell of a lot more developed and unpredictable than the other women characters combined. Sure, Bay's film creates some tension and contains some visceral moments, but if he can't create any redeemable characters outside of those in space, what's the point of saving the planet? —Dave McCoy

Famous Silent Film about a futuristic time and place where what appears on the surface is not the same as what is going on underground!

Taxi Driver is the definitive cinematic portrait of loneliness and alienation manifested as violence. It is as if director Martin Scorsese and screenwriter Paul Schrader had tapped into precisely the same source of psychological inspiration ("I just knew I had to make this film," Scorsese would later say), combined with a perfectly timed post-Watergate expression of personal, political, and societal anxiety. Robert De Niro, as the tortured, ex-Marine cab driver Travis Bickle, made movie history with his chilling performance as one of the most memorably intense and vividly realized characters ever committed to film. Bickle is a self-appointed vigilante who views his urban beat as an intolerable cesspool of blighted humanity. He plays guardian angel for a young prostitute (Jodie Foster), but not without violently devastating consequences. This masterpiece, which is not for all tastes, is sure to horrify some viewers, but few could deny the film's lasting power and importance. —Jeff Shannon

Our racers are back for a second cannonball run - the illegal race that takes place all over the country... Almost every star of the first film is here, along with new ones. Will J.J. McClure (Burt Reynolds) finally be the winner this time?

Stanley Kubrick's The Shining is less an adaptation of Stephen King's bestselling horror novel than a complete reimagining of it from the inside out. In King's book, the Overlook Hotel is a haunted place that takes possession of its off-season caretaker and provokes him to murderous rage against his wife and young son. Kubrick's movie is an existential Road Runner cartoon (his steadicam scurrying through the hotel's labyrinthine hallways), in which the cavernously empty spaces inside the Overlook mirror the emptiness in the soul of the blocked writer, who's settled in for a long winter's hibernation. As many have pointed out, King's protagonist goes mad, but Kubrick's Jack Torrance (Jack Nicholson) is Looney Tunes from the moment we meet him—all arching eyebrows and mischievous grin. (Both Nicholson and Shelley Duvall reach new levels of hysteria in their performances, driven to extremes by the director's fanatical demands for take after take after take.) The Shining is terrifying—but not in the way fans of the novel might expect. When it was redone as a TV miniseries (reportedly because of King's dissatisfaction with the Kubrick film), the famous topiary-animal attack (which was deemed impossible to film in 1980) was there—but the deeper horror was lost. Kubrick's The Shining gets under your skin and chills your bones; it stays with you, inhabits you, haunts you. And there's no place to hide... —Jim Emerson

Despite all the pot-smoking in Idle Hands, the message here seems to be that too many bong hits will take you on a one-way trip to the devil's playground. That's what happens to Anton (Devon Sawa), a wasted teen who's so perpetually zonked on weed that he doesn't notice his parents have been slaughtered by an evil force that then possesses Anton's right hand, taking on a wildly homicidal life of its own after Anton chops it off with a butcher knife. The first victims are Anton's pals Mick (teen-movie stalwart Seth Green), who gets a beer bottle embedded in his skull, and Pnub (Elden Henson), whose head is lopped off by a rotary saw blade, and later reattached with a barbecue fork and duct tape. (Did we mention that Mick and Pnub turn into undead jokesters? It's that kind of movie.) This unoriginal idea is little more than an excuse for gross-out effects and easy one-liners, and then Vivica A. Fox appears as the demon-buster who knows how to kill the hand once and for all. It's fun to a point, and certain to be a popular Halloween hit with its intended teenage audience, but you can't help wishing this movie had tried harder to be something more than a collection of crude and gory gags. —Jeff Shannon

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—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

Before Muhammad Ali, plenty of African American heavyweights boxed, but few did for the game (or for blacks) what Ali did. Ali was bold, outrageous, and controversial. His antics outside of the ring showed an often-hilarious flair for self-promotion, and his conversion to Islam and decision to avoid the Vietnam War only fueled the storm of controversy that surrounded him. The thing about Ali, though, was that he was good enough to get by with it; after all, it's hard to argue with success. In the ring, he showed a sheer prowess and technique that few before or since could approach (the bonus CD-ROM discusses the similarities and contrasts between Ali and the great Joe Louis). Outside the ring, Ali had a sharp mind, good looks, and the strength of his own convictions going for him. This DVD contains footage of Ali's 1964 fight in which he slaughtered Sonny Liston, the 1974 bout where his technique got the better of George Foreman and his fearsome punching power, and the brutal 1975 fight against Joe Frazier (all fights are shown in their entirety). There have been few heavyweight boxers who can compare favorably to Muhammad Ali, and this DVD should be in the collection of all those who consider themselves fans of the sport. —Jerry Renshaw

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

The subversive, super-hip television show Buffy, the Vampire Slayer has changed the bloodsucking genre forever. Hilariously campy and self-aware, the show cleverly sends up every exhausted convention the vampire genre has to offer. It was only a matter of time before someone tried translating the same tone to the big screen (the Buffy film failed miserably before becoming a show). As written by Matthew Bright (Freeway) and directed by Richard Elfman (Forbidden Zone), the silly and seditious Modern Vampires tries a similar tongue-in-cheek approach, flipping the focus instead to the vampires. Sure, it's shameless, it's cheesy, but it's also much more entertaining than, say, the heavy-handed Blade. The filmmakers set the genre piece in Los Angeles, a city cynical and violent enough to allow vampires to roam without much notice. The Hollywood lifestyle has influenced these vampires, though, as they stage elaborate parties where nude humans are kept in cages and carted out for main courses ("Is he Italian? I was wanting Italian tonight!"), as well as feast on the likes of screenwriters, producers, and entertainment lawyers (talk about bloodsuckers). In terms of plot, not much is going on here. A very serious and driven Dr. Frederick Van Helsing (Rod Steiger) arrives in L.A., from Germany, in search of Dallas (Casper Van Dien of Starship Troopers), a vampire who turned his son 20 years ago. Needing a partner, Van Helsing puts out an ad and picks up a Crips gangster member named Time Bomb (Gabriel Casseus), creating perhaps the goofiest vampire-hunting tag team in film history. "Do you believe in vampires?" Van Helsing first asks his young partner. "As long as you're writing the checks, I'll take out anyone," he replies. Steiger is wonderfully over the top (think Donald Pleasance in any of the Halloween sequels), and Elfman fills his vampire cast with other notable charismatic character actors, including Kim Cattrall (Sex and the City), Natasha Gregson Wagner (humorous as a trailer-trash vamp), and Udo Kier. Straight to video doesn't get much better than this. —Dave McCoy

Roman Polanski's brooding film noir exposes the darkest side of the land of sunshine, the Los Angeles of the 1930s, where power is the only currency—and the only real thing worth buying. Jack Nicholson is J.J. Gittes, a private eye in the Chandler mold, who during a routine straying-spouse investigation finds himself drawn deeper and deeper into a jigsaw puzzle of clues and corruption. The glamorous Evelyn Mulwray (a dazzling Faye Dunaway) and her titanic father, Noah Cross (John Huston), are at the black-hole center of this tale of treachery, incest, and political bribery. The crackling, hard-bitten script by Robert Towne won a well-deserved Oscar, and the muted color cinematography makes the goings-on seem both bleak and impossibly vibrant. Polanski himself has a brief, memorable cameo as the thug who tangles with Nicholson's nose. One of the greatest, most completely satisfying crime films of all time. —Anne Hurley

Ever wonder if there was a class system in the world of superheroes? After all the big names like Superman, Batman, Spider-Man, etc., who were the supporting players? The folks assigned to the less-than-stellar gigs of saving only a small part of the world? According to this intermittently successful send-up of comic book heroism, there are indeed masked heroes who struggle and toil for their moment in the super sun. Based on the Dark Horse comic book series, Mystery Men follows the travails of three B-list avengers—Mr. Furious (Ben Stiller), the Shoveler (William H. Macy), and the Blue Raja (Hank Azaria)—as they fight to make themselves known to the citizens of Champion City, quite difficult to do when the flashy Captain Amazing (Greg Kinnear, never better) takes all the cool gigs and has product endorsements up the ying-yang. According to them, it's all a matter of timing—never mind that Mr. Furious never rises above a snit, or that the Blue Raja wears green. Their big break comes when Captain Amazing is abducted by the evil Casanova Frankenstein (Geoffrey Rush), and it's up to this motley crew to save Champion City.

Blessed with a wondrously gifted comic cast and full of droll details, Mystery Men struggles in fits and spurts towards its climax. Transcendently witty in parts, it's also woefully sophomoric in others. Literally, this is the kind of movie in which someone gets off a brilliant line and then sits on a fork. Still, when this movie is rolling, it's gleefully on target, thanks primarily to the mordantly cocky Stiller and Janeane Garofalo as a latecomer to the superhero gang; her secret weapon is a bowling ball in which her dead father's head is encased. The comic chemistry between these two is fierce, and when you add the dryly funny Macy and the endearing Azaria (who finally gets a chance to let loose with his comic gifts), it's a hilarious joyride. Too bad that the gas tank is only half-full; this stunning cast deserves a first-rate vehicle. With Tom Waits as a weapons expert, Claire Forlani as the requisite babe, and Paul Reubens as the Spleen, the world's most flatulent superhero. —Mark Englehart

In Love Stinks, Seth (French Stewart from TV's 3rd Rock from the Sun), a sitcom writer-producer, meets Chelsea (Bridgette Wilson, Billy Madison) at his best friend's wedding. He's immediately smitten by her blonde babeness; she's attracted to his income and single status. For the next 45 minutes she tries to get him to commit though a combination of skimpy outfits and wild mood swings. When she finally realizes he's not going to, she turns into a vengeful harpy and tries to make his life hell. This might be funny if you believe that women are manipulative, money hungry, marriage-fixated psychotics—but maybe not. The standard of wit is best expressed in the line, "Drop the probe and step away from my ass," declared by Seth as he's about to receive an unrequested colonic in a spa. It's always wise to be wary of comedies with a comedy writer as the main character, especially when the movie is written and directed by a comedy writer. Writer-director Jeff Franklin previously made two TV movies starring the Olsen Twins; this may have been his attempt to exorcise some relationship gone awry. Love Stinks also features Bill Bellamy (Love Jones, Def Jam's How to Be a Player) and supermodel Tyra Banks. —Bret Fetzer

"I see dead people," whispers little Cole Sear (Haley Joel Osment), scared to affirm what is to him now a daily occurrence. This peaked 9-year old, already hypersensitive to begin with, is now being haunted by seemingly malevolent spirits. Child psychologist Malcolm Crowe (Bruce Willis) is trying to find out what's triggering Cole's visions, but what appears to be a psychological manifestation turns out to be frighteningly real. It might be enough to scare off a lesser man, but for Malcolm it's personal—several months before, he was accosted and shot by an unhinged patient, who then turned the gun on himself. Since then, Malcolm has been in turmoil—he and his wife (Olivia Williams) are barely speaking, and his life has taken an aimless turn. Having failed his loved ones and himself, he's not about to give up on Cole.

This third feature by M. Night Shyamalan sets itself up as a thriller, poised on the brink of delivering monstrous scares, but gradually evolves into more of a psychological drama with supernatural undertones. Many critics faulted the film for being mawkish and New Age-y, but no matter how you slice it, this is one mightily effective piece of filmmaking. The bare bones of the story are basic enough, but the moody atmosphere created by Shyamalan and cinematographer Tak Fujimoto made this one of the creepiest pictures of 1999, forsaking excessive gore for a sinisterly simple feeling of chilly otherworldliness. Willis is in his strong, silent type mode here, and gives the film wholly over to Osment, whose crumpled face and big eyes convey a child too wise for his years; his scenes with his mother (Toni Collette) are small, heartbreaking marvels. And even if you figure out the film's surprise ending, it packs an amazingly emotional wallop when it comes, and will have you racing to watch the movie again with a new perspective. You may be able to shake off the sentimentality of The Sixth Sense, but its craftsmanship and atmosphere will stay with you for days. —Mark Englehart

When Brandon Teena, a young man with an infectious, aw-shucks grin and an angelic face that's all angles, wanders into Falls City, Nebraska, he takes to the town like it's a second skin. In little time he's fallen in with a gang of goofy if temperamental redneck boys, found himself a girlfriend, and befriended enough people to form something of a small family. In fact, it's the best time Brandon's ever had. However, there are shadows looming over Brandon's life: a court date for grand theft auto, a checkered criminal record, and a seemingly innocuous speeding ticket that could prove to be his undoing. Why? Because as it turns out, Brandon Teena is actually Teena Brandon, a woman masquerading as a man.

This fascinating story was based on real-life events (as documented in The Brandon Teena Story) that occurred in 1993 and ended in tragedy: Brandon's rape and murder by two of his supposed friends. Despite this horrible outcome, however, in the hands of director Kimberly Peirce (who cowrote the unfettered screenplay with Andy Bienen), Brandon's story becomes not oppressive or preachy, but rather oddly and touchingly transcendent, anchored by Hilary Swank's phenomenal, unsentimental performance. Swank inhabits Brandon's contradictions and passions with a natural vitality most actresses would refuse to give themselves over to. Brandon's deception is doomed from the start, but Swank's enthusiasm is infectious, and when Brandon starts romancing the sloe-eyed Lana (a pitch-perfect Chloë Sevigny), he finds a soul mate who wants to transcend boundaries and fated identities as much as he does. The last part of the film, when Brandon's true identity is discovered, is truly painful to watch, but in between the agony there are touching moments of sweetness between Brandon and Lana, who wrestles with the truth of who Brandon actually is. You'll come away from Boys Don't Cry with affection and respect for Brandon, not pity. —Mark Englehart

While too many movies suffer the fate of creative bankruptcy, Being John Malkovich is a refreshing study in contrast, so bracingly original that you'll want to send director Spike Jonze and screenwriter Charlie Kaufman a thank-you note for restoring your faith in the enchantment of film. Even if it ultimately serves little purpose beyond the thrill of comedic invention, this demented romance is gloriously entertaining, spilling over with ideas that tickle the brain and even touch the heart. That's to be expected in a movie that dares to ponder the existential dilemma of a forlorn puppeteer (John Cusack) who discovers a metaphysical portal into the brain of actor John Malkovich.

The puppeteer's working as a file clerk on the seventh-and-a-half floor of a Manhattan office building; this idea alone might serve as the comedic basis for an entire film, but Jonze and Kaufman are just getting started. Add a devious coworker (Catherine Keener), Cusack's dowdy wife (a barely recognizable Cameron Diaz), and a business scheme to capitalize on the thrill of being John Malkovich, and you've got a movie that just gets crazier as it plays by its own outrageous rules. Malkovich himself is the film's pièce de résistance, riffing on his own persona with obvious delight and—when he enters his own brain via the portal—appearing with multiple versions of himself in a tour-de-force use of digital trickery. Does it add up to much? Not really. But for 112 liberating minutes, Being John Malkovich is a wild place to visit. —Jeff Shannon

Writer-director Kevin Smith (Clerks) makes a huge leap in sophistication with this strong story about a comic-book artist (Ben Affleck) who falls in love with a lesbian (Joey Lauren Adams) and actually gets his wish that she love him, too. Their relationship is attacked, however, by his business partner (Jason Lee), who pulls a very unsubtle Iago act to cast doubt over the whole affair. The film has the same sense of insiderness as Clerks—this time, Smith takes us within the arcane, funny world of comic-book cultism—but the themes of jealousy, deceit, and the high price of growing up enough to truly care for someone make this a very satisfying movie. —Tom Keogh

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

At first, this behind-the-scenes documentary about professional wrestling seems as if it will be an unabashed fan's whitewash of the increasingly bizarre and popular world of "sports entertainment," as it is known. But director Barry Blaustein (a Saturday Night Live veteran who has cowritten many of Eddie Murphy's films) goes much deeper than you'd expect in a film that is at once entertaining and disturbing. By focusing on a trio of wrestlers who give him surprising access, Blaustein uncovers human stories that can be wrenching in their stark honesty. That's particularly true of one-time superstar Jake "the Snake" Roberts, whose career has fallen on hard times because of a crack habit; Roberts brings Blaustein along for his first encounter in several years with his grown, estranged daughter. Blaustein also goes into the lives of Terry Funk and Mick "Mankind" Foley in ways that are both revealing and, at times, upsetting. More than just a fan's appreciation, this is that rare documentary that shows you sides of a familiar subject you never knew existed. —Marshall Fine

A sleeper hit when released in 1986, Stand by Me is based on Stephen King's novella "The Body" (from the book Different Seasons); but it's more about the joys and pains of boyhood friendship than a morbid fascination with corpses. It's about four boys ages 12 and 13 (Wil Wheaton, River Phoenix, Corey Feldman, Jerry O'Connell) who take an overnight hike through the woods near their Oregon town to find the body of a boy who's been missing for days. Their journey includes a variety of scary adventures (including a ferocious junkyard dog, a swamp full of leeches, and a treacherous leap from a train trestle), but it's also a time for personal revelations, quiet interludes, and the raucous comradeship of best friends. Set in the 1950s, the movie indulges an overabundance of anachronistic profanity and a kind of idealistic, golden-toned nostalgia (it's told in flashback as a story written by Wheaton's character as an adult, played by Richard Dreyfuss). But it's delightfully entertaining from start to finish, thanks to the rapport among its young cast members and the timeless, universal themes of friendship, family, and the building of character and self-esteem. Kiefer Sutherland makes a memorable teenage villain, and look closely for John Cusack in a flashback scene as Wheaton's now-deceased and dearly missed brother. A genuine crowd-pleaser, this heartfelt movie led director Rob Reiner to even greater success with his next film, The Princess Bride. —Jeff Shannon

Ever spend eight hours in a "Productivity Bin"? Ever had worries about layoffs? Ever had the urge to demolish a temperamental printer or fax machine? Ever had to endure a smarmy, condescending boss? Then Office Space should hit pretty close to home for you. Peter (Ron Livingston) spends the day doing stupefyingly dull computer work in a cubicle. He goes home to an apartment sparsely furnished by IKEA and Target, then starts for a maddening commute to work again in the morning. His coworkers in the cube farm are an annoying lot, his boss is a snide, patronizing jerk, and his days are consumed with tedium. In desperation, he turns to career hypnotherapy, but when his hypno-induced relaxation takes hold, there's no shutting it off. Layoffs are in the air at his corporation, and with two coworkers (both of whom are slated for the chute) he devises a scheme to skim funds from company accounts. The scheme soon snowballs, however, throwing the three into a panic until the unexpected happens and saves the day. Director Mike Judge has come up with a spot-on look at work in corporate America circa 1999. With well-drawn characters and situations instantly familiar to the white-collar milieu, he captures the joylessness of many a cube denizen's work life to a T. Jennifer Aniston plays Peter's love interest, a waitress at Chotchkie's, a generic beer-and-burger joint à la Chili's, and Diedrich Bader (The Drew Carey Show) has a minor but hilarious turn as Peter's mustached, long-haired, drywall-installin' neighbor. —Jerry Renshaw

Any Given Sunday, Oliver Stone's salute-cum-exposé of pro football, belabors some pretty obvious points for nigh onto three hours; but between the frenetic editing, the pounding rap-music beats, and several flashy performances, it's certainly never dull. Al Pacino, coach of the fictional Miami Sharks (the NFL declined involvement in this production), struggles with the most time-honored of sports movie dilemmas: what to do with the old friend who's past his prime and the young hotshot who could save the franchise but first has to learn what being a team player is all about. Comedian Jamie Foxx does a marvelous dramatic turn as the rookie quarterback whose ego and talent are equally impressive, while Pacino seems more at ease in Oliver Stone Land than any actor since regular James Woods (on hand as well as a sleazy team doctor). Prowling the sidelines, shouting spittle-flecked orders, seizing up in almost physical pain when a play goes the wrong way, Pacino is as unashamedly—and entertainingly—hyperbolic as Stone's whirling montages of boiling storm clouds, bloodthirsty fans, and players smashed into the mud. (Once again football, perhaps the most sophisticated of team sports, is viewed cinematically as a bunch of guys hitting each other in slow motion.) Unfortunately, all the self-conscious mythologizing and pumped-up macho posturing that Stone can muster doesn't conceal a clichéd, slapped-together script, whose few good ideas (mostly about race in America) jostle about with several hoary, terrible ones—including a too-literal analogy of football players as modern gladiators. (To drive the point home, Stone includes Charlton Heston—the aging Ben-Hur—in one of many star-powered cameos.) All in all, Any Given Sunday is never dull, but never very enjoyable, either. —Bruce Reid

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

From its first gliding aerial shot of a generic suburban street, American Beauty moves with a mesmerizing confidence and acuity epitomized by Kevin Spacey's calm narration. Spacey is Lester Burnham, a harried Everyman whose midlife awakening is the spine of the story, and his very first lines hook us with their teasing fatalism—like Sunset Boulevard's Joe Gillis, Burnham tells us his story from beyond the grave.

It's an audacious start for a film that justifies that audacity. Weaving social satire, domestic tragedy, and whodunit into a single package, Alan Ball's first theatrical script dares to blur generic lines and keep us off balance, winking seamlessly from dark, scabrous comedy to deeply moving drama. The Burnham family joins the cinematic short list of great dysfunctional American families, as Lester is pitted against his manic, materialistic realtor wife, Carolyn (Annette Bening, making the most of a mostly unsympathetic role) and his sullen, contemptuous teenaged daughter, Jane (Thora Birch, utterly convincing in her edgy balance of self-absorption and wistful longing). Into their lives come two catalytic outsiders. A young cheerleader (Mena Suvari) jolts Lester into a sexual epiphany that blooms into a second adolescence. And an eerily calm young neighbor (Wes Bentley) transforms both Lester and Jane with his canny influence.

Credit another big-screen newcomer, English theatrical director Sam Mendes, with expertly juggling these potentially disjunctive elements into a superb ensemble piece that achieves a stylized pace without lapsing into transparent self-indulgence. Mendes has shrewdly insured his success with a solid crew of stage veterans, yet he's also made an inspired discovery in Bentley, whose Ricky Fitts becomes a fulcrum for both plot and theme. Cinematographer Conrad Hall's sumptuous visual design further elevates the film, infusing the beige interiors of the Burnhams' lives with vivid bursts of deep crimson, the color of roses—and of blood. —Sam Sutherland

Writer-director Amy Heckerling has a way with teen comedies, from Fast Times at Ridgemont High to Clueless and now Loser. She manages to take the clichés of life in school and spin them into cinematic gold. Part of her secret is that she genuinely seems to respect all of her characters, even the unsavory ones. In Loser, Paul Tannek (Jason Biggs from American Pie) is a farm-town boy who's gotten himself a scholarship to a fancy Manhattan college. He's worried that he's not going to fit in with the sophisticated city crowd. Well, he's right to worry. He doesn't fit in, which his three dorm-mates are quick to remind him. The only person he can talk to is Dora (Mena Suvari from American Beauty), a cocktail waitress-student who's having an affair with a pretentious lit teacher (Greg Kinnear).

Biggs is great in this movie, the perfect straight man, setting up jokes that wouldn't work without his reactions to them. In fact, the whole movie is so well-cast—Suvari is charming, Kinnear is entertainingly smug, the three dorm-mates are fun to dislike—that the actors, working in tandem with Heckerling, give a life to characters that in less talented hands would have been revealed as over-determined and exaggerated. Pardon the blurb, but it's true: Loser is a winner.—Andy Spletzer

Road Trip is a mostly agreeable, by-the-numbers teen flick with a handful of inspired sequences, most of them involving MTV's resident disturbed soul, Tom Green. It concerns a sleepy University of Ithaca student named Josh (Breckin Meyer) who accidentally mails a video of his sexual encounter with an infatuation (Amy Smart) to his longtime girlfriend (Rachel Blanchard), who's seemingly avoiding him while at school in Austin, Texas. Naturally, he recruits some buddies—Seann William Scott as the lech, D.J. Qualls as the hopeless nerd, and Paulo Costanzo as the doper genius—to hit the open highway and intercept the package. Even more naturally, mayhem ensues: A car explodes, a bus is stolen, a nerd is deflowered, French toast is horribly violated, and an elderly man bogarts both pot and Viagra.

The film's humor is more democratic than politically correct, as everyone—women and minority characters, not just the hipster white guys—have a hand in the high jinks. Green plays Barry Manilow (no, not that one), a professional student (eight years and counting)—he relates the film's story to skeptical prospective students while leading them on a tour of the college—and thrill-seeking dork extraordinaire. In particular, in an already justly famous sequence of scenes, he sadistically anticipates and endeavors to accelerate a mouse's demise at the jaws of a python. It's very much in the vein of American Pie, perhaps a smidgen tamer, but at least its characters don't really learn any dopey lessons in the end. Director and coscreenwriter Todd Phillips, who earlier made the much-questioned documentary Frat House, again proves he's more adept at staging fictional comic sequences than real ones. —David Kronke

"I learned more about the way the world really works from my nine months on the academic decathlon team than most people will learn in a lifetime," ruminates Jolie Fitch (Jena Malone) in the coda of Cheaters, John Stockwell's dramatization of the 1995 Steinmetz school scandal. Fitch is the team leader of the crumbling inner-city school's first "academic decathlon" squad, a group of hard-working kids hopelessly outclassed by the perennial champions from a lavishly funded model school for the gifted and the rich. When a Steinmetz student discovers the question sheet for the upcoming finals, the issue isn't whether to cheat, but how. Stockwell discards easy moralizing and empty platitudes for an ambiguous perspective framed by questions of privilege and prejudice. Jeff Daniels, so long the cinema's hapless nice guy, is excellent as the tireless teacher, a well-meaning idealist who struggles with his inner demons through the ordeal. Malone is refreshing as a street-wise class brain whose ambition drives the team on. Their guilt is the focus of a predatory media scandal, but it's the hypocrisy of the system and the double standards of the gatekeepers that Stockwell takes to task in his compelling drama. Some might call it cynical, but Cheaters is too sharp and smart for such an easy label. Better to call it disillusioned. —Sean Axmaker

From Keenen Ivory Wayans, the man who brought us Jim Carrey (initially just one of the bunch on Wayans's television comedy-sketch show, In Living Color), comes I'm Gonna Git You Sucka (1988), a comedy spoof on the blaxploitation films of the 1970s. Wayans plays Jack Spade, an army private just returning from the service. He comes home to find his younger brother June Bug dead of a overdose of gold chains (an "O.G.") He vows revenge, and with the help of some of the neighborhood's old school heroes including Flyguy (Antonio Fargas), Kung Fu Joe (Steve James), Hammer (Isaac Hayes), Slammer (football star Jim Brown), and John Slade (Bernie Casey), Spade wages a war against Mr. Big, the neighborhood crime lord.

In the tradition of Airplane! and Naked Gun, I'm Gonna Git You Sucka pokes fun through satire and offensive comedy. The film also features some of the players that would end up on In Living Color and has appearances from such varied actors as Clarence Williams III, Eve Plumb (better known to most as Jan Brady), and Chris Rock as a rib-joint customer. —Shannon Gee

Spike Lee's follow-up to his unlikely hit She's Gotta Have It was this ambitious—some would say too ambitious—attempt at a musical about college life. But Lee, ever the provocateur, doesn't settle for a simple college comedy. Rather, he wants to make a point about the social divisions within all-black colleges: between the socializers and the socially conscious, and between light and dark-skinned blacks. Laurence Fishburne plays a politically aware student trying to bring his fellow students together; Giancarlo Esposito plays the fraternity boss who constantly seeks to insert a wedge between the haves and have-nots. Lee himself plays a pawn in the middle, a would-be frat boy undergoing a wicked Hell Week as a pledge. The story doesn't pull together and the musical numbers—more spoof than anything else—only serve to fragment it. While it offers interesting points, it never does so in a particularly cohesive way. —Marshall Fine

Sunny, happy Torrance (Kirsten Dunst) is the new leader of the Toros, the cheerleading squad of Rancho Carne, an affluent San Diego high school that has lousy football players but one hell of a cheerleading team. National champions, they're the ones who bring in the bodies to the football games with their award-winning moves and sassy grace, and they're poised to take their sixth national cheer title. Torrance's new reign as cheer queen, though, is cut short when she discovers that her snotty, duplicitous forerunner was regularly stealing routines from the East Compton Clovers, the hip-hop influenced cheerleaders of a poor inner city school, and passing them off as the original work of the Toros. Scrambling to come up with a new routine for the Toros—and do the right thing by giving the Clovers their due—Torrance butts heads with the proud and understandably wary Isis (Gabrielle Union), the leader of the Clovers, who wants nothing to do with a rich blond white girl, but does want to get her squad to the championships. Problem is, only one team can take home the national title. Who's it gonna be?

An unexpected box-office hit in the late summer of 2000, Bring It On is a smart, snappy teen comedy that bristles with good cheer (literally) and lively, down-to-earth characters. The story may be fairly predictable (who's going to win the big championship?), but director Peyton Reed and screenwriter Jessica Bendinger have fleshed out their characters with formidable strength and provided them with sharp dialogue. Dunst is a radiant comedian, projecting warmth, determination, sincerity, and a sublime airheadedness, and Union is an impressive dancer and counterpart to Dunst, matching her admirably despite her limited onscreen time. An excellent young supporting cast rounds out the film, most notably Eliza Dushku (Faith of Buffy the Vampire Slayer) and Jesse Bradford (Steven Soderbergh's King of the Hill) as siblings new to Rancho Carne, who become Torrance's best friend and potential new boyfriend, respectively. All in all, a pleasantly surprising and intelligent teen movie. Don't miss the opening sequence, a hilarious send-up of all those high school cheerleading routines you had to sit through at boring pep rallies. —Mark Englehart

There's a reason you haven't heard of this straight-to-video "sequel" to the seamy teen romp that had Ryan Phillippe baring his polished behind: it's twice as bad as the first one and is only worth a look to see just how embarrassingly buttless it can get. Writer-director Roger Kumble's original was no classic, Lord knows, but at least the game, nubile cast knew how to smack its lips—his follow-up (which, in tamer form, was to be the pilot for a proposed series called Manchester Prep) can't even pout properly. Phillippe's Sebastian character (here played by a bland, doughy Robin Dunne) is carted back out to be reintroduced to scheming stepsister Kathryn, enacted by a woefully unsexy Amy Adams (Sarah Michelle Gellar played Sebastian's ripe cousin in the first film). The two don't hit it off, and Sebastian—far more sentimental than his big-screen counterpart—immediately decides he's all for love, in the form of pristine deb Danielle (Sarah Thompson). It all amounts to a ponderously cartoonish nothing, including a twist ending that renders everything proceeding it completely incomprehensible. Kumble has the film spouting homilies on love and self-esteem, then randomly throws in bare breasts; it's like a horny Saved by the Bell, without the kick or pacing of good camp. —Steve Wiecking

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

Like The Gumball Rally (1976) before it, former stuntman Hal Needham's The Cannonball Run was inspired by the same real-life cross-country road race. If The Gumball Rally was the critical favorite, The Cannonball Run was the box-office favorite (spawning the almost-as-successful sequel, Cannonball Run II, a few years later). Aside from top-billed stars Burt Reynolds and Dom DeLuise (stars of Needham's Smokey and the Bandit series) plus Dean Martin and Sammy Davis Jr. (as horny priests), the movie features many of the same actors (Bert Convy, Jamie Farr) that could be found on a typical '80s episode of The Love Boat (along with the same caliber of writing). But as the tagline notes, "You'll never guess who wins"—and it's true. As in most road-race movies, it's the journey that counts, not the destination. This particular journey includes cool cars (like Adrienne Barbeau's black Lamborghini), crazed bikers (led by Peter "Easy Rider" Fonda), hot martial arts action (from Jackie Chan as a Japanese racecar driver), a conspicuously braless Farrah Fawcett (recipient of a Golden Raspberry nomination for her performance), and possibly the most egregious use of product placement featured in a movie up until that time (one vehicle has "GMC Trucks" noted prominently along the top of the windshield, another has "Hawaiian Tropic" painted on the hood). As with many of the films Jackie Chan has made for Golden Harvest, the Hong Kong-based production company behind The Cannonball Run, wacky outtakes are included during the closing credits. —Kathleen C. Fennessy

Kevin Smith is a conundrum of a filmmaker: he's a writer with brilliant, clever ideas who can't set up a simple shot to save his life. It was fine back when Smith was making low-budget films like Clerks and Chasing Amy, both of which had an amiable, grungy feel to them, but now that he's a rising director who's attracting top talent and tackling bigger themes, it might behoove him to polish his filmmaking. That's the main problem with Dogma—it—it's an ambitious, funny, aggressively intelligent film about modern-day religion, but while Smith's writing has matured significantly (anyone who thinks he's not topnotch should take a look at Chasing Amy), his direction hasn't. It's too bad, because Dogma is ripe for near-classic status in its theological satire, which is hardly as blasphemous as the protests that greeted the movie would lead you to believe.

Two banished angels (Ben Affleck and Matt Damon) have discovered a loophole that would allow them back into heaven; problem is, they'd destroy civilization in the process by proving God fallible. It's up to Bethany (Linda Fiorentino), a lapsed Catholic who works in an abortion clinic, to save the day, with some help from two so-called prophets (Smith and Jason Mewes, as their perennial characters Jay and Silent Bob), the heretofore unknown 13th apostle (Chris Rock), and a sexy, heavenly muse (the sublime Salma Hayek, who almost single-handedly steals the film). In some ways Dogma is a shaggy dog of a road movie—which hits a comic peak when Affleck and Fiorentino banter drunkenly on a train to New Jersey, not realizing they're mortal enemies—and segues into a comedy-action flick as the vengeful angels (who have a taste for blood) try to make their way into heaven. Smith's cast is exceptional—with Fiorentino lending a sardonic gravity to the proceedings, and Jason Lee smirking evilly as the horned devil Azrael—and the film shuffles good-naturedly to its climax (featuring Alanis Morissette as a beatifically silent God), but it just looks so unrelentingly... subpar. Credit Smith with being a daring writer but a less-than-stellar director. —Mark Englehart

When Unbreakable was released, Bruce Willis confirmed that the film was the first in a proposed trilogy. Viewed in that context, this is a tantalizing and audaciously low-key thriller, with a plot that twists in several intriguing and unexpected directions. Standing alone, however, this somber, deliberately paced film requires patient leaps of faith—not altogether surprising, since this is writer-director M. Night Shyamalan's daring follow-up to The Sixth Sense. While just as assured as that earlier, phenomenal hit, Unbreakable is the work of a filmmaker whose skill exceeds his maturity, its confident style serving a story that borders on juvenile. However, Shyamalan's basic premise—that comic books are the primary conduit of modern mythology—is handled with substantial relevance.

Willis plays a Philadelphia security guard whose marriage is on the verge of failing when he becomes the sole, unscathed survivor of a devastating train wreck. When prompted by a mysterious, brittle-boned connoisseur of comic books (Samuel L. Jackson), he realizes that he's been free of illness and injury his entire life, lending credence to Jackson's theory that superheroes—and villains—exist in reality, and that Willis himself possesses extraordinary powers. Shyamalan presents these revelations with matter-of-fact gravity, and he draws performances (including those of Robin Wright Penn and Spencer Treat Clark, as Willis's wife and son) that are uniformly superb. The film's climactic revelation may strike some as ultimately silly and trivial, but if you're on Shyamalan's wavelength, the entire film will assume a greater degree of success and achievement. —Jeff Shannon

Darren (Jason Biggs of American Pie) is convinced that he'll never know love, since his one true love moved away during high school. To cheer him up, Darren's best friends Wayne (Steve Zahn, Out of Sight, That Thing You Do) and J.D. (Jack Black, High Fidelity) hook him up with Judith (Amanda Peet, The Whole Nine Yards)—little suspecting that Judith will tear their friendship apart. Judith wastes no time in taking over Darren's life, exiling his friends, and burning his beloved Neil Diamond records. If only Wayne and J.D. can bring Darren back together with his high school sweetheart (Amanda Detmer), who's about to become a nun. Saving Silverman is unquestionably of the There's Something About Mary school of comedy, throwing together absurd characters and over-the-top gags (for example, a scene of Darren getting butt implants, per Judith's orders). It doesn't quite balance everything, but Black and Zahn are engaging comic talents. Also featuring R. Lee Ermey as the boy's deranged high school football coach, whose advice continues to guide their lives, as well as a surprise appearance by Neil Diamond himself. —Bret Fetzer

"Remember what Joseph Pilates said," instructor Ana Caban says. "'You will feel better in 10 sessions, look better in 20 sessions, and have a completely new body in 30 sessions.'" Pilates has become very popular and for good reason. By working the core muscles (the abdominal and back muscles in the center of your body) you improve strength and posture and develop a lean, long line.

Certified Pilates instructor Ana Caban is a splendid teacher. First she demonstrates alignment and technique for 10 minutes, explaining the cue words you will hear and how to do the basics, emphasizing how to use the core muscles to strengthen the abdominals and back throughout the workout. Then she introduces a challenging 20-minute series of Pilates moves, instructing clearly, demonstrating beautifully, and continuing to advise you about technique, breathing, and form.

Even though this is a beginning Pilates workout, Pilates is never easy, so these moves will feel extremely difficult if you're new to this kind of exercise. For example, you learn to hold your abs tight whatever move you're doing, and you move only the muscles you're working at the moment, using your stabilizing muscles to hold the rest of the body still (much harder than it sounds!). Another participant demonstrates modifications throughout in case Caban's moves are too difficult or your muscles fatigue. If you've been wanting to explore Pilates and you're willing to put in the effort and concentration, this video gets our top rating. —Joan Price

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

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

Imagine if an actor's director like Eric Rohmer—whose films consist almost entirely of conversation between pairs or small groups of people—made a film that incorporated elements from movies like Dark City, eXistenZ, The Thirteenth Floor, The Truman Show, and Total Recall. The result might resemble Alejandro Amenabar's remarkable second feature, Open Your Eyes, which favors ideas over effects and offers twist upon twist with mind-warping agility. This film rewards multiple viewings, pushing the viewer toward one perception of reality, then switching to another until reality itself is called into question. Melodrama, love story, and psychological thriller combine with a dash of science fiction, forming a plot that is both disorienting and deceptively precise.

Set in Madrid, the story defies description, but this much can be revealed: young, handsome Cesar (Eduardo Noriega) is vain, rich, charming, and—following a botched suicide-murder scheme by a jilted lover—horribly disfigured. He'd fallen in love with Sofia (Penélope Cruz) but is now an embittered husk of his former self, stuck in a "psychiatric penitentiary" on a murder charge and hiding behind an expressionless mask. His reality has crumbled, but as the film's agenda is gradually revealed, we realize that there are other factors in play. Exposing that agenda would be a criminal offense against those who haven't seen the film; suffice it to say that Open Your Eyes takes you into the twilight zone and beyond, and does so cleverly enough to prompt Tom Cruise to produce and star in an English-language remake, Vanilla Sky. The 2001 remake, directed by Cameron Crowe, costars Cameron Diaz and Penélope Cruz, who reprises her original role. —Jeff Shannon

Guy Pearce (L.A. Confidential) and Joe Pantoliano (The Matrix) shine in this absolute stunner of a movie. Memento combines a bold, mind-bending script with compelling action and virtuoso performances. Pearce plays Leonard Shelby, hunting down the man who raped and murdered his wife. The problem is that "the incident" that robbed Leonard of his wife also stole his ability to make new memories. Unable to retain a location, a face, or a new clue on his own, Leonard continues his search with the help of notes, Polaroids, and even homemade tattoos for vital information.

Because of his condition, Leonard essentially lives his life in short, present-tense segments, with no clear idea of what's just happened to him. That's where Memento gets really interesting; the story begins at the end, and the movie jumps backward in 10-minute segments. The suspense of the movie lies not in discovering what happens, but in finding out why it happened. Amazingly, the movie achieves edge-of-your-seat excitement even as it moves backward in time, and it keeps the mind hopping as cause and effect are pieced together.

Pearce captures Leonard perfectly, conveying both the tragic romance of his quest and his wry humor in dealing with his condition. He is bolstered by several excellent supporting players, and the movie is all but stolen from him by Pantoliano, who delivers an amazing performance as Teddy, the guy who may or may not be on his side. Memento has an intriguing structure and even meditations on the nature of perception and meaning of life if you go looking for them, but it also functions just as well as a completely absorbing thriller. It's rare to find a movie this exciting with so much intelligence behind it. —Ali Davis

Featuring a blowzy, winningly inept size-12 heroine, Bridget Jones's Diary is a fetching adaptation of Helen Fielding's runaway bestseller, grittier than Ally McBeal but sweeter than Sex and the City. The normally sylphlike Renée Zellweger (Nurse Betty, Me, Myself and Irene) wolfed pasta to gain poundage to play "singleton" Bridget, a London-based publicist who divides her free time between binge eating in front of the TV, downing Chardonnay with her friends, and updating the diary in which she records her negligible weight fluctuations and romantic misadventures of the year. Things start off badly at Christmas when her mother tries to set her up with seemingly standoffish lawyer Mark Darcy (Colin Firth), whom Bridget accidentally overhears dissing her. Instead she embarks on a disastrous liaison with her raffish boss, Daniel Cleaver (Hugh Grant, infinitely more likeable when he's playing a baddie instead of his patented tongue-tied fops). Eventually, Bridget comes to wonder if she's let her pride prejudice her against the surprisingly attractive Mr. Darcy.

If the plot sounds familiar, that's because Fielding's novel was itself a retelling of Jane Austen's Pride and Prejudice, whose romantic male lead is also named Mr. Darcy. An extra ironic poke in the ribs is added by the casting of Firth, who played Austen's haughty hero in the acclaimed BBC adaptation of Austen's novel. First-time director Sharon Maguire directs with confident comic zest, while Zellweger twinkles charmingly, fearlessly baring her cellulite and pulling off a spot-on English accent. Like Four Weddings and a Funeral and Notting Hill (both of which were written by this film's coscreenwriter, Richard Curtis), Bridget Jones's stock-in-trade is a very English self-deprecating sense of humor, a mild suspicion of Americans (especially if they're thin and successful), and a subtly expressed analysis of thirtysomething fears about growing up and becoming a "smug married." The whole is, as Bridget would say, v. good. —Leslie Felperin

America's Sweethearts is just the kind of romantic froth that makes for pleasant viewing on a lazy, rainy day. While Julia Roberts, John Cusack, and Catherine Zeta-Jones offer high-wattage marquee value, costar and cowriter Billy Crystal reworks Singin' in the Rain for latter-day Hollywood, where estranged superstars Gwen (Zeta-Jones) and Eddie (Cusack) reluctantly promote their latest movie by pretending their messily disputed relationship is still going strong. The studio chief (Stanley Tucci) is desperate for a hit, so he hires a seasoned publicist (Crystal) to orchestrate a press junket that will cast everyone in a profitable light. The catch: The director (Christopher Walken) has abducted his own film in an act of artistic extortion, and Gwen's sister and longtime assistant Kiki (Roberts) is the true object of Eddie's desire.

Chaos ensues at the luxury hotel where the junket is scheduled, and America's Sweethearts pokes easy fun at the cynical machinery that keeps Hollywood running. Quotable quips are delivered in abundance, and while Zeta-Jones is readily convincing as a bitchy narcissist, Roberts effortlessly steals the show with her trademark charms. All of which makes America's Sweethearts lightly entertaining, even though it never rises (like Roberts's earlier Notting Hill) to the level of classic romantic comedy, hampered by a script that too often substitutes easy laughs for ripe satirical invention, flashing a phony grin when it should be baring its fangs. —Jeff Shannon

Opposites attract in this love story for the younger set. Carlos is a straight-laced poor boy working his way toward a better life. Nicole is a rich girl with a wild streak who can't seem to stay out of trouble. Can it be that they're meant for each other? Yes, of course it can. Crazy/Beautiful follows a familiar pattern—the two young lovers come from different worlds, and no one else understands them—but has a few intelligent wrinkles to the standard star-crossed plot. Nicole's dad, for example, actually likes Carlos and worries that Nicole will corrupt him. Kirsten Dunst and Jay Hernandez give assured performances as the young lovers, and the movie's message of tolerance comes across without being preachy. As teen love stories go, you could do far worse. Adults may be left cold by Crazy/Beautiful, but teens—especially those with a dramatic streak—will enjoy this well-intentioned romance. —Ali Davis

Digitally remastered with 49 minutes of previously unseen footage, Apocalypse Now Redux is the reference standard of Francis Coppola's 1979 epic. A metaphorical hallucination of the Vietnam War, the film was reconstructed by Coppola and editor Walter Murch to enrich themes and clarify the ending. On that basis Redux is a qualified success, more coherent than the original while inviting the same accusations of directorial excess. The restored "French plantation" sequence adds ghostly resonance to the war's absurdity, and Willard's theft of Colonel Kurtz's beloved surfboard adds welcomed humor to the film's nightmarish upriver journey. An encounter with Playboy Playmates seems superfluous compared to the enhanced interplay between Willard and his ill-fated boat crew, but compensation arrives in the hellish Kurtz compound, where Willard's mission—and the performances of Martin Sheen and Marlon Brando—reach even greater heights of insanity, thus validating Redux as the rightful heir to Coppola's triumphantly rampant ambition. —Jeff Shannon

The Adventures of Buckaroo Banzai: Across the 8th Dimension is one of the most agreeably insane movies ever made. Peter Weller stars as Buckaroo, an acclaimed neurosurgeon, particle physicist, and, of course, rock star. He travels with the Hong Kong Cavaliers, a band of hard-rocking scientists who are also really good dressers. Buckaroo's interdimensional experiments with his Operation Overthruster throw him (and the Earth) straight into the middle of an alien war, and before you know it, he's got just a few hours to save the world. Confused? Hang on, we're only 10 minutes into the movie. Buckaroo Banzai hurls you right into the middle of its comic-book universe and keeps going at a breakneck pace. It's chock-full of overlapping jokes (even as we're trying to make sense of Dr. Lizardo's hospital room, a voice calmly announces that "lithium is no longer available on credit" over the PA system), hilarious throwaway dialogue ("You're like Jerry Lewis: you give me hope to carry on."), and weirdness just for the sheer joy of it ("Why is there a watermelon there?""I'll tell you later."). You'll want to watch it at least twice—there—there's just no way to catch everything the first time around. Ellen Barkin has a terrific time doing a dead-on film noir moll parody as Penny Priddy, and John Lithgow turns in a brilliant manic performance as Dr. Lizardo/John Whorfin. There is no reason not to own this movie unless you are cold and dead inside. Laugh while you can, Monkey Boys. —Ali Davis

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

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

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

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

Adapted from the Dumas classic The Three Musketeers and set in 17th-century France, The Musketeer focuses on young D'Artagnan (Justin Chambers), who revives the musketeers in a campaign against Cardinal Richelieu (Stephen Rea) and his vile henchman Febre (Tim Roth), who killed D'Artagnan's parents 14 years earlier. The heroes must rescue the abducted queen (Catherine Deneuve) and her comely confidante Francesca (Mena Suvari), with the obvious highlight being D'Artagnan and Febre's inevitable showdown, which trades "All for one, and one for all" for ludicrous swordplay on teetering ladders. The film gets a trendy boost from Hong Kong action choreographer Xin Xin Xiong (Time and Tide, Double Team), but the results are decidedly mixed. While director Peter Hyams achieves convincing period atmosphere (lighting by torch and candles, etc.), he's burdened by a lifeless script and a bland leading man. The Musketeer is lightly entertaining, but another viewing of Rob Roy will provide greater satisfaction. —Jeff Shannon

Pandora couldn't resist opening the forbidden box containing all the delusions of mankind, and let's just say David Lynch, in Mulholland Drive, indulges a similar impulse. Employing a familiar film noir atmosphere to unravel, as he coyly puts it, "a love story in the city of dreams," Lynch establishes a foreboding but playful narrative in the film's first half before subsuming all of Los Angeles and its corrupt ambitions into his voyeuristic universe of desire. Identities exchange, amnesia proliferates, and nightmare visions are induced, but not before we've become enthralled by the film's two main characters: the dazed and sullen femme fatale, Rita (Laura Elena Harring), and the pert blonde just-arrived from Ontario (played exquisitely by Naomi Watts) who decides to help Rita regain her memory. Triggered by a rapturous Spanish-language version of Roy Orbison's "Crying," Lynch's best film since Blue Velvet splits glowingly into two equally compelling parts. —Fionn Meade

Ali is a rush of charm, violence, and well-crafted mythmaking sure to enthrall. From the unforgettable surge of the opening—a 10-minute montage of sheer brilliance where formative scenes from the early life of Cassius Clay float along on the rapture of a live performance by Sam Cooke in a Harlem nightclub—through to Muhammad Ali's departure for Zaire to fight George Foreman, Michael Mann's homage is mostly crisp and fleet-footed. As Clay/Ali, Will Smith acquits himself marvelously due in large part to his uncanny re-creation of Ali's most famous weapon, his mesmerizing voice. Indeed, the best scenes throughout showcase Ali's verbal rather than pugilistic sparring; whether with his entourage (notably Jamie Foxx), Howard Cosell (Jon Voight), or Don King (Mykelti Williamson), Michael Mann's Ali has the same authoritative wit and ability to surprise that so disarmed the public. The news conferences and behind-the-scenes banter are exquisitely re-created; not so Ali's flaws. Mann's attempt to depict Ali's womanizing, his dubious affiliation with the Nation of Islam, and his insatiable need for the spotlight seems halfhearted and laborious in comparison to the film's enlivened adoration of its subject. As the sluggish second half of the film betrays, Ali is at its impressionistic best when it's in awe rather than when it explains. —Fionn Meade

The curiosity of Quentin Tarantino's Jackie Brown is Robert Forster's worldly wise bail bondsman Max Cherry, the most alive character in this adaptation of Elmore Leonard's Rum Punch. The Academy Awards saw it the same way, giving Forster the film's only nomination. The film is more "rum" than "punch" and will certainly disappoint those who are looking for Tarantino's trademark style. This movie is a slow, decaffeinated story of six characters glued to a half million dollars brought illegally into the country. The money belongs to Ordell (Samuel L. Jackson), a gunrunner just bright enough to control his universe and do his own dirty work. His just-paroled friend—a loose term with Ordell—Louis (Robert De Niro) is just taking up space and could be interested in the money. However, his loyalties are in question between his old partner and Ordell's doped-up girl (Bridget Fonda). Certainly Fed Ray Nicolette (Michael Keaton) wants to arrest Ordell with the illegal money. The key is the title character, a late-40s-ish flight attendant (Pam Grier) who can pull her own weight and soon has both sides believing she's working for them. The end result is rarely in doubt, and what is left is two hours of Tarantino's expert dialogue as he moves his characters around town.

Tarantino changed the race of Jackie and Ordell, a move that means little except that it allows Tarantino to heap on black culture and language, something he has a gift and passion for. He said this film is for an older audience although the language and drug use may put them off. The film is not a salute to Grier's blaxploitation films beyond the musical score. Unexpectedly the most fascinating scenes are between Grier and Forster: two neo-stars glowing in the limelight of their first major Hollywood film after decades of work. —Doug Thomas

In a futile but ambitiously decadent attempt to revive the loony legacy of National Lampoon comedies, Van Wilder will make you laugh out loud, or vomit, or both. It's that kind of movie, in which the title character (played by sitcom survivor Ryan Reynolds) is the resident slacker of Coolidge College for seven years and running. Enjoying his party-animal supremacy and reluctant to fulfill his potential, he's got an idolizing assistant from India (Kal Penn, the movie's ethnic stereotype, desperate virgin, and comedic highlight), and a journalism major (Tara Reid) assigned to uncover the secret of Van's controlled anarchy. Unfortunately, the movie's more Down to You than Animal House, opting for familiar teen romance over campus shenanigans, despite an abundance of flatulence, diarrhea, sicko sex jokes, gratuitous nudity, and one gag (involving a bulldog) that's disgusting by any standard. Keg-fueled frat-rats will surely elevate Van Wilder to semiclassic status; all others are urged to proceed with caution. —Jeff Shannon

Quentin Tarantino came out of nowhere (i.e., a video store in Manhattan Beach, California) and turned Hollywood on its ear in 1992 with his explosive first feature, Reservoir Dogs. Like Tarantino's mainstream breakthrough Pulp Fiction, Reservoir Dogs has an unconventional structure, cleverly shuffling back and forth in time to reveal details about the characters, experienced criminals who know next to nothing about each other. Joe (Lawrence Tierney) has assembled them to pull off a simple heist, and has gruffly assigned them color-coded aliases (Mr. Orange, Mr. Pink, Mr. White) to conceal their identities from being known even to each other. But something has gone wrong, and the plan has blown up in their faces. One by one, the surviving robbers find their way back to their prearranged warehouse hideout. There, they try to piece together the chronology of this bloody fiasco—and to identify the traitor among them who tipped off the police. Pressure mounts, blood flows, accusations and bullets fly. In the combustible atmosphere these men are forced to confront life-and-death questions of trust, loyalty, professionalism, deception, and betrayal. As many critics have observed, it is a movie about "honor among thieves" (just as Pulp Fiction is about redemption, and Jackie Brown is about survival). Along with everything else, the movie provides a showcase for a terrific ensemble of actors: Harvey Keitel, Tim Roth, Steve Buscemi, Michael Madsen, Christopher Penn, and Tarantino himself, offering a fervent dissection of Madonna's "Like a Virgin" over breakfast. Reservoir Dogs is violent (though the violence is implied rather than explicit), clever, gabby, harrowing, funny, suspenseful, and even—in the end—unexpectedly moving. (Don't forget that "Super Sounds of the Seventies" soundtrack, either.) Reservoir Dogs deserves just as much acclaim and attention as its follow-up, Pulp Fiction, would receive two years later. —Jim Emerson

Blessed by casual charm and sophisticated wit, Kissing Jessica Stein does for same-sex romance what Annie Hall did for straight neurotics. The influence of Woody Allen is keenly felt on this resourceful New York comedy (expanded from an off-Broadway play), especially when cowriter and costar Jennifer Westfeldt channels Diane Keaton's "la-di-da" nervousness as Jessica Stein, a romantically frustrated heterosexual copyeditor who impulsively answers a personal ad from a bisexual woman. Helen (cowriter Heather Juergensen) is as relaxed about lesbian love as Jessica is anxious, but they click as lovers, and so does the movie's delightful exploration of their budding relationship, which is further complicated by Jessica's yenta-like mother (Tovah Feldshuh) and a former boyfriend (Scott Cohen) who's now Jessica's boss. While acknowledging the serious repercussions of Jessica's bisexual flirtation, Kissing Jessica Stein takes its characters on a smart, compassionate journey of self-discovery that's as truthfully observant as it is gently entertaining. —Jeff Shannon

From its gritty documentary look to its signature note-knocking "tching-tching" that signals scene changes, Law & Order was a groundbreaking cop show when it debuted in 1990. It has since earned Emmys for Best Dramatic Series and spun off satellite franchises, and reruns of the original series are as omnipresent in syndication as those of I Love Lucy. Devoted fans and those who came late to the series can catch it from the beginning with this six-disc set that contains all 22 episodes from the inaugural season.

Law & Order is television's most resilient series. It has survived wholesale changes to its ensemble. One of the secrets of the show's durability: its compelling structure. The first half of each hour-long episode is classic police procedural in which "Law," personified in the first season by partners Greevey (George Dzundza—and be sure to catch the interview segment with series creator Dick Wolfe to learn how to pronounce his name) and Mike Logan (Christopher Noth, the future "Mr. Big" on Sex and the City) investigate a crime and make an arrest. The second half chronicles the ensuing trial, as prosecuted by assistant district attorneys Ben Stone (Michael Moriarty) and Paul Robinette (Richard Brooks) under the supervision of Steven Hill's Adam Schiff (more feisty and animated here than in later seasons).

Law & Order is also distinguished by its superb writing. Several episodes take their inspiration from the headlines, including "By Hooker, By Crook" about a socialite-run call-girl ring, and "Indifference," which recalls the tragic Lisa Steinberg child abuse case. Others deal with such hot-button issues as abortion ("Life Choice") and AIDS ("The Reaper's Helper"). Another plus is the talent pool of character actors who lend their verisimilitude. Guest stars include Samuel L. Jackson and Philip Seymour Hoffman ("The Violence of Summer"), The West Wing's John Spencer ("Prescription for Death"), Sex and the City's Cynthia Nixon ("Subterranean Homeboy Blues"), and The Sopranos' Dominic Chianese ("Sonata for Stolen Organ"). —Donald Liebenson

Set in the chillingly possible future of 2054, Steven Spielberg's Minority Report is arguably the most intelligently provocative sci-fi thriller since Blade Runner. Like Ridley Scott's "future noir" classic, Spielberg's gritty vision was freely adapted from a story by Philip K. Dick, with its central premise of "Precrime" law enforcement, totally reliant on three isolated human "precogs" capable (due to drug-related mutation) of envisioning murders before they're committed. As Precrime's confident captain, Tom Cruise preempts these killings like a true action hero, only to run for his life when he is himself implicated in one of the precogs' visions. Inspired by the brainstorming of expert futurists, Spielberg packs this paranoid chase with potential conspirators (Max Von Sydow, Colin Farrell), domestic tragedy, and a heartbreaking precog pawn (Samantha Morton), while Cruise's performance gains depth and substance with each passing scene. Making judicious use of astonishing special effects, Minority Report brilliantly extrapolates a future that's utterly convincing, and too close for comfort. —Jeff Shannon

An anthropologist from an alien planet provides voice-over commentary for a documentary look at human courtship mating & reproduction. Studio: Sony Pictures Home Ent Release Date: 05/27/2008 Starring: David Hyde Pierce Carmen Electra Run time: 90 minutes Rating: R Director: Jeff Abugov

This B movie with noble aspirations is the work of a gifted filmmaker whose storytelling falls short of his considerable stylistic flair. While addressing crises of faith in the framework of an alien-invasion thriller, M. Night Shyamalan (in his follow-up to The Sixth Sense and Unbreakable) favors atmospheric tension over explanatory plotting. He injects subtle humor into expertly spooky scenes, but the story suffers from too many lapses in logic. The film's faults are greatly compensated by the performance of Mel Gibson as a widower whose own crisis of faith coincides with the appearance of mysterious crop circles in his Pennsylvania cornfield... and hundreds of UFOs around the globe. With his brother (Joaquin Phoenix) and two young children (Rory Culkin, Abigail Breslin), the lapsed minister perceives this phenomenal occurrence as a series of signs and portents, while Shyamalan pursues a spookfest with War of the Worlds overtones. It's effective to a point, but vaguely hollow at its core. —Jeff Shannon

This kinky love story features a standout performance by Maggie Gyllenhaal, an offbeat young actress in her first starring role. Gyllenhaal plays Lee, a nervous girl who compulsively cuts herself, who gets a job as a secretary for Edward, an imperious lawyer (James Spader, an old hand at tales of perverse affection). Edward's reprimands for typos and spelling errors begin with mild humiliation, but as Lee responds to his orders—which are driven as much by his own anxieties and fears as any sense of order—the punishments escalate to spankings, shackles, and more. Secretary walks a fine line. It finds sly humor in these sadomasochistic doings without turning them into a gag, and it takes Lee and Edward's mutual desires seriously without getting self-righteous or pompous. Certainly not a movie for everyone, but some people may be unexpectedly stirred up by this smart and steamy tale of repressed passion. —Bret Fetzer

It seems blasphemous to remake Stanley Donen's classic romantic thriller Charade, but The Truth About Charlie achieves its own unique identity. Rather than mimic the inimitable chemistry of the original, director Jonathan Demme takes a vividly contemporary approach, with Mark Wahlberg and Thandie Newton well cast in roles originated by Cary Grant and Audrey Hepburn. The plot's essentially the same, kicking into high gear when Newton—the unwitting courier of a priceless treasure—is chased around Paris by her murdered husband's military cohorts, an avuncular embassy official (Tim Robbins), and a suave stranger (Wahlberg) whose true identity remains elusive. In a film filled with twists and turns, Demme fails to find a consistent tone of humor, romance, and danger. But he's crafted a peculiar Parisian valentine, seasoned with Gallic cameos (singer Charles Aznavour, Anna Karina, director Agnès Varda) and vibrantly alive with music, style, and forward momentum. Charade it's not, but that's not necessarily a complaint. —Jeff Shannon

Brendan Fraser stars in Bedazzled as Elliot, a dweebish office worker who yearns for Alison (played by Frances O'Connor from Mansfield Park), a coworker who barely knows he exists. When he blithely says he'd give his soul for Alison, the Devil appears (Elizabeth Hurley, Austin Powers) and says she'll give him seven wishes in exchange. Elliot is dubious at first, but agrees out of desperation. Unfortunately, his every wish always leaves the Devil a little wiggle room. When he asks to be rich and powerful, the Devil turns him into a drug lord beset on all sides. When he asks to be a successful, well-endowed writer, the Devil adds a male lover to the mix. The setup and situations are clever, though Bedazzled doesn't delve into any real moral or theological questions and has a little less bite than the original it's based on (from 1968, starring Dudley Moore and Peter Cook). But it does provide some better comic substance than Fraser has had in most of his previous roles (George of the Jungle, Encino Man). Fraser demonstrated in Gods and Monsters that he could hold his own dramatically with the likes of Brit thespian Ian McKellen, and he's consistently been a charming presence in movies enjoyable (The Mummy) and not so enjoyable (Dudley Do Right). Bedazzled may not give him any more movie-making clout, but it does give his fans something to enjoy. O'Connor is entirely pleasant in her largely straight role, and Hurley fills out her part by delectably filling out a number of revealing outfits. An enjoyable bit of froth. —Bret Fetzer

Once you've seen Drumline, halftime shows will become works of art. This formulaic yet surprisingly captivating movie honors the military precision of college football marching bands, those battalions of eager, sternly disciplined brass sections, drummers, and fly girls who turn halftime shows into well-oiled Vegas variety acts on steroids. Devon (played by Will Smith protégé Nick Cannon) is a cocky Brooklyn kid with a snare-drumming scholarship to (fictional) Atlanta A&T University. He can't read music (he lied on his application) and his attitude sucks, but he's the best natural drummer the college has ever had, so he quickly rises through the marching band ranks. The school year brings Devon the obligatory girlfriend (Zoë Saldana, smart and charming); clashes with his old-school band director (Orlando Jones); and well-earned redemption at the championship marching band showdown. No surprises here, but great chemistry all around, and a fantastic, positive role-model showcase for a musical form that has evolved far beyond the main street parades of Smalltown, U.S.A. —Jeff Shannon

What is it about the mock documentary and popular music that seem to produce such deliciously subversive comedies? It worked for This Is Spinal Tap and it works again for Fear of a Black Hat, a mockumentary about a hot but hapless rap group. Writer-director Rusty Cundieff plays Ice Cold, leader of the gangsta rap group NWH (Niggaz with Hats), which also includes Tone-Def and Tasty Taste—and which seems to hit all the hot-button issues in rap today. Guns, obscenity, videos, violence—Cundieff has a sly sense of humor and knows how to get to the punch line over and over again. The result is surprisingly funny, an undiscovered gem that somehow slipped through the cracks during its meager theatrical release. —Marshall Fine

Michael Moore's superb documentary (following in the footsteps of Roger & Me and The Big One) tackles a meaty subject: gun control. Moore skillfully lays out arguments surrounding the issue and short-circuits them all, leaving one impossible question: why do Americans kill each other more often than people in any other democratic nation? Moore focuses his quest around the shootings at Columbine High School and the shooting of one 6-year-old by another near his own hometown of Flint, Michigan. By approaching the headquarters of K-Mart (where the Columbine shooters bought their ammo) and going to Charlton Heston's own home, Moore demands accountability from the forces that support unrestricted gun sales in the U.S. His arguments are conducted with the humor and empathy that have made Moore more than just a gadfly; he's become a genuine voice of reason in a world driven by fear and greed. —Bret Fetzer

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

Given the sheer volume and varying quality of his recorded output, not to mention his weird behavior, it's easy to overlook the fact that Prince is one of the great talents of the last quarter century—a fact underlined in earnest by this galvanizing performance. The guy has always had a preternatural ability to channel R&B and rock legends like Sly Stone, Jimi Hendrix, and James Brown (cf. this performance's amazing "Money Don't Matter 2 Night/The Work"); now he's added more sophisticated flavors to the mix as well, ranging from George Benson to Steely Dan and Weather Report, and all without sacrificing his own voice. Add to that covers of the Ohio Players'"Love Rollercoaster" and Led Zeppelin's "Whole Lotta Love" (really), all played by Prince and his smokin', skin tight band, and what you get is one of the best shows of 2002, or any other year. Extraordinary. —Sam Graham

Roger and Me is a loose, smart-alecky documentary directed and narrated by Michael Moore, an everyman host with a devastating wit and a working-class pose. When his hometown is devastated by the plant closure of an American corporate giant (making record profits, one should note), the hell-raising political commentator with a prankster streak tries to turn his camera on General Motors Chairman Roger B. Smith, the elusive Roger of the title, and the film is loosely structured around Moore's odyssey to track down the corporate giant for an interview.

While Moore ambushes his corporate subjects like a blue-collar Geraldo Rivera, a guerrilla interviewer who treasures his comic rebuffs as much as his interviews, his portraits of the colorful characters he meets along the way can be patronizing. The famous come off as absurdly out of touch (Anita Bryant appears for some can-do cheerleading, and hometown celebrity Bob Eubanks tells some boorish jokes), and the disenfranchised poor (notably an unemployed woman who sells rabbit meat to make ends meet) all too often appear as buffoons or hicks. But behind his loose play with the facts and snarky attitude is a devastating look at the victims of downsizing in the midst of the 1980s economic boom. This portrait of Reagan's America and the tarnish on the American dream comes down to a simple question: what is corporate America's responsibility to the country's citizens? That's a question no one at GM wants to answer. —Sean Axmaker

He's the Wild Blue Yonder, and The Tick is back to show why this outlandishly funny TV series should never have been canceled! After proving his mettle in comic books and animated TV, creator Ben Edlund's blue-insect superhero made his auspicious debut on Fox (in November 2001), portrayed in live action (in a buff-muscled rubber suit) by Patrick Warburton, the popular Seinfeld guest star (as "Puddy"), who instantly perfected the role he was born to play. In his appreciative commentary track, co-executive producer (and Men in Black director) Barry Sonnenfeld calls the pilot episode "the best thing I've ever directed," and it's easy to agree: wide-angle lenses, stylized sets, hilarious dialogue, and a comedically gifted cast make the episode (and the entire series) a perfect summation of Sonnenfeld's wacky style. Edlund concurs, observing that The Tick is "something you get or you don't," and the impatient Fox executives obviously didn't get the show's expert blend of absurdity, stupidity, and good-natured irreverence. They axed the series after eight of these nine episodes aired, only proving that The Tick was too hip for their bean-counting mentalities.

In the title role, Warburton (with highly expressive antennae) hits all the right notes of dimwitted innocence and brute-force gallantry, aided immeasurably by his moth-costumed sidekick Arthur (David Burke), wannabe lothario Batmanuel (Nestor Carbonell), and buxom beauty Captain Liberty (Liz Vassey). Attentive to the more mundane aspects of superheroism, The Tick offers outrageous villains (like the nefarious "Destroyo") and eccentric allies (like Ron Perlman's hilarious "Fiery Blaze") while showing that even crimefighters have everyday problems and desires. Brilliantly conceived and executed, The Tick can now be enjoyed by an audience it never had a proper chance to cultivate. —Jeff Shannon

From ei Independent Cinema - creators of Lord of the Strings and Carlito's Angels - comes their most spectacular film yet! SpiderBabe is a non-stop, over- the-top action epic and hilarious spoof featuring sexy superheroes, voluptuous villains and outrageous visual fx! ei Cinema starlet Misty Mundae (Lord of the Strings, Play-mate of the Apes) is Patricia Porker, a shy and studious college girl with sweet dreams of romance with a handsome jock. When bitten by her science teacher's genetically engineered arachnid, she gets more than she could have ever wished for! Suddenly transformed into a wall-climbing, building-bounding beauty with superhuman strength, Patricia takes the name 'SpiderBabe' and quickly warms to saving lives and fighting crime in New York City. But little does SpiderBabe know that a sinister arch-enemy is plotting her downfall. Her name is Lucinda Knoxx, a.k.a. The Femtilian (Julian Wells) - a lithe, deadly and delectable evil genius with her own taste for adventure - and she will stop at nothing in her mad quest for global domination. J.J.J.J., curvaceous editor of The Daily Bungle, also has it in for our world wide web-flinger, and she employs a macho reporter and a gorgeous spy to dig deep and get the dirt on SpiderBabe. As superhero and supervillain come to blows, will it be a climactic battle to save Manhattan…or will SpiderBabe and Femtilian walk off into the sunset together?

As with Star Wars, the George Lucas-produced Indiana Jones trilogy was not just a plaything for kids but an act of nostalgic affection toward a lost phenomenon: the cliffhanging movie serials of the past. Episodic in structure and with fate hanging in the balance about every 10 minutes, the Jones features tapped into Lucas's extremely profitable Star Wars formula of modernizing the look and feel of an old, but popular, story model. Steven Spielberg directed all three films, which are set in the late 1930s and early '40s: the comic book-like Raiders of the Lost Ark, the spooky, Gunga Din-inspired Indiana Jones and the Temple of Doom, and the cautious but entertaining Indiana Jones and the Last Crusade. Fans and critics disagree over the order of preference, some even finding the middle movie nearly repugnant in its violence. (Pro-Temple of Doom people, on the other hand, believe that film to be the most disarmingly creative and emotionally effective of the trio.) One thing's for sure: Harrison Ford's swaggering, two-fisted, self-effacing performance worked like a charm, and the art of cracking bullwhips was probably never quite the iconic activity it soon became after Raiders. Supporting players and costars were very much a part of the series, too—Karen Allen, Sean Connery (as Indie's dad), Kate Capshaw, Ke Huy Quan, Amrish Puri, Denholm Elliot, River Phoenix, and John Rhys-Davies among them. Years have passed since the last film (another is supposedly in the works), but emerging film buffs can have the same fun their predecessors did picking out numerous references to Hollywood classics and B-movies of the past. —Tom Keogh

Scott is always bouncing from one get-rich-quick scheme to the next, while his roommate, Jay, is trying to break into the film business. Every month is a struggle to pay the rent, that is, until Jay lands a job working on an adult film. When Scott realizes how much money can be made, he convinces Jay that they should make an adult film of their own. Casting is the first order of business, and soon there is a revolving door of beautiful women waiting to see them. They are having the time of their lives until a shady film producer decides to eliminate the competition - literally. Maybe easy money isn't so easy after all!

No one goes to a movie directed by Michael Bay for delicacy and grace; you go because Michael Bay (Armageddon, The Rock) knows how to make your bones rattle during a high-speed chase when a car flips over, spins through the air, and smacks another car with a visceral crunch. Bad Boys II fulfills this expectation and then some. Will Smith and Martin Lawrence may be mere puppets amid all this burning rubber and shrieking metal, but they actually provide a human core to the endless cascade of car wrecks and gunfights. Their easy rapport makes their personal problems—a running joke is Lawrence's attempts at anger management—as engaging as the sheer visual hullabaloo of bullets and explosions. The plot is recycled nonsense about drug lords and dead bodies being used to smuggle drugs, but orchestration of violence is symphonic. If that's your thing, then this is for you. —Bret Fetzer

One Night Only (DTS)

Taped as a lavish cable television special in 1997, One Night Only trades on the Bee Gees' shape-shifting career as pop survivors. Over the course of 111 minutes, this straightforward concert, produced at the MGM Grand in Las Vegas and groomed for both video and CD posterity, sprints through 31 songs from their past three decades. Even after the inevitable disco jokes are expended, and the jaundiced viewer contemplates the role hats, hairspray, and comb-overs now play in dressing the once stylishly long-haired troika, the Gibb brothers' signature vocal harmonies and hook-laden song craft beg respect. Casual listeners can't be blamed for equating the Bee Gees with the dance floor bonanza they reaped through 1978's Saturday Night Fever, yet that commercial zenith was actually the culmination of a comeback for a group that had seemed washed up by the early '70s. One Night Only thankfully takes an even-handed view of both their original late '60s hits ("Massachusetts,""To Love Somebody,""Lonely Days"), building from a cannily Beatle-browed vocal sound, and the '70s blue-eyed soul ("Jive Talkin',""Nights on Broadway") that led them naturally into disco. The Fever hits are here, as are Gibb originals that clicked for other acts; the family circle also widens for a posthumous duet with their late brother, Andy Gibb, while Celine Dion gets star billing in the collaborative "Immortality."—Sam Sutherland

This Is Where I Came In: The Official Story of the Bee Gees
There have been a lot of durable family groups in popular music over the years, but it would be hard to name one that has lasted longer, and succeeded as consistently, as the Bee Gees. Barry Gibb and his younger twin brothers, Robin and Maurice, were making TV and radio appearances in Australia as early as 1960 before returning to their native England and joining the Beatles-led British Invasion, and they're still at it more than 40 years later. All of that is duly chronicled in this two-hour documentary (produced in 2000), along with a great deal more: the personal problems that led to a breakup in the early '70s; the unparalleled success of the Saturday Night Fever era; their occasional missteps and failures (e.g., the abominable Sgt. Pepper movie); the rise and tragic fall of brother Andy; the respect their success finally earned them in the '90s; and so on. The format is pretty standard; interviews, photos, home movies, and concert footage all contribute to a straight, chronological telling of the Bee Gees' tale. But no stone is left unturned, and the Gibb Brothers (not to mention everyone else who's interviewed) have plenty to say. Best of all, there's lots of the Bee Gees' music, including a video of the title track of the 2001 album This Is Where I Came In, after which the film is named. In the end, we're left with the impression the Bee Gees would probably want us to have: that these guys have written, recorded, produced, and performed literally hundreds of great songs. —Sam Graham

As with Grease (1978) and Footloose (1984) before it, Dirty Dancing was a cultural phenomenon that now plays more like camp. That very campiness, though, is part of its biggest charm. And if the dancing in the movie doesn't seem particularly "dirty" by today's standards—or 1987's—it does take place in an era (the early '60s) when it would have. Frances "Baby" Houseman (Jennifer Grey, daughter of ageless hoofer Joel Grey) has been vacationing in the Catskills with her family for many years. Uneventfully. One summer, she falls under the sway (as it were) of dance instructor Johnny Castle (Patrick Swayze). Baby is a pampered pup, but Johnny is a man of the world. Baby's father, Jake (Law and Order's Jerry Orbach), can't see the basic decency in greaser Johnny that she can. It should come as no surprise to find that Baby, who can be as immature as her name, learns more about love and life—and dancing—from free-spirited Johnny than traditionalist Jake.

Dirty Dancing spawned two successful soundtracks, a short-lived TV series, and a stage musical. It may be predictable, but Grey and Swayze have chemistry, charisma, and all the right moves. It's a sometimes silly movie with occasionally mind-boggling dialogue——"No one puts Baby in a corner!"—that nonetheless carries an underlying message about tolerance and is filled with the kind of exuberant spirit that's hard for even the most cynical to resist. Not that they'd ever admit it. —Kathleen C. Fennessy

Christina Ricci invigorates an even-more-neurotic-than-usual variation on the classic neurotic woman in this Woody Allen movie. Comedy writer Jerry Falk (Jason Biggs, American Pie) is madly in love with Amanda (Ricci, The Opposite of Sex), even though they haven't had sex in six months. Falk meets an older writer named Dobel (Allen) who becomes a sort of accidental mentor, encouraging him to break free of Amanda and his clinging agent (Danny DeVito). The pace is sluggish, almost every scene feels like an outtake from an earlier, better Woody Allen movie (particularly Annie Hall), Biggs never seems comfortable with his dialogue—only Ricci makes her character her own, giving her own perverse comic spin to the proceedings. About three-fourths of the way through the movie, the story starts to feel fresher and more compelling, but by then it's too late. Also featuring Jimmy Fallon and Stockard Channing. —Bret Fetzer

Guns, guns, guns! And a few explosions as bodies fly through the air and crash into tables and fruit stands. Once Upon a Time in Mexico, like all Robert Rodriguez movies, is all about the kinetic kick of high-velocity action. Johnny Depp, blase and whimsical, plays a CIA agent who's drawn guitar-playing gun-slinger Antonio Banderas (long black hair flopping over his face like the ears of a Labrador puppy) into a ridiculously convoluted plot to overthrow the Mexican government. Along for the ride are a craggy-faced rogue's gallery including Willem Dafoe, Mickey Rourke, Danny Trejo, Ruben Blades, and (to balance things out) the smooth, tantalizing complexions of Eva Mendes and Salma Hayek. For sheer trashy fun, Once Upon a Time in Mexico is a step down from its predecessor, Desperado—but Desperado set the bar pretty high. For coherent storytelling, look elsewhere, but for action razzle-dazzle, this is your movie. —Bret Fetzer

Hideous in their original form, three alien drug smugglers transform into beautiful women on Earth. Their drug is derived from the life essence of men and they’re on a mission to drain every last drop. Packed with eye-popping state-of-the-art special effects, Vampire Vixens from Venus is a funny, sexy sci-fi thriller. Featuring Scream Queen Michelle Bauer (Puppet Master III) and Penthouse pet Leslie Glass.

You have a classic tale full of drama, passion, and adventure. A tale of universal archetypes that speak to everyone. A tale that has remained unfailingly popular for thousands of years. Why not spice it up with a wacky mechanical owl? Such was the thinking behind Clash of the Titans. Maggie Smith, Laurence Olivier, and Harry Hamlin (one of these things is not like the others...) star in a toga-ripper about a valiant hero, capricious immortals, and lots and lots of giant stop-action monsters. Perseus (Hamlin) is the favored son of the god Zeus (Olivier), but he has unwittingly ticked off the sea goddess Thetis (Smith). Just to make things worse, Perseus falls in love with the lovely Princess Andromeda, who used to be engaged to Thetis's son. Soon Perseus is off on one quest after another, with Zeus helping, Thetis hindering, and lots of innocent bystanders getting stabbed, drowned, and squished. Of course, the whole thing is just an excuse to show as much of Ray Harryhausen's stop-motion animation as possible, and good thing too. It's an old technique, but it still looks pretty darn cool, and it means the cast can just relax and do a bunch of reaction shots. Don't use this one to study for that big classical mythology exam, but if you just turn your brain off and enjoy the Kraken, it's pretty good fun. —Ali Davis

"The Bride" (Uma Thurman) gets her satisfaction—and so do we—in Quentin Tarantino's "roaring rampage of revenge,"Kill Bill, Vol. 2. Where Vol. 1 was a hyper-kinetic tribute to the Asian chop-socky grindhouse flicks that have been thoroughly cross-referenced in Tarantino's film-loving brain, Vol. 2—not a sequel, but Part Two of a breathtakingly cinematic epic—is Tarantino's contemporary martial-arts Western, fueled by iconic images, music, and themes lifted from any source that Tarantino holds dear, from the action-packed cheapies of William Witney (one of several filmmakers Tarantino gratefully honors in the closing credits) to the spaghetti epics of Sergio Leone. Tarantino doesn't copy so much as elevate the genres he loves, and the entirety of Kill Bill is clearly the product of a singular artistic vision, even as it careens from one influence to another. Violence erupts with dynamic impact, but unlike Vol. 1, this slower grand finale revels in Tarantino's trademark dialogue and loopy longueurs, reviving the career of David Carradine (who plays Bill for what he is: a snake charmer), and giving Thurman's Bride an outlet for maternal love and well-earned happiness. Has any actress endured so much for the sake of a unique collaboration? As the credits remind us, "The Bride" was jointly created by "Q&U," and she's become an unforgettable heroine in a pair of delirious movie-movies (Vol. 3 awaits, some 15 years hence) that Tarantino fans will study and love for decades to come. —Jeff Shannon

Before Kevin Smith became a Hollywood darling with Chasing Amy, a film he wrote and directed, he made this $27,000 comedy about real-life experiences working for chump change at a New Jersey convenience store. A rude, foul-mouthed collection of anecdotes about the responsibilities that go with being on the wrong side of the till, the film is also a relationship story that takes some hilarious turns once the lovers start revealing their sexual histories to one another. In the best tradition of first-time, ultra-low budget independent films, Smith uses Clerks as an audition piece, demonstrating that he not only can handle two-character comedy but also has an eye for action—as proven in a smoothly handled rooftop hockey scene. Smith himself appears as a silent figure who hangs out on the fringes of the store's property. —Tom Keogh

Filmmaker Morgan Spurlock, rejected five times by the USC film school, won the best director award at the 2004 Sundance Film Festival for this alarmingly personal investigation into the health hazards wreaked by our fast food nation. Under extensive medical supervision, Spurlock subjects himself to a steady diet of McDonald's cuisine for 30 days just to see what happens. In less than a week, his ordinarily fit body and equilibrium undergo dark and ugly changes: Spurlock grows fat, his cholesterol rockets north, his organs take a beating, and he becomes subject to headaches, mood swings, symptoms of addiction, and lessened sexual energy. The gimmick is too obvious to sustain a feature documentary; Spurlock actually spends most of the film probing insidious ways that fast food companies worm their way into school lunchrooms and the hearts of young children who spend hours in McDonald's playrooms. French fries never looked more nauseating. —Tom Keogh

To anyone who truly understands what it means to be an American, Michael Moore's Fahrenheit 9/11 should be seen as a triumph of patriotic freedom. Rarely has the First Amendment been exercised with such fervor and forthrightness of purpose: After subjecting himself to charges of factual errors in his gun-lobby exposé Bowling for Columbine, Moore armed himself with a platoon of reputable fact-checkers, an abundance of indisputable film and video footage, and his own ironically comedic sense of righteous indignation, with the singular intention of toppling the war-ravaged administration of President George W. Bush. It's the Bush presidency that Moore, with his provocative array of facts and figures, blames for corporate corruption, senseless death, unnecessary war, and political favoritism toward Osama Bin Laden's family and Saudi oil partners following the terrorist attacks of September 11, 2001. Moore's incendiary film earned Palme d'Or honors at Cannes and a predictable legion of detractors, but do yourself a favor: Ignore those who condemn the film without seeing it, and let the facts speak for themselves. By honoring American soldiers and the victims of 9/11 while condemning Bush's rationale for war in Iraq, Fahrenheit 9/11 may actually succeed in turning the tides of history. —Jeff Shannon

How's this for impressive trivia: Dodgeball faced off against The Terminal in opening-weekend competition, and 29-year-old writer-director Rawson Marshall Thurber aced Steven Spielberg by a score of $30 to $18.7 in box-office millions. That's no mean feat for a newcomer, but Thurber's lowbrow script and rapid-fire direction—along with a sublime cast of screen comedians—proved to be just what moviegoers were ravenous for: a consistently hilarious, patently formulaic romp in which the underdog owner of Average Joe's Gym (Vince Vaughn) faces foreclosure unless he can raise $50,000 in 30 days. The solution: A dodgeball tournament offering $50K to the winners, in which Vaughn and his nerdy clientele team up against the preening, abhorrently narcissistic owner (Ben Stiller) of Globo Gym, who's threatening a buy-out. That's it for story; any 5-year-old could follow it with brainpower to spare. But Thurber, Vaughn, Stiller, and their well-cast costars (including Stiller's off-screen wife, Christine Taylor) keep the big laughs coming for 96 nonsensical minutes. With spot-on cameos by champion bicyclist Lance Armstrong, David Hasselhoff, Hank Azaria, Chuck Norris, and William Shatner, and a crudely amusing coda for those who watch past the credits, Dodgeball is no masterpiece, but you can bet Spielberg was unexpectedly humbled by its popular appeal. —Jeff Shannon

Even when his trademark twist-ending formula wears worrisomely thin as it does in The Village, M. Night Shyamalan is a true showman who knows how to serve up a spookfest. He's derailed this time by a howler of a "surprise" lifted almost directly from "A Hundred Yards Over the Rim," an episode of The Twilight Zone starring Cliff Robertson that originally aired in 1961. Even if you're unfamiliar with that Rod Serling scenario, you'll have a good chance of guessing the surprise, which ranks well below The Sixth Sense and Signs on Shyamalan's shock-o-meter. That leaves you to appreciate Shyamalan's proven strengths, including a sharp eye for fear-laden compositions, a general sense of unease, delicate handling of fine actors (alas, most of them wasted here, save for Bryce Dallas Howard in a promising debut), and the cautious concealment of his ruse, which in this case involves a 19th-century village that maintains an anxious truce with dreadful creatures that live in the forbidden woods nearby. Will any of this take anyone by genuine surprise? That seems unlikely, since Emperor Shyamalan has clearly lost his clothes in The Village, but it's nice to have him around to scare us, even if he doesn't always succeed. —Jeff Shannon

Hailed by many critics as one of the best films of 1995, this finely tuned black comedy sparked a renewed interest in movies based on books by prolific crime novelist Elmore Leonard, whose trademark combination of tight plotting and sharp humor is perfectly captured here. After the success of Pulp Fiction, John Travolta continued his meteoric comeback as Chili Palmer, a Mob "mechanic" whose latest assignment takes him to Los Angeles, where his fascination with the movie business turns into a new career as a would-be movie producer. He pitches ideas with a sleazy producer (Gene Hackman) and a major star (Danny DeVito), and also finds time to deal with a vengeful Mobster (Dennis Farina) and assorted Hollywood types (including Renee Russo and Delroy Lindo) who all want their piece of a tempting show-biz pie. The plot unfolds with enticing precision, but it's really Elmore's snappy dialogue—and the performances that bring it to life—that make this one of the best comedies of the 1990s. —Jeff Shannon

After creating the last great traditionally animated film of the 20th century, The Iron Giant, filmmaker Brad Bird joined top-drawer studio Pixar to create this exciting, completely entertaining computer-animated film. Bird gives us a family of "supers," a brood of five with special powers desperately trying to fit in with the 9-to-5 suburban lifestyle. Of course, in a more innocent world, Bob and Helen Parr were superheroes, Mr. Incredible and Elastigirl. But blasted lawsuits and public disapproval forced them and other supers to go incognito, making it even tougher for their school-age kids, the shy Violet and the aptly named Dash. When a stranger named Mirage (voiced by Elizabeth Pena) secretly recruits Bob for a potential mission, the old glory days spin in his head, even if his body is a bit too plump for his old super suit.

Bird has his cake and eats it, too. He and the Pixar wizards send up superhero and James Bond movies while delivering a thrilling, supercool action movie that rivals Spider-Man 2 for 2004's best onscreen thrills. While it's just as funny as the previous Pixar films, The Incredibles has a far wider-ranging emotional palette (it's Pixar's first PG film). Bird takes several jabs, including some juicy commentary on domestic life ("It's not graduation, he's moving from the fourth to fifth grade!").

The animated Parrs look and act a bit like the actors portraying them, Craig T. Nelson and Holly Hunter. Samuel L. Jackson and Jason Lee also have a grand old time as, respectively, superhero Frozone and bad guy Syndrome. Nearly stealing the show is Bird himself, voicing the eccentric designer of superhero outfits ("No capes!"), Edna Mode.

Nominated for four Oscars, The Incredibles won for Best Animated Film and, in an unprecedented win for non-live-action films, Sound Editing.

The Presentation
This two-disc set is (shall we say it?), incredible. The digital-to-digital transfer pops off the screen and the 5.1 Dolby sound will knock the socks off most systems. But like any superhero, it has an Achilles heel. This marks the first Pixar release that doesn't include both the widescreen and full-screen versions in the same DVD set, which was a great bargaining chip for those cinephiles who still want a full-frame presentation for other family members. With a 2.39:1 widescreen ratio (that's big black bars, folks, à la Dr. Zhivago), a few more viewers may decide to go with the full-frame presentation. Fortunately, Pixar reformats their full-frame presentation so the action remains in frame.

The Extras
The most-repeated segments will be the two animated shorts. Newly created for this DVD is the hilarious "Jack-Jack Attack," filling the gap in the film during which the Parr baby is left with the talkative babysitter, Kari. "Boundin'," which played in front of the film theatrically, was created by Pixar character designer Bud Luckey. This easygoing take on a dancing sheep gets better with multiple viewings (be sure to watch the featurette on the short).

Brad Bird still sounds like a bit of an outsider in his commentary track, recorded before the movie opened. Pixar captain John Lasseter brought him in to shake things up, to make sure the wildly successful studio would not get complacent. And while Bird is certainly likable, he does not exude Lasseter's teddy-bear persona. As one animator states, "He's like strong coffee; I happen to like strong coffee." Besides a resilient stance to be the best, Bird threw in an amazing number of challenges, most of which go unnoticed unless you delve into the 70 minutes of making-of features plus two commentary tracks (Bird with producer John Walker, the other from a dozen animators). We hear about the numerous sets, why you go to "the Spaniards" if you're dealing with animation physics, costume problems (there's a reason why previous Pixar films dealt with single- or uncostumed characters), and horror stories about all that animated hair. Bird's commentary throws out too many names of the animators even after he warns himself not to do so, but it's a lively enough time. The animator commentary is of greatest interest to those interested in the occupation.

There is a 30-minute segment on deleted scenes with temporary vocals and crude drawings, including a new opening (thankfully dropped). The "secret files" contain a "lost" animated short from the superheroes' glory days. This fake cartoon (Frozone and Mr. Incredible are teamed with a pink bunny) wears thin, but play it with the commentary track by the two superheroes and it's another sharp comedy sketch. There are also NSA "files" on the other superheroes alluded to in the film with dossiers and curiously fun sound bits. "Vowellet" is the only footage about the well-known cast (there aren't even any obligatory shots of the cast recording their lines). Author/cast member Sarah Vowell (NPR's This American Life) talks about her first foray into movie voice-overs—daughter Violet—and the unlikelihood of her being a superhero. The feature is unlike anything we've seen on a Disney or Pixar DVD extra, but who else would consider Abe Lincoln an action figure? —Doug Thomas

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South Park cocreator Trey Parker goes straight for the gross-out humor in this live-action farce set in the adult-movie industry. Parker stars as an innocent Mormon kid who gets sucked into the world of pornographic filmmaking and becomes an international sensation as the porno superhero Orgazmo, all the while hiding his secret life from his milk-fed fiancée. It's practically a one-man show for Parker, who directs, writes, stars, and even performs the self-penned theme song as frontman for his rock band, and perhaps he should have spread the responsibilities a little. As an actor he's surprisingly appealing—his dazed grin and bleached white surfer-dude hair give him an engaging air of innocence (he can also be seen, just as innocently endearing, in the sports farce BASEketball). Paired with longtime crony Dian Bachar, the diminutive actor who plays his superhero sidekick Chodo Boy, they bring a Hardy Boys naiveté to the rude world of mobbed-up producers and jaded adult film stars. But the film is only fitfully funny, with vulgar jokes that are often more disgusting than humorous and clumsy comic timing sabotaging promising scenes. Only rarely does it reach the heights of his hilarious cutout cartoon series, but when he delivers he does so with the carefully cultivated tasteless excess his fans have come to know and love. Matt Stone costars as a clueless photographer and adult film star; Ron Jeremy appears as a gross gangster henchman. —Sean Axmaker

An elite U.S. counter-terrorism squad loses a member while decimating half of Paris in the reckless pursuit of Middle Eastern maniacs; a Broadway actor with a traumatic childhood secret is naturally hired to replace him. Oh—and they're all marionettes. South Park maestros Trey Parker and Matt Stone (along with co-writer Pam Brady) came up with this shameless satire of pea-brained Hollywood action flicks and even smaller-minded global politics, so don't expect subtlety or even a hint of good taste. Team America is soon on the trail of North Korea's evil Kim Jong Il, who treats us to a tender song about his loneliness before ensnaring Alec Baldwin and the rest of the oblivious Film Actors Guild (F.A.G. for short) in a plot to blow up every major city on the planet. Just as the mindless squad cheerfully demolishes everything in sight, so do director Parker and company. Throwing punches Left, Right, and in-between, the movie's politics leave no turn un-stoned; there's even time to bludgeon the musical Rent. It's offensive, irresponsible comic anarchy seemingly made by sniggering little boys. Painfully funny sniggering little boys.—Steve Wiecking

Who's the baddest motherf****r to blow onto blaxploitation screens? Forget Shaft and just ask X-rated comic and "godfather of rap" Rudy Ray Moore. He'll give you the gospel of Dolemite. Street hustler, pimp, and all-around ghetto superhero Dolemite began life as a character in Moore's nightclub act and was a natural character for his self-financed film debut, a revenge tale set on the corrupt streets of L.A.

Dolemite is sprung from prison by an impossibly understanding warden so he can find the drug-dealing, gun-smuggling crooks who framed him. With the help of his all-girl army of kung fu killers and the most flamboyant wardrobe this side of Cher, he lays waste to dozens of bad guys while spouting his funky raps. Thick, slow and sleepy, Moore is neither a natural actor not a convincing martial arts action hero, but his lazy line deliveries are great, lyrical cascades of four-letter words and "ghetto expressions," and he performs two of his most famous stand-up raps, "Shine and the Great Titanic" and "The Signifying Monkey."

Dolemite is not a particularly competent movie—the direction (by costar D'Urville Martin) is clumsy, the performances flat, and microphones peek in from time to time (get that video letterboxed, Xenon!)—but the outrageous mix of nightclub rap, kung-fu action, and Moore's four-letter dialogue turned it into an instant urban hit and has kept it alive as a cult classic. Dolemite returns in The Human Tornado. The DVD also features clips from the documentary The Legend of Dolemite and the complete lyrics to his raps. —Sean Axmaker

TRACK LISTINGS:

1. Super Freak

2. Give It To Me Baby

3. Standing On The Top

4. Ebony Eyes

5. Glow

Brutal and breathtaking, Sin City is Robert Rodriguez's stunningly realized vision of Frank Miller's pulpy comic books. In the first of three separate but loosely related stories, Marv (Mickey Rourke in heavy makeup) tries to track down the killers of a woman who ended up dead in his bed. In the second story, Dwight's (Clive Owen) attempt to defend a woman from a brutal abuser goes horribly wrong, and threatens to destroy the uneasy truce among the police, the mob, and the women of Old Town. Finally, an aging cop on his last day on the job (Bruce Willis) rescues a young girl from a kidnapper, but is himself thrown in jail. Years later, he has a chance to save her again.

Read our interview with Frank Miller.

Based on three of Miller's immensely popular and immensely gritty books (The Hard Goodbye, The Big Fat Kill, and That Yellow Bastard), Sin City is unquestionably the most faithful comic-book-based movie ever made. Each shot looks like a panel from its source material, and director Rodriguez (who refers to it as a "translation" rather than an adaptation) resigned from the Directors Guild so that Miller could share a directing credit. Like the books, it's almost entirely in stark black and white with some occasional bursts of color (a woman's red lips, a villain's yellow face). The backgrounds are entirely digitally generated, yet not self-consciously so, and perfectly capture Miller's gritty cityscape. And though most of Miller's copious nudity is absent, the violence is unrelentingly present. That may be the biggest obstacle to viewers who aren't already fans of the books and who may have been turned off by Kill Bill (whose director, Quentin Tarantino, helmed one scene of Sin City). In addition, it's a bleak, desperate world in which the heroes are killers, corruption rules, and the women are almost all prostitutes or strippers. But Miller's stories are riveting, and the huge cast—which also includes Jessica Alba, Jaime King, Brittany Murphy, Rosario Dawson, Benicio Del Toro, Elijah Wood, Nick Stahl, Michael Clarke Duncan, Devin Aoki, Carla Gugino, and Josh Hartnett—is just about perfect. (Only Bruce Willis and Michael Madsen, while very well-suited to their roles, seem hard to separate from their established screen personas.) In what Rodriguez hopes is the first of a series, Sin City is a spectacular achievement. —David Horiuchi

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X2 does a fine job of picking up where X-Men left off, giving fans more of what they liked the first time around. Under the serious-minded custody of returning director Bryan Singer, the second film of this Marvel comics franchise ups the ante on Professor Xavier (Patrick Stewart) and the superhero mutants from the first film, pitting them against a mutant-hating scientist (Brian Cox) who's determined to wipe out the mutant race by tricking Xavier into abusing his telepathic powers. More a series of spectacles than a truly satisfying thriller, X2 introduces new mutant allies while giving each of the X-Men alumni—notably the temporarily helpful Magneto (Ian McKellen)—their own time in the spotlight. Well aware of the parallels between "mutantism" and virulent intolerance in the real world, Singer lends real gravity to the proceedings, injecting dramatic urgency into a continuing franchise that, in lesser hands, might've grown patently absurd. —Jeff Shannon

Largely wiped out by a hundred years of warfare with the Cylon Empire, the few surviving humans search for the mythical thirteenth colony, Earth.
No Track Information Available
Media Type: DVD
Artist: BATTLESTAR GALACTICA 04
Title: SEASON 1
Street Release Date: 09/20/2005
Domestic
Genre: TELEVISION

Sophomore jinx hit hard in this second film by Kevin Smith, whose debut Clerks transcended the limits of its setting and budget to become something memorably funny. (Smith followed Mallrats with the wonderful Chasing Amy, so Mallrats definitely had the old curse.) A ramshackle comedy set in a mall, the film follows several story lines involving lovers, enemies, friends, goofballs, and Smith's own "silent" character, who also appeared in Clerks and Chasing Amy. A heavy self-consciousness weighs on everything, as if Smith forgot how to make obscenity funny instead of tedious. Still, it's nice to see some of the director's film family on screen, among them Jason Lee and Joey Lauren Adams. —Tom Keogh

The teaming of Johnny Knoxville (Jackass: The Movie) and Seann William Scott (Dude, Where's My Car?) as well as the presence of the '70s-flavored car chases that were a specialty of the TV series guarantees that The Dukes of Hazzard will be even more lowbrow than the CBS TV series (1979-85) that inspired it. However, this brain-damaging comedy is more "rehash" than "remake," as good ol' Georgiaboys Luke Duke (Knoxville) and his cousin Bo (Scott) are frequently upstaged bythe General Lee, the Confederate-flagged '69 Charger that they drive, jump, race, and fly in as they smuggle moonshine for their Uncle Jesse (Willie Nelson). Meanwhile, cousin Daisy Duke (Jessica Simpson) is reliably available to model her short-shorts (aka "Daisy Dukes") and awesome figure (and let's face it, Simpson's talents pretty much begin and end right there), while corrupt honcho Boss Hogg (Burt Reynolds, who should know better) recruits a local NASCAR star to advance his wily scheme of converting Hazzard County into a strip mine. Director Jay Chandrasekhar (Super Troopers) manages to mine some good-natured humor from the movie's oval-track detour and a few colorful supporting players (notably Kevin Hefferman as the Duke's pal Sheev). Otherwise, consider yourself warned: The Dukes of Hazzard is shameless Hollywood product at its most forgettable, trafficking in shameless white, rural Southern stereotypes. If you can make itto the end, there's a blooper reel to reward your endurance. —Jeff Shannon

DVD features
Yes, the unrated edition of The Dukes of Hazzard has nudity... but no, it's not of Jessica Simpson, but topless sorority girls. There are also two sets——"PG-13—"PG-13" and "unrated"—of deleted scenes and bloopers. The four minutes of unrated deleted scenes (supplementing the 25 minutes of "PG-13" deleted scenes) include more sorority girls and a menage à trois for Johnny Knoxville . The five minutes of unrated bloopers (the same amount as the "PG-13" bloopers) feature a few more girls but mostly bad language. Featurettes discuss the Daisy Duke short shorts (and show how you can make your own), car stunts, and the making of the movie (narrated by a cast member of the original TV series). —David Horiuchi

Sci-fi's hottest TV series returns as Battlestar Galactica 2.0 blasts onto DVD in Dolby 5.1 Surround Sound. As the epic second season begins, the fight to save humanity rages on - even as civil war looms within the fleet between the followers of President Roslin and Commander Adama. Relive all the intensity and excitement aboard the Galactica with a supernova of explosive bonus features, including deleted scenes and podcasts. It's a heart-pounding adventure you can't afford to miss!

When rumors about a fictional serial killer becomes true this horrifying who dunnit delivers shocking and nail-biting twists that will keep you guessing until the very end. Studio: Uni Dist Corp. (mca) Release Date: 02/06/2007 Starring: Jon Bon Jovi Julian Morris Run time: 91 minutes Rating: Nr

Serenity offers perfect proof that Firefly deserved a better fate than premature TV cancellation. Joss Whedon's acclaimed sci-fi Western hybrid series was ideally suited (in Browncoats, of course) for a big-screen conversion, and this action-packed adventure allows Whedon to fill in the Firefly backstory, especially the history and mystery of the spaceship Serenity's volatile and traumatized stowaway, River Tam (Summer Glau). Her lethal skills as a programmed "weapon" makes her a coveted prize for the power-hungry planetary Alliance, represented here by an Operative (Chiwetel Ejiofor) who'll stop at nothing to retrieve River from Serenity's protective crew. We still get all the quip-filled dialogue and ass-kicking action that we've come to expect from the creator of Buffy the Vampire Slayer, but Whedon goes a talented step further here, blessing his established ensemble cast with a more fully-developed dynamic of endearing relationships. Serenity's cast is led with well-balanced depth and humor by Nathan Fillion as Captain Mal Reynolds, whose maverick spirit is matched by his devotion to crewmates Wash (Alan Tudyk), Zoe (Gina Torres), fun-loving fighter Jayne (Adam Baldwin), engineer Kaylee (Jewel Staite), doctor Simon (Sean Maher), and Mal's former flame Inara (Morena Baccarin), who plays a pivotal role in Whedon's briskly-paced plot. As many critics agreed, Serenity offered all the fun and breezy excitement that was missing from George Lucas's latter-day Star Wars epics, and Whedon leaves an opening for a continuing franchise that never feels cheap or commercially opportunistic. With the mega-corporate mysteries of Blue Sun yet to be explored, it's a safe bet we haven't seen the last of the good ship Serenity. —Jeff Shannon

A spin-off rather than a sequel, Band Camp is the fourth entry in the American Pie franchise, but the first without the original cast. Instead a new trash-talking teen takes the lead. His name is Matt (Tad Hilgenbrinck) and he's Steve Stifler's younger brother (and despite the dark hair, Hilgenbrinck does resemble Seann William Scott—without the impish charm). There's nothing the football playing party boy hates more than bandies, the geeky members of the high school band. After he gets caught "punking" his favorite victims, he's sent to the guidance counselor, a redheaded gent known as the Sherminator (Chris Owen), who recommends band camp as penance. Since Steve has moved on to become a Girls Gone Wild impresario, Matt decides he'll make his own R-rated opus, "Bandies Gone Wild." This means spying on the well endowed camp counselors and other unwitting campers while they're showering, sunbathing, etc. When the not-so-bright triangle player gets caught yet again, his new friends abandon him, leading Stiffmeister Jr. to believe he just may have gone too far. Band Camp, which was released straight to DVD, plays more like Porky's than American Pie, and features Eugene Levy as Mr. Levenstein, AKA "Jim's Dad," the camp's conflict resolution officer and ex-porn star Ginger Lynn Allen as the camp nurse. —Kathleen C. Fennessy

Clever and often funny, My Date with Drew is a kind of slapdash excuse for a documentary feature, albeit one with a few surprises. A 27-year-old aspiring filmmaker, Brian Herzlinger, wins $1,100 on a game show (where the winning answer happened to be "Drew Barrymore"), and decides to use it to make a film about his aspiration to ask Barrymore out on a date. Enlisting a few eager and bemused producers and directors as allies, Herzlinger goes through a self-improvement campaign—exercising, finding out what Barrymore likes—while also interviewing people who know her, including actor Eric Roberts and Charlie's Angels co-screenwriter John August. The tricky part, of course, is not giving anyone the impression that Herzlinger is just a sophisticated stalker, especially when he's busy wrangling invitations to celebrity parties so he can get near the object of his lifelong crush. The film runs a little low on steam in its second half, and the suggestion that the movie is really about the beautiful pursuit of a worthwhile dream, and not just a first-feature gimmick, gets a little precious. But My Date with Drew is certainly worth seeing for its conclusion. —Tom Keogh

Veteran horror director Wes Craven lends his proven talent to the non-horror thriller Red-Eye, turning it into an above-average potboiler that makes the most of its 85 tension-packed minutes. That's a perfect running time for a movie like this, in which a resourceful heroine Lisa (Rachel McAdams, the breakout star of 2005) is trapped on a red-eye flight with creepy villain Jackson Rippner (Cillian Murphy, even more menacing than he was as the Scarecrow in Batman Begins) who's playing middle-man in the plot to assassinate a Homeland Security official. He's got her father pinned down by a would-be killer, using that advantage to coerce Lisa into phoning the luxury resort where she works and arranging to move the target into a pre-set position. It's a situation from which there is seemingly no escape, but of course Craven and screenwriter Carl Ellsworth find a way to milk the suspenseful dilemma for all it's worth, even managing to wedge in a few intriguing character details to enhance the fast-moving plot. It's still a B-movie, but it's tightly constructed and well-executed by Craven, whose previous films made him a perfect choice to maximize all that Red-Eye has to offer. —Jeff Shannon

Released without a rating and billed as "the most vile, disgusting, and vulgar" film of all time, The Aristocrats is also funny enough to qualify as a minor comedy classic. We say "minor" only because hearing the same foul joke told by 100 celebrated comedians is inevitably exhausting, even though the shaggy-dog gag (a vintage in-joke among comedians, allowing outrageously obscene improvisation, and always ending with the same titular punchline) is also a fascinating litmus test for each comedian's irreverent style. As codirectors and show-biz insiders, veteran comedians Paul Provenza and Penn Jillette (from the comedy duo Penn & Teller) corralled an unprecedented parade of stand-up celebrities (George Carlin, Robin Williams, Drew Carey, Whoopi Goldberg, Sarah Silverman, the South Park kids and many, many more), each telling "the dirtiest joke of all time" in their own inimitable fashion. The sheer volume of vaudevillian vulgarity takes on a life of its own, more fascinating than funny, until Gilbert Gottfried (at a celebrity roast for Hugh Hefner, shortly after the terrorist attacks of 9/11/01) tells what is unanimously hailed as the definitive version of the joke. It's a matter of context, style, and bawdy bravado, and for better or worse, The Aristocrats will endure as a testament to a joke so bad—so uproariously bad—that no comedian worthy of the profession can resist the temptation to tell it. —Jeff Shannon

This 2-DVD set features 19 of the most brutal matches in the history of ECW- Extreme Championship Wrestling, hand-selected by the evil genius of wrestling, Paul Heyman, who introduces every violent match. Whether you're looking for barbed wire, flaming tables, branding irons or death-defying lucha libre, this collection is sure to satisfy the most extreme ECW enthusiasts. All your favorite ECW stars appear, including Sabu, Tazz, Tommy Dream, Cactus Jack, the Dudley Boyz, Raven, Sandman, Terry Funk, and many more- and they're all out for blood. Be warned- this package isn't for the faint of heart! But if it's the most extreme of the extreme that you desire, look no further!

The combination of music, visuals, and the artist's commentary makes for compelling entertainment in Tori Amos - Video Collection: Fade to Red. Spanning Amos' entire career (from 1992's Little Earthquakes through 2005's The Beekeeper) and compiled on a two-disc set, these 19 videos feature some very striking images: the decidedly weird special effects in "A Sorta Fairytale," making Amos and actor Adrien Brody's heads appear where knees and hands ought to be; the bound and blindfolded Amos in the dark and disturbing "Spark"; Spanish women lying in the street as a handsome priest passes among them in "Past the Mission"; the slow-motion riot scenes in "1000 Oceans," Amos' response to the 1992 Los Angeles riots. But the singer-songwriter-pianist's breathy commentary track is as the dramatic as the videos themselves. Usually referring to herself in the third person, Amos admits to "a fascination with the beheading of Anne Boleyn… the illicit mistress of the Protestant reformation," identifies with "the Black Madonna, the independent woman… who is being shamed for her sensuality," describes the "Cornflake Girl" video as "evil on a playground… sort of Mean Girls before there was Mean Girls," and regularly references mythology. What she doesn't explain is why the same bonus features (two extra tracks and a making-of featurette) appear on both discs, or why a couple of fan favorites (like "Strange Little Girl") aren't included at all. —Sam Graham

Luscious ‘B’ movie star and late-night cable TV sensation Misty Mundae (SpiderBabe, Lord of the G-Strings) is an ultra-erotic, prehistoric beauty looking for kinky cave-girl kicks and carnivorous lesbian licks in Seduction Cinema’s sexy, sci-fi romp Bikini Girls on Dinosaur Planet. It’s teamed with the hot’n’steamy Bikini Goddesses making for a truly revealing, double-stuffed bikini extravaganza!!

DVD CONTENTS AT-A-GLANCE:
- BIKINI GIRLS ON DINO PLANET (2005) Feature
- BIKINI GODDESSES (1996) Feature
- BIKINI GODDESSES Commentary by Director David DeCoteau
- A TASTE OF RETRO Naughty Vintage Peep Show
- Seduction Cinema Trailer Vault

Rent, the show that in 1996 gave voice to a Broadway generation, has finally become an energetic, passionate, and touching movie musical. Based loosely on Puccini's La Bohème, it focuses on the year in the life of a group of friends in New York's East Village——"bohemians—"bohemians" who live carefree lives of art, music, sex, and drugs. Well, carefree until Mark, an aspiring filmmaker (Anthony Rapp), and Roger, an aspiring songwriter (Adam Pascal), find out they owe a year's rent to Benny (Taye Diggs), a former friend who had promised them free residence when he married the landlord's daughter. Roger has also attracted the attention of his downstairs neighbor, Mimi (Rosario Dawson), while Mark's former girlfriend, Maureen (Idina Menzel), has found a new romance in a lawyer named Joanne (Tracie Thoms). Philosophy professor Tom (Jesse L. Martin) finds his soul mate in drag queen Angel (Wilson Jermaine Heredia). But because this is the late-'80s, the threat of AIDS is always present.

The remarkable thing about Rent the movie is that nearly 10 years after the show debuted on Broadway, six of the eight principals return in the roles they originated. They're a bit older than would be ideal for their characters, but they do have the advantage of having learned the show directly from creator Jonathan Larson (who died of an aortic aneurysm while the show was in previews), plus they started young—we—we're not exactly talking Sarah Brightman and Michael Crawford here. Alongside a polished performance like Rapp's—sometimes observer-commentator, sometimes participant in two of the score's showstoppers, "The Tango Maureen" and "La Vie Boheme"—the two new additions (Thoms in place of Fredi Walker, Dawson in place of the edgier Daphne Rubin-Vega) slip comfortably into the ensemble; the pivotal Dawson makes a seductive case as Mimi when she tempts Roger in the mesmerizing "Light My Candle" or burns up the stage of the Catscratch Club in "Out Tonight." Moviegoers who have an aversion to people who break into song while walking down the street probably won't have their minds changed by Rent (even if they are singing rock songs), and the gritty subject matter and lack of big-name stars make it unlikely to cross over to general audiences the way Chicago did. But fans of musicals should find "Seasons of Love" as stirring as ever, and the show's passionate admirers—the "Rentheads"—probably couldn't have wished for a more sympathetic director than Rent fan Chris Columbus, or a more faithful representation of the show they love. —David Horiuchi

On the DVD
Three powerful musical numbers cut from the final film are the highlight of the two-disc DVD. In the aftermath of the funeral scene, Anthony Rapp sings "Halloween," and he, Adam Pascal, and Rosario Dawson share "Goodbye Love" (both songs were in the stage version). Then in an alternate ending, the cast finishes "No Day But Today" on the bare stage on which the film began. There are worthwhile arguments for why these scenes were cut or replaced, so it's fortunate that the DVD lets us see these at all. Those musical numbers [all written for the stage] have optional commentary by director Chris Columbus, Rapp, and Pascal (two other cut scenes have no commentary), including one funny moment in which Rapp explains in great detail the technical challenge of shooting "Halloween" only to have Columbus say, "Yeah, but I don't know if that's the take we used." The three also provide commentary on the film itself, with Columbus discussing various decisions, criticizing the critics, and marveling "I still don't know how we got the PG-13," and Rapp and Pascal occasionally recalling differences in the stage version.

The other whopper of a feature is No Day But Today, a nearly two-hour documentary that uses video clips, still photographs, and interviews with family and friends to celebrate the short life of Jonathan Larson and his creation. Topics include his early interest in musical theater ("I want to write the Hair for the '90s."), the support of Stephen Sondheim, the impact of the AIDS epidemic, the long and difficult road of Rent (casting the show, Larson learning to collaborate, the transfer to a Broadway stage, and the Rentheads), and Larson's tragic death. The last 20 minutes covers the making of the film, director Chris Columbus, the decision to rely on most of the original cast (the only two principals who didn't appear in the movie, Daphne Rubin-Vega and Fredi Walker-Browne, are interviewed in earlier segments, but only mentioned in passing here), recording sessions, and location shooting. If the movie of Rent was a tribute to Jonathan Larson, the DVD is all that and more, a moving and incredibly detailed look at an extraordinary talent whom the world lost far too soon. —David Horiuchi

More Rent

Movie soundtrack

Original Broadway cast recording

Anthony Rapp's Without You: A Memoir of Love, Loss, and the Musical "Rent"

She stole your heart (or turned your stomach, depending on your perspective) with her show-stealing delivery in the hit documentary The Aristocrats. With Jesus Is Magic, comedienne extraordinaire Sarah Silverman is hell-bent on marking her own territory. Jesus Is Magic is a more or less a one-hour variety show, littered with musical numbers and comedic vignettes wedged between video footage of her live act. Though humorous in parts, most of the vignettes and songs are a little bland. You can't help but think they are mere fillers to stretch the film to an hour. The real essence of the film, however, is Sarah Silverman live on stage, mic in hand, delivering the goods. After sitting through Jesus, you will undoubtedly feel Sarah Silverman's magic and find her extremely funny. You may, however, not be able to pinpoint why. Silverman's act is extremely crass, vulgar, obnoxious, disgusting, heavy on race-laced humor, and downright gross in parts. The amazing thing about Sarah Silverman's material is that if you repeated it to a friend, or read it in an article, you probably would think it was base, childish, and just not that funny. But what makes the material sparkle is Sarah's deadpan, blunt, matter-of-fact delivery and perfect comedic timing. Not to mention she is super foxy, which has a way of amplifying her humor for better or worse. Jesus Is Magic is proof that Sarah Silverman is the smartest and funniest comedienne on the circuit today. We just hope the next release is a full performance, minus the filler. —Rob Bracco

WWE Legends presents The American Dream: The Dusty Rhodes Story

"The American Dream" Dusty Rhodes will forever be remembered as the working man's champion. A master at the mic and a three-time World Heavyweight Champion, he has had legendary confrontations with sports-entertainments top stars, including Ric Flair, Harley Race, "SuperStar" Billy Graham, Terry Funk and Tully Blanchard. Decades later, his contributions to sports-entertainment are still being felt. This Three-disc release will present his life's story as well as his most memorable matches and interviews from his days in the AWA, NWA, and WWWF, WWE, and WCW.

At last homage is paid to the brains and beauties behind the brawn- the most famous and infamous managers in wrestling history. The men and women you'll see here are the architects of a Superstar's success and sometimes the designers of their downfall. These master manipulators will go down in history as the World's Greatest Wrestling Managers:

Captain Lou Albano, Paul Bearer, "Classy" Freddie Blassie, Jim Cornette, Miss Elizabeth, "The Mouth of the South" Jimmy Hart, Bobby "the Brain" Heenan, Paul Heyman, Sensational Sherri, "Golden Boy" Arnie Skaaland, Sunny, The Grand Wizard, And many more!

This release takes a look at the art of managing, the evolution of female managers, and highlights some of the most well-known, colorful managers professional wrestling has ever seen along with their biggest moments and matches.

Outrageous, intelligent and provocative, Chappelle's Show - The Lost Episodes proves that Dave Chappelle is now and forever one of the funniest, most boundary-pushing comedians to ever appear on television.

Like a soda pop left open all night, Bueller seems to have lost its effervescence over time. Sure, Matthew Broderick is still appealing as the perennial truant, Ferris, who fakes his parents out and takes one memorable day off from school. Jeffrey Jones is nasty and scheming as the principal who's out to catch him. Jennifer Grey is winning as Ferris's sister (who ends up making out in the police station with a prophetic vision of Charlie Sheen). But there's a definite sense that this film was of a particular time frame: the '80s. It's still fun, though. There's Ferris singing "Twist and Shout" during a Chicago parade, and a lovely sequence in the Art Institute. But don't get it and expect your kids to love it the way you did. Like it or not, it's yours alone. —Keith Simanton

For the first time ever and for a limited time only, the enhanced versions of the Star Wars: Episode IV A New Hope, Star Wars: Episode V The Empire Strikes Back and Star Wars: Episode VI Return of the Jedi will be available individually on DVD. Plus, these 2-Disc DVD's will feature a bonus disc that includes, for the first time ever on DVD, the original films as seen in theaters in 1977, 1980 and 1983.

He created a number of controversial and chaotic moments in sports entertainment, shocking fans in WCW, ECW, and WWE . His tragic ending only further mythologizes his legend. For the first time ever, Brian Pillman's life in and out of the ring is examined. From his beginnings as a former NFL player turned high-flying wrestler and his successful championship tag-team run with Stone Cold Steve Austin, through his loose cannon persona and role as a wild card in the anti-USA Hart Foundation, BRIAN PILLMAN: LOOSE CANNON provides the definitive look at Pillman's career. The two-disc set is complete with recollections from fellow superstars, competitors, and his family, as well as presenting some of his best matches.

Comedian Katt Williams (aka Money Mike) showcases his laugh out loud comedic talents in his first ever HBO stand-up comedy DVD taped in front of a live audience. A native of Cincinnati, Ohio, Williams worked his way up the comedy club ladder before landing key television and film roles that displayed his flashy, sassy, streetwise style. In this hilarious 60-minute performance filmed at The Atlanta Civic Center on April 15th, 2006, Williams draws on his own personal experiences and his edgy take on life to bring the house down with laughter! With his unique personality, pimp-esque charisma, and endless supply of original jokes, Williams scores in this hilarious debut!

Lo and behold, Clerks II defies the odds as a sequel that even the most ardent Clerks fans can be happy about. Twelve years after Kevin Smith turned the independent film world upside-down with his $27,000 black-and-white comedy, perpetual slackers Dante (Brian O'Halloran) and Randal (Jeff Anderson) return for another raucous romp in suburbia, but this time there's no beloved Quick Stop mini-mart to ensure their low-level employment. Now they're aimless 33-year-olds flippin' burgers at Mooby's, a fast-food joint with a cow theme that's "udderly delicious." Dante's engaged to his long-time girlfriend but has unexpectedly fallen in love with Mooby's manager Becky (and since she's played by Rosario Dawson, can you blame him?), and Randal's still holding out for life, liberty, and the pursuit of low ambition. The responsibilities of adulthood are rearing their ugly head, and with Jay and Silent Bob (Jason Mewes and Kevin Smith) still dealing weed and generally being obnoxious, well... something's gotta give, right? The way Smith has written this long-awaited follow-up, the dilemmas of Dante, Randal, and their ongoing friendship are something that anyone can relate to, and with Dawson lighting up the screen (in a role demanded by producer Harvey Weinstein to boost box-office appeal), the movie's romantic chemistry is surprisingly delightful. Rest assured, also, that Smith (shooting mostly in color this time, on a $5 million budget) hasn't forgotten where he came from: Clerks II is jam-packed with the same lewd, crude humor that made Clerks an indie-film phenomenon, and Smith's good-natured sincerity is still on full display, ensuring that only the most prudish viewers could possibly be offended. For everyone else, this is as enjoyable as any sequel could ever hope to be, with amusing cameos by Smith-movie veterans Ben Affleck and Jason Lee, among others. —Jeff Shannon

While watching An Evening with Kevin Smith 2 (let's skip over that stupid subtitle, shall we?), you may ask yourself, "Why should I give a **** about anything Kevin Smith has to say?"—and then you'll be laughing in agreement with a lot of what he says. For better or worse, the potty-mouthed creator of Clerks and Dogma is an expert at combining his own "View Askew" perspective with stand-up comedy and ribald Q&A with (mostly) appreciative audiences. The novelty here is that Smith (now looking richer and more custom-tailored than he did on the cover of An Evening with Kevin Smith ) is equally at home with fans in Toronto and London, where his cross-cultural observations inform much of their humorous interaction. Whether he's discussing the X-Men movies as homosexual allegory, recalling how his wife caught him masturbating to pictures of her that he shot for Playboy, or making prescient observations about Mel Gibson's career meltdown (just a few of the many topics covered here), Smith remains admirably frank about his fan-base, his limited skills as a filmmaker, and his counter-cultural status as a chubby fan-boy who made good in Hollywood. Even when he tests your tolerance with opinions best kept to himself, Smith is a focused observer of his own milieu, willing to expose his insecurities while refusing to suffer fools in his audience (and there are more than a few).

As with his previous stand-up DVD, Smith welcomes frequent (and now drug-free) costar Jason Mewes onstage for some extreme (and extremely funny) sex-talk, including demonstrations of Mewes'"half-half-whole" technique (don't ask), and later (as a disc 2 bonus feature) approaching young London women with a the kind of pick-up lines (like "Let me get up in them guts") that only a guy like Mewes could get away with. Dropping F-bombs like there's no tomorrow, Smith is crude but intelligent (nobody makes it on luck alone), and this two-disc set will satisfy established fans and would-be converts alike. Likewise, Smith-haters will find nothing to change their minds, since Smith occasionally comes across as smug and self-satisfied, even when he's really not. What matters here is the humor of a self-effacing guy who's never quite sure if he deserves his own success. That puts Smith on even terms with his fans, and it's that dynamic, more than anything else, that makes these concerts a whole lot of fun. —Jeff Shannon

While it didn't quite spark a trend in chug-a-lug brew comedies, Beerfest is the kind of zany time-killer that's a lot funnier if you're within reach of a six-pack and Doritos. In other words, this is yet another low-brow laff-a-thon from the Broken Lizard gang (Super Troopers) that's likely to draw a bigger audience on DVD than it did in theaters, especially since there's a lot of duds (and flat suds) to sit through while waiting for the next big beer-belly-laugh. It's the kind of movie that thinks masturbating frogs are funny (OK, you decide), while serving up a gang of guzzling Americans (the aforementioned Broken Lizard troupe, who also write this stuff with director Jay Chandrasekhar) who compete in an epic beer-drinking contest against the nefarious German challenger Baron Wolfgang Von Wolfhausen (played by German actor Jurgen Prochnow, whose starring role in Das Boot inspires one of this movie's better jokes). When it's not trying to top itself in terms of sheer stupidity and juvenile humor, Beerfest satisfies its target audience (basically, frat-rats and party animals) with some gratuitously bare-breasted babes, rampant consumption of alcohol, and the welcomed appearance of Cloris Leachman, who sort-of reprises her "Frau Blucher" persona from Young Frankenstein. So basically what you've got here is a dim-witted but energetic comedy called Beerfest that delivers exactly what you'd expect from a movie with that title. Who says truth in advertising is dead? —Jeff Shannon

Take the first Pirates of the Caribbean film, add a dash of 20,000 Leagues Under the Sea and a lot more rum. Shake well and you'll have something resembling Dead Man's Chest, a bombastic sequel that's enjoyable as long as you don't think too hard about it. The film opens with the interrupted wedding of Will Turner (Orlando Bloom) and Elizabeth Swann (Keira Knightley), both of whom are arrested for aiding in the escape of Captain Jack Sparrow (Johnny Depp) in the first film. Their freedom can only be obtained by getting Captain Jack's compass, which is linked to a key that's linked to a chest belonging to Davy Jones, an undead pirate with a tentacle face and in possession of a lot of people's souls. If you're already confused, don't worry—plot is definitely not the strong suit of the franchise, as the film excels during its stunt pieces, which are impressively extravagant (in particular a three-way swordfight atop a mill wheel). It may help to know that Dead Man's Chest was filmed simultaneously with some of Pirates 3, so don't expect a complete resolution (think more The Empire Strikes Back) or the movie will feel a lot longer than it really is.

Bloom shows a tad bit more brawn this time around, but he's still every bit as pretty as the tomboyish Knightley. (Seriously, sometimes you think they could swap roles.) Bill Nighy (Love, Actually) weighs in as Davy Jones and Stellan Skarsgård appears as Will's undead father. But the film still belongs wholly to Depp, who in a reprise of his Oscar-nominated role gets all the belly laughs with a single widened eyeliner-ed gaze. He still runs like a cartoon hen and slurs like Keith Richards—and he's still one of the most fascinating movie characters in recent history. —Ellen A. Kim

Step Up happily joins the long line of movies intoxicated by sexy bodies in motion. When an overachieving dancer (Jenna Dewan, Take the Lead) at an East Coast art school loses her partner just before a big showcase, her only possible replacement is a young tough (Channing Tatum, She's the Man) doing community service as a janitor. From there, Step Up slams together a folio of cliches, from prissy-rich-girl-gets-loosened-up-by-poor-boy to hoodlum-learns-the-error-of-his-ways-through-personal-tragedy to artist-discovers-his-voice. It's set in one of those performing arts schools where the students burst into spontaneous synchronized dance at parties. But Step Up, directed by choreographer Anne Fletcher, has a relaxed kinetic momentum and enough texture to give the nonsense just a hint of realistic grit. More than anything, Step Up shows off hunky Channing Tatum. With his sleepy eyes, broad jaw, and sloping neck, Tatum looks like an Easter Island statue come to life. His acting range may be limited, but Tatum has a definite lazy charisma; even when dancing full tilt, he looks like he just woke up and is still dreaming of the night before. Step Up also features Rachel Griffiths (Six Feet Under) as the requisite tough-but-loving-authority-figure. —Bret Fetzer

For years Zack Bradley (Dane Cook) has been working hard at hardly working at the local Super Club. That's until a hottie named Amy (Jessica Simpson) becomes the new cashier. After discovering she's willing to date the next guy to become "Employee of the Month", Zack takes on current titleholder (Dax Shepard) in a super-smackdown to see who will win the honor - and Amy's heart - in this outrageous comedy that proves you can't succeed at life and love till you get your shift together.

As it turns out, Kirby Dick's eye-opening documentary isn't rated. When he submitted it to the Motion Picture Association of America, they slapped it with an NC-17 (though he had always intended to release it unrated). This is fitting since he sheds much-needed light on the inner workings of a secretive organization that wields great power over the movies the public gets to see (since most mainstream media won't touch the dreaded NC-17). It's just as well since This Film Is Not Yet Rated focuses on the more controversial films of the past three decades. Aside from the stories of filmmakers who have tussled with the MPAA, Dick hires a private investigator to determine who sits on the board, since this information isn't in the public domain. With her assistance, he solves the mystery. Directors include Darren Aronofsky (Requiem for a Dream), Mary Harron (American Psycho), and Kimberly Peirce (Boys Don't Cry). Though frequently humorous, This Film Is Not Yet Rated should be required viewing for serious film fans, because the MPAA doesn't just affect what gets seen—but what gets made. If it has a flaw, it's this: In his attempt to generate transparency, Dick (Twist of Faith) arguably crosses the line. It's one thing to identify the board members; it's another to divulge their vital statistics. Whether or not these "guardians of morality" are working for the common good, they're still entitled to a little privacy. That said, this is vital stuff for anyone concerned about First Amendment issues. —Kathleen C. Fennessy

The National Lampoon brand has always had very little to do with the movies it has graced. Even the not-so-bad Chevy Chase Vacation entries didn't really need the imprimatur of the famous satire magazine that had its heyday about 30 years ago: They pretty much became a brand in and of themselves. The same goes for the Van Wilder movies, which we probably haven't seen the last of. Even though Ryan Reynolds, who originated the title character in 2002 doesn't appear, his lowbrow, good-natured goofball spirit remains. The star this time is the eminently likeable Kal Penn, who made a big splash in 2004's Harold & Kumar Go to White Castle and was Van Wilder's dorky sidekick Taj Mahal Badalandabad in the first movie. Here he displays more of his mentor's glib confidence, maturing into a sex-crazed, fun-loving grad student roaming the hallowed halls of England's (fake) Camford University. The comic situations he encounters there are simply a pretext for the typical sex, flatulence, beer-drinking, and class-division jokes you'd expect. Most of them come off well, thanks to Penn's comic aplomb, rubbery versatility and the rivalry he induces between the geeky misfit gang he ends up leading, and the snooty, upper-class Fox and Hound fraternity that clearly has to be given its lowbrow do. The battle for the pretty girl (Lauren Cohan, in truly good sport mode) who happens to be the property of super-twit Pipp Everett, the Earl of Grey, ends in predictable fashion, as does the rise of Taj's minions as bearers of the torch for the next Van Wilder, whether Van Wilder appears in it or not. —Ted Fry

Beyond Van Wilder 2: The Rise of Taj

More National Lampoon Movies

More from Kal Penn

Van Wilder's Guide to Graduating College in 8 Years or More: Everything You Need to Know About Books, Beer and Babes

Stills from Van Wilder 2: The Rise of Taj

One of the first and coolest, factions in Sports Entertainment was The Four Horsemen. This stable was a powerful group that ran roughshod over WCW and lasted for the better part of a decade with its various members, including 16-time World Champion "The Nature Boy" Ric Flair (the constant among the Four Horsemen) as well as other members: Arn Anderson, Ole Anderson, Tully Blanchard, Barry Windham, Sting, Lex Luger, Brian Pillman, Chris Benoit, Dean Malenko, and more.

Get ready for a gut-busting outrageous comedy from the guys that created Shaun of the Dead. Nicholas Angel (Simon Pegg) is a big-city cop who can't be stopped - but he's making everyone else on the force look bad. When he is reassigned to a small quiet town he struggles with this new seemingly idyllic world and his bumbling partner (Nick Frost). But their dull existence is interrupted by several grisly and suspicious accidents and the crime-fighting duo turn up the heat and hand out high-octane car-chasing gun-fighting big-city justice in this hilarious hit critics are calling "Outrageous! Uproariously Funny!" (Thelma Adams US Weekly).System Requirements:Running Time: 121 Mins.Format: DVD MOVIE Genre: COMEDY Rating: R UPC: 025193327420 Manufacturer No: 62033274

Take two male figure skaters, throw in a preposterous storyline, and you've got Blades of Glory, a surprisingly funny film that almost makes you forgive Will Ferrell for his back-to-back 2005 clunkers Kicking & Screaming and Bewitched. This time around, Ferrell eats the scenery in his role as a sex-addicted, cocky skating champ named Chazz Michael Michaels. When he gets into an on-podium fight with his nemesis and co-gold medallist Jimmy MacElroy (Jon Heder, Napoleon Dynamite), both skaters are banned from competing in men's figure-skating events. Forever. Their fall from grace is brutal. Chazz is forced to work for a D-list skating show, while pampered Jimmy is disowned by his wealthy and cold-hearted adoptive father (excellently played by William Fichtner), who only wants to be around winners. When Jimmy points out that he tied for gold, his dad cruelly says, "If I wanted to share, I would've bought you a brother." Flash forward 3-1/2 years and Jimmy's No. 1 stalker Hector (Nick Swardson) says he's found a loophole. Jimmy's been banned from men's singles events, but there's nothing that says he can't compete in pairs skating. After a chance meeting with Chazz, mayhem ensues as the two rivals team up to go against the brother-and-sister team of Stranz and Fairchild Van Waldenberg (played by Will Arnett and his real-life wife, Amy Poehler of Saturday Night Live and Mean Girls fame). The Van Waldenbergs will stop at nothing to beat the competition, even if that means literally beating up the competition. They have no qualms manipulating their sweet little sister (Jenna Fischer, The Office) to seduce both men to try to break up the team.

The finale will be no surprise to moviegoers who know that comedies like this aren't set up to make its leading men losers. But there is one brief skating sequence set in North Korea that will surprise (and shock) many viewers because of its brutality. Ferrell and Heder make a great comedy team. Though he has been accused of playing the same role since his breakthrough performance in Napoleon Dynamite and, to a certain extent, plays a similar type of role here, Heder is spot-on as Jimmy. He manages to convey innocence, bitterness, and longing—all within the span of a few seconds and while wearing a peacock unitard (You can understand why Hector is so enthralled with him). Look for guest appearances by real-life skating champs Scott Hamilton, Brian Boitano, Peggy Fleming, Dorothy Hamill, Nancy Kerrigan, and Sasha Cohen, who gets to sniff Chazz's jockstrap. —Jae-Ha Kim

Beyond Blades of Glory

More "Blades" on DVD

More DVDs with Will Ferrell

The Soundtrack

Stills from Blades of Glory (click for larger image)

Arguably the most talked-about television show of the 2006-2007 season, the Emmy-nominated fantasy Heroes gives viewers blends comic book-style adventure with plotting and characters as rich and layered as any graphic novel or drama series. Creator Tim Kring's premise is deceptively simple - ordinary individuals in locations around the globe discover that they have, for lack of a better term, super powers, and wrestle with this reality while facing challenges both global (the destruction of New York City, for one) and personal (indestructible cheerleader Hayden Panetierre has family issues - serious ones, as the true identity of her adoptive father reveals; Milo Ventimiglia's Peter Petrelli, who absorbs other powers, must overcome his own insecurities). Add to this mix a terrific villain - Zachary Quinto's Sylar, who hunts and kills people with extraordinary powers like our heroes - and viewers have a riveting series that exhibits an almost-perfect balance of cliffhanger thrills (the action and special effects are truly impressive for a network program) and genuine drama that sets the show apart from most speculative fiction (save, perhaps, the revived Battlestar Galactica, which it compares too favorably). The seven-disc set of Heroes: Season One offers a wealth of extras for fans, who may be familiar with some of them through the NBC.com website, especially the cast commentaries, which are featured on half of the episodes. Kring is featured on the 73-minute uncut pilot episode, which for some viewers, may be even better than the network version; the main difference is the degree of character development, including an entire storyline for D.L. Hawkins that isn't featured in the broadcast version. Also on deck are some 50 deleted scenes from the episodes, several by-the-books making-of featurettes, including coverage of the special effects and stunt work, and a profile of artist Tim Sale, whose illustrations are used for Isaac Mendez's prophetic artwork. Prospective buyers should note that while all of these supplemental features are included on the HD-DVD version of this set, the special Web-connectivity elements are not available here. — Paul Gaita

Fans of comedian Jamie Kennedy will probably best appreciate this lightweight comedy about a breakdancing fool who gets a second chance at stardom. Kennedy is top-billed as a hip-hop fanatic whose breakdancing moves put him in a coma circa 1987; 20 years later, he's revived and wants to reunite his crew, but finds they've moved on in less than spectacular ways. The affections of his school crush (TV reporter Maria Menounos) prove to be enough inspiration for him, but there's a former rival (Smallville's Michael Rosenbaum) to overcome. Kennedy is a funny performer, and he's well supported by Rosenbaum and Miguel Nunez Jr., as one of his crew, but an overreliance on bathroom humor and '80s kitsch is a clear signal that the screenwriters were floundering once they got past the initial concept. The Old Skool DVD includes full-screen and widescreen versions of the film, as well as a selection of deleted scenes. —Paul Gaita

DVD Features: 

Audio Commentary

Featurette

Interviews

Other

"I bought a car. Turned out to be an alien robot. Who knew?" deadpans Sam Witwicky, hero and human heart of Michael Bay's rollicking robot-smackdown fest, Transformers. Witwicky (the sweetly nerdy Shia LaBeouf, channeling a young John Cusack) is the perfect counterpoint to the nearly nonstop exhilarating action. The plot is simple: an alien civil war (the Autobots vs. the evil Decepticons) has spilled onto Earth, and young Sam is caught in the fray by his newly purchased souped-up Camaro. Which has a mind—and identity, as a noble-warrior robot named Bumblebee—of its own. The effects, especially the mind-blowing transformations of the robots into their earthly forms and back again, are stellar.

Fans of the earlier film and TV series will be thrilled at this cutting-edge incarnation, but this version should please all fans of high-adrenaline action. Director Bay gleefully salts the movie with homages to pop-culture touchstones like Raiders of the Lost Ark, King Kong, and the early technothriller WarGames. The actors, though clearly all supporting those kickass robots, are uniformly on-target, including the dashing Josh Duhamel as a U.S. Army sergeant fighting an enemy he never anticipated; Jon Voight, as a tough yet sympathetic Secretary of Defense in over his head; and John Turturro, whose special agent manages to be confidently unctuous, even stripped to his undies. But the film belongs to Bumblebee, Optimus Prime, and the dastardly Megatron—and the wicked stunts they collide in all over the globe. Long live Transformers! —A.T. Hurley

More Than Meets the Eye

The Original Movie

Transformers Mania

The Soundtrack

Transformers Image Gallery (click for larger image)

Explosive, Unrated Extended Edition with exclusive footage and more action!

On the eve of a devastating Cylon attack, officer Kendra Shaw reports for duty on the battlestar Pegasus. When mankind's future is forever changed on that fateful day, Kendra is reshaped into a "razor"—a tool of war—under the ruthless guidance of her commander, Admiral Cain. Battlestar Galactica: Razor tells the untold story of Pegasus and provides chilling clues to the fate of humanity as the final chapters of the Battlestar Galactica story unfold.

The Battlestar Galactica - Razor (Unrated Extended Edition) DVD contains an extended version of the explosive two-hour broadcast event that includes all-new characters and more action and visual effects than any previous episode in the popular series, as well as behind-the-scenes interviews with the series' creators. As an indispensable backdrop to events that take place in the Fourth Season of Battlestar Galactica, the DVD is a must-own for fans of the series.

Special Features On The DVD
• Deleted Scenes
• The Look of Battlestar Galactica
• My Favorite Episode So Far
• Season 4 Sneak Peek
• Season 4 Trailer
• Minisodes (x7)
• Commentary to the Unrated Extended Version with Executive Producer Ronald D. Moore and Writer Michael Taylor
AUDIO: English Dolby Digital 5.1
SUBTITLES: English SDH, Spanish
PICTURE: Anamorphic Widescreen (1.78:1) RUNTIME: 1 hour 28 minutes

Alas! The fifth Harry Potter film has arrived. The time is long past that this can be considered a simple "children's" series—though children and adults alike will enjoy it immensely. Starting off from the dark and tragic ending of the fourth film, Harry Potter and the Order of the Phoenix begins in a somber and angst-filled tone that carries through the entire 138 minutes (the shortest of any HP movie despite being adapted from the longest book). Hopes of winning the Quidditch Cup have been replaced by woes like government corruption, distorted media spin, and the casualties of war. As the themes have matured, so have the primary characters' acting abilities. Ron (Rupert Grint), Hermione (Emma Watson), and especially Harry (Daniel Radcliffe) are more convincing than ever—in roles that are more demanding.

Harry is deeply traumatized from having witnessed Cedric Diggory's murder, but he will soon find that this was just another chapter in the continuing loss he will endure. Lord Voldemort (Ralph Fiennes) has returned and, in an attempt to conceal this catastrophe from the wizarding public, the Ministry of Magic has teamed up with the wizard newspaper The Daily Prophet to smear young Potter and wise Dumbledore (Michael Gambon)—seemingly the only two people in the public eye who believe the Dark Lord has returned. With no one else to stand against the wicked Death Eaters, the Hogwarts headmaster is forced to revive his secret anti-Voldemort society, the Order of the Phoenix. This welcomes back characters like Mad-Eye Moody (Brendan Gleeson), kind Remus Lupin (David Thewlis), fatherly Sirius Black (Gary Oldman), and insidious Severus Snape (Alan Rickman), and introduces a short list of intriguing new faces. In the meantime, a semi-psychotic bureaucrat from the Ministry (brilliantly portrayed by Imelda Staunton) has seized power at Hogwarts, and Harry is forced to form a secret society of his own—lest the other young wizards at his school be left ill-equipped to defend themselves in the looming war between good and evil. In addition, Harry is filled with an inexplicable rage that only his Godfather Sirius seems to be able to understand.

This film, though not as frightening as its predecessor, earns its PG-13 rating mostly because of the ever-darkening tone. As always, the loyal fans of J.K. Rowling's books will suffer huge cuts from the original plot and character developments, but make no mistake: this is a good movie. —Jordan Thompson

Indie Sex by award-winning filmmakers Lisa Ades and Lesli Klainberg explores how films have provided a forum to discover society's deepest and darkest sexual fantasies played out on the big screen. Divided into three parts - Indie Sex: Censored, Indie Sex: Teens and Indie Sex: Extremes - the series delves into sex in movies through innovative verite footage, provocative film clips and compelling on-camera interviews with some of the industry's leading actors, writers and directors.

Best known as a comedian, Stella's Michael Ian Black makes his directorial debut with Wedding Daze, AKA The Pleasure of Your Company. In the prologue, Anderson (Jason Biggs) dresses up as Cupid and proposes to his perfect girlfriend, who promptly keels over. A year later, he's still in mourning. Meanwhile, Katie (Isla Fisher) is also seeing a seemingly flawless fellow, and though her mother (Joanna Gleason) pressures her to accept his proposal, Katie has her doubts. The next day, she meets the unemployed Anderson at the diner where she works. On a dare, he asks her to marry him. Not only does she accept—she moves in with him. They make for an odd couple, but not as odd as their parents: Katie's stepfather (Matt Malloy) is a Jewish inventor, while her birth father (Joe Pantoliano) is a Buddhist convict; Anderson's parents (Margo Martindale and Edward Herrmann), on the other hand, are very happily married (suggestive words send them into a sexual frenzy). Clearly, Anderson and Katie's differing backgrounds create a momentary stumbling block, but their breakup lasts as long as their courtship—blink and you'll miss it. Denied a US theatrical release, Wedding Daze is a rough-around-the-edges, if sweet-natured romp. At the very least, it's superior to other wedding-oriented comedies of the time, like the crass License to Wed. There are a few unnecessary gross-out gags, but an appealing cast—including Rob Corddry as a good-natured deputy—distract from the more awkward moments. —Kathleen C. Fennessy

The adventure of one of television's finest dramas continues with the complete third season of the Peabody Award-winning Battlestar Galactica. The Colonies' survivors have found their hopes of eluding their Cylon pursuers dashed by an invasion and occupation of their new home. As the fate of all human life hangs in the balance, friends become enemies, enemies become unexpected allies, and decisions are made that will haunt some people for the rest of their lives. Relive all 20 episodes of the season that challenges everything you thought you knew about the Battlestar Galactica universe. Presented in Dolby 5.1 surround sound, the 6-disc set features over 15 hours of extensive special features, including the DVD exclusive version of the episode "Unfinished Business" containing 25 additional minutes of never-before-seen footage. You won't want to miss a minute of the series considered "one of the best dramas on TV" (Time Magazine).

Explore the outrageous "Junoverse" of the year's most talked-about comedy with this 2-Disc Special Edition of Juno-bulging with awesome special features to deliver hours of laughs and tons of feel-good fun!Juno MacGuff (Ellen Page) is a cool confident teenager who takes a nine-month detour into adulthood when she's faced with an unplanned pregnancy-and sets out to find the perfect parents for her baby. With the help of her charmingly unassuming boyfriend (Michael Cera) supportive dad (J.K Simmons) and no-nonsense stepmom (Allison Janney) Juno sets her sights on an affluent couple (Jennifer Garner and Jason Bateman) longing to adopt their first child.Running Time: 92 minutesFormat: DVD MOVIE Genre: COMEDY/COMING OF AGE Rating: PG-13 UPC: 024543515944 Manufacturer No: 2251594

Will Ferrell stars in Semi-Pro an outrageous comedy set in 1976 against the backdrop of the maverick ABA - a fast-paced wild and crazy basketball league that rivaled the NBA and made a name for itself with innovations like the three-point shot and slam dunk contest. Ferrell plays Jackie Moon a one-hit wonder who used the profits from the success of his chart-topping song "Love Me Sexy" to achieve his dream of owning a basketball team. But Moon's franchise the Flint Michigan Tropics is the worst team in the league and in danger of folding when the ABA announces its plans to merge with the NBA. If they want to survive Jackie and the Tropics must now do the seemingly impossible - win.Format: DVD MOVIE Genre: COMEDY/PARODY & SPOOF UPC: 794043121173 Manufacturer No: 1000038648

Popular Adult Swim show on Cartoon Network! Based on Aaron McGruder's comic strip which was distributed in 350 newspapers nationwide. Granddad sneaks the boys into the movies to be cheap. Sarah's obsession with Usher after meeting him threatens her relationship with Tom. Riley and Granddad refuse to talk with cops about two local thieves, even after Granddad's car is stolen. Stinkmeaner's spirit possesses Tom and he tries to get revenge on Granddad. Riley joins the basketball team, and the boys fight over who will be boss while Granddad's on vacation.

Studio: Warner Home Video Release Date: 07/15/2008 Run time: 650 minutes Rating: Nr

On their flight to Amsterdam Harold and Kumar are mistaken for terrorists and sent to Guantanamo Bay... but not for long. They bust out and go on a cross-country road trip to clear their names and win over their hotties! But first they'll have to outsmart the Feds outrun the Klan and enlist the help of a hallucinating Neil Patrick Harris. It's one wild ride with America's most wanted - and most wasted!System Requirements:Running Time: 107 minutesFormat: DVD MOVIE Genre: COMEDY/BUDDY FILMS Rating: NR UPC: 794043122934 Manufacturer No: 1000040365

Studio: Genius Products Inc Release Date: 08/12/2008 Run time: 94 minutes

QUID PRO QUO (DVD MOVIE)

Studio: Uni Dist Corp. (mca) Release Date: 08/26/2008 Rating: Nr

Studio: Warner Home Video Release Date: 11/04/2008 Run time: 110 minutes Rating: Pg13

Join the four best friends as they finish their first year of college and dive into a summer of excitement. Bridget (Blake Lively) journeys to Turkey on an archeological dig. Carmen (America Ferrera) plunges into the hectic creative world of summer theater in Vermont. Lena (Alexis Bledel) discovers new love and old heartbreak at the Rhode Island School of Design. And in the Big Apple Tibby (Amber Tamblyn) takes a big step in her relationship with Brian. Romance laughs tears and that magical pair of jeans that keeps the girls together even when theyre far apart all here in a heart-lifting second film based on Ann Brashares bestsellers. Its a perfect fit.Running Time: 120 min.Format: DVD MOVIE Genre: DRAMA/WOMEN'S FRIENDSHIP UPC: 883929044245 Manufacturer No: 1000044362

THE STORY OF A BRIDE-TO-BE TRYING TO FIND HER REAL FATHER FROM THREE POSSIBLE CANDIDATES, TOLD USING SONGS BY THE POPULAR '70S GROUP ABBA. BASED ON THE HIT BROADWAY MUSICAL.

Studio: Uni Dist Corp. (mca) Release Date: 01/06/2009 Rating: Nr

Studio: Sony Pictures Home Ent Release Date: 01/06/2009 Run time: 117 minutes Rating: Ur

Studio: Lions Gate Home Ent. Release Date: 01/06/2009 Run time: 180 minutes Rating: Nr

The tale of a likable geek trying to score the girl of his dreams. Joining him on his journey through the pitfalls of puberty are Michael Cera pursuing a sex chatroom hottie; Frankie Muniz as a guy whose once-virgin girlfriend now wants to take it to the next level with midgets, bondage and barnyard animals; and an unforgettable 3-foot scrotum-shaped puppet named Blue Ballsy.

Theyre in the book. And on this disc. From the director of Watchmen and 300 come two tales from the celebrated graphic novel that do not appear in the extraordinary Watchmen Theatrical Feature. Tales of the Black Freighter (featuring the voice of 300s Gerard Butler) brings to strikingly animated life the novels richly layered story-within-a-story, a daring pirate saga whose turbulent events may mirror those in the Watchmens world. Stars from the Watchmen movie team in the amazing live-action/CGI Under the Hood, based on Nite Owls powerful first-hand account of how the hooded adventurers came into existence. Two fan-essential stories. One place to watch the excitement. Watching the Watchmen begins here.

A mumbai teen who grew up in the slums becomes a contestant on the indian version of who wants to be a millionaire?. He is arrested for cheating & while being interrogated events from his life history are shown which explain why he knows the answers. 1/3 is in hindi with english subtitles-rest in english Studio: Tcfhe Release Date: 03/31/2009 Starring: Dev Patel Run time: 120 minutes Rating: R Director: Danny Boyle/loveleen Tandan

A FADED PROFESSIONAL WRESTLER MUST RETIRE, BUT FINDS HIS QUEST FOR A NEW LIFE OUTSIDE THE RING A DISPIRITING STRUGGLE.

Studio: Hbo Home Video Release Date: 05/19/2009 Run time: 720 minutes

Studio: Lions Gate Home Ent. Release Date: 06/30/2009 Run time: 176 minutes Rating: Nr

Throughout the decades, fans of sports entertainment have long enjoyed the controlled chaos of tag-team wrestling. Many future Hall of Fame performers started as part of a popular duo, such as Shawn Michaels (the Rockers), Bret “Hit Man” Hart (Hart Foundation). Now, for the first time on DVD, fans can enjoy the greatest tag teams in sports entertainment history in Allied Powers: The World’s Greatest Tag Teams. Hosted by The Miz and John Morrison who are the current World Tag Team champions and the longest-running WWE Tag Team Champions in recent history. They bring their own brand of humor to this 3-DVD set that hits the biggest and the best duos throughout the annals of sports entertainment.

All will be revealed as the thrilling final episodes of Battlestar Galactica 4.5 land on DVD. From their initial action-packed battles against the Cylons to their desperate attempts to find the fabled 13th colony, Earth, a determined band of human survivors has captivated audiences everywhere with their desperate quest to find a new home for their dwindling numbers. Join them now as the fleet journeys into the furthest reaches of unexplored space and faces a crucial decision that will change all of their lives irrevocably. Presented uninterrupted in Dolby Digital 5.1 Surround Sound, this epic 4-disc set contains over 10 hours of intense, groundbreaking DVD features, including extended episodes that never aired - a must own addition to every fan’s collection. Relive the anticipation, the action and the excitement of this groundbreaking series that is destined to live on as “one of the best dramas on TV.” (TIME)

In this wildly funny hit comedy, Paul Rudd (Knocked Up) gets engaged to the girl of his dreams but has not a single guy friend to be his Best Man until he meets the ultimate dude, Jason Segal (Forgetting Sarah Marshall). Rudd and Segal’s “bro-mance” takes male-bonding to hilarious new heights that keep you laughing until the unforgettable last frame.

Experience all the explosive action and shocking twists as Heroes: Season 3 comes to DVD! Rediscover the phenomenon in this six-disc set that includes all 25 suspenseful episodes from the third season’s volumes, Villains and Fugitives. Plus, go behind the scenes with the show’s writers, stars and artists as you explore hours of exclusive and revealing bonus features.

The Cylons began as humanity's robot servants. They rebelled and evolved and now they look like us. Their plan is simple: destroy the race that enslaved them. But when their devastating attack leaves human survivors, the Cylons have to improvise. Battlestar Galactica: The Plan tells the story of two powerful Cylon leaders, working separately, and their determination to finish the task.

In this quirky romantic comedy about love and fate, a young greeting card writer (Joseph Gordon-Levitt) is hopelessly, helplessly searching for the girl of his dreams...and his new co-worker, Summer Finn (Zooey Deschanel), may just be “the one.” But the 500 days of their offbeat relationship reveal (in no particular order) that the road to happiness can be unpredictable, uncontrollable—and unbelievably funny!
Audio: English: 5.1 Dolby Surround / Spanish & French: Dolby SurroundLanguage: Dubbed & Subtitled: English, French & SpanishTheatrical Aspect Ratio: Widescreen: 2.40:1

The incorrigible cast of the most offensive animated reality show ever to air is back, and they’re starring in their very own feature-length movie! When the mystery-solving musician Foxxy Love notices she and her fellow housemates can curse without being bleeped—something they’ve never been able to do before—she realizes their show has been canceled. Determined to get back on the air, the gang travels to Make-A-Point-Land in order to get a point (and get back on the air). With more depravity than could have ever been shown on TV, this is the definitive Drawn Together experience.

- The country s hottest comedian, Katt Williams (First Sunday, Norbit, Friday After Next), is best known for his laugh-out-loud comedic style and outlandish personality. But what you don t get to see is the real Katt. Pimpadelic features Katt performing some of his funniest material in front of a sold-out crowd in Washington D.C. and an extensive rare and never-before seen interview where Katt talks intimately about his family, career, god, his future and the state of the comedy business. This is a must see for every true Katt Williams fan! Pimpadelic also includes a 15-minute never-before-seen bonus performance unearthed from Katt s personal vault plus 5 bonus clips from one of Katt s lost concert tapes. This DVD is jam packed with funny!

Jim Abrahams, David Zucker In between the disaster movie satire Airplane! in 1980 and the hardboiled cop show parody The Naked Gun in 1988, the comedy crew of Jerry Zucker, Jim Abrahams, and David Zucker put together a picture that's almost as funny as their better-known hits. Top Secret! sends up spy movies and cheesy teen rock & roll musicals. Val Kilmer stars as swivel-hipped American rocker Nick Rivers, a sort of blonde Elvis whose secret weapon is Little Richard's tune "Tutti Fruitti." On tour behind the Iron Curtain, Nick strikes blows for democracy overtly and covertly, with his music as well as his espionage skills. In short, this is a very, very silly motion picture. Some great gags, including a subtitled scene in a Swedish book shop, and an inspired bit with a Ford Pinto that not everybody may get anymore. (The Pinto, you may or may not recall, was notoriously prone to gas tank explosions when rear-ended.) —Jim Emerson

Andrew Adamson, Kelly Asbury The lovably ugly green ogre returns with his green bride and furry, hooved friend in Shrek 2. The newlywed Shrek and Princess Fiona are invited to Fiona's former kingdom, Far Far Away, to have the marriage blessed by Fiona's parents—which Shrek thinks is a bad, bad idea, and he's proved right: The parents are horrified by their daughter's transformation into an ogress, a fairy godmother wants her son Prince Charming to win Fiona, and a feline assassin is hired to get Shrek out of the way. The computer animation is more detailed than ever, but it's the acting that make the comedy work—in addition to the return of Mike Myers, Eddie Murphy, and Cameron Diaz, Shrek 2 features the flexible voices of Julie Andrews (Mary Poppins), John Cleese (Monty Python's Flying Circus), Antonio Banderas (Desperado), and Jennifer Saunders (Absolutely Fabulous) as the gleefully wicked fairy godmother. —Bret Fetzer

Alejandro Agresti Keanu Reeves and Sandra Bullock pair up again in what could be described as the anti-Speed: The Lake House, a sweet, relaxed-paced, whimsical romance. When Alex Wyler (Reeves, The Matrix) moves into an unusual glass house on stilts over a lake, he discovers a note from the previous tenant in the mailbox—but no one's lived in the house for years. He replies and soon discovers that he's corresponding with a doctor named Kate Forster (Bullock, Miss Congeniality) who's writing from two years in the future. Their correspondence turns romantic and their paths cross in unexpected ways, but when they try to truly connect, danger looms. Though the plot of The Lake House sounds potentially static, the movie is skillfully structured and, despite some truly awful dialogue, will exert an emotional pull on anyone willing to embrace the device of the time-travelling mailbox. What the movie really demonstrates, though, is the genuine rapport between Bullock and Reeves; Reeves, though handsome, has a wooden presence—but in his few scenes with Bullock, his stiffness transforms into a palpable yearning. On-screen chemistry is slippery and hard to define, but these two have it. —Bret Fetzer

Andre Allen (II), Bill Berner, Todd Broder, Rusty Cundieff, Bob Goldthwait, Peter Lauer, Scott Vincent The 2003 debut of Chappelle's Show on Comedy Central marked a high point for the cable channel, and now the entire, wildly creative first season can be seen, with hundreds of bleeps removed. That's not to say Chappelle's Show is perfect entertainment: there are too many moments among the 12 episodes here that descend into pointless scatology and booty fever. But for the most part, Chappelle, a talented comic slowly growing into greatness, is trying to push the sketch-humor envelope and succeeds at surprising us with original concepts and merciless execution.

The merely clever material includes "National Geography's Third World Girls Gone Wild," basically an update on those topless-native-women gags of yore, and Chappelle's "Educated Guess Line," in which the sage comic eschews psychic powers to logically deduce racial insights from his callers' questions. Far more wicked is an in-your-face satire on such autobiographical film fare as Antwone Fisher and 8 Mile, in which Chappelle plays himself ascending from street hustler to rapper-comedian to bona fide savior of America. The best thing here, however, is a parallel-universe version of The Real World, in which the usual racial proportions on MTV's workhorse series are reversed, thrusting a token white guy into a Hoboken houseful of crazy African Americans. There are also laughs in "Ask a Gay Guy with Mario Cantoned," as well as a sketch about an "inner-thoughts cam" and a nasty piece about Chappelle's Make-a-Wish visit to a dying child, which decays into a cruel video game competition. Overlooking the series' weaker material, this is outstanding television comedy. —Tom Keogh

Andre Allen (II), Bill Berner, Todd Broder, Rusty Cundieff, Bob Goldthwait, Peter Lauer, Scott Vincent Dave Chappelle's shrewd parodies, stinging satires, and boldly imaginative fantasias simply pour from the second season of his Comedy Central show, in every respect as funny as his well-received debut year. The structure is the same: a relaxed Chappelle introduces each sketch to an enthusiastic, studio audience (some of these introductions amount to stand-up routines), and then the madness begins. Among the many highlights from the 13 episodes on this boxed set's three discs is a mock ad for Samuel L. Jackson beer, featuring Chappelle's hilarious impression of Jackson's stern, overbearing persona from Pulp Fiction, and a dozen other features. Chappelle, considering a career in politics, floats a couple of trial campaign commercials, including one that promises to solve America's health care crisis by giving every citizen a fake Canadian I.D. Chappelle also suggests an effective program for teaching sexual abstinence to high school students: Forcing them to watch their principals have sex with the oldest female teachers on staff.

There's a good bit, too, about black soothsayer Negrodamus, whose ability to foresee events is limited to the fortunes of celebrities. Coming under fire (amusingly) are those McDonald's commercials suggesting that burger-flipping employment for African Americans can overhaul inner city communities. But, as with season 1, there are several masterpieces in this collection as well, such as Chappelle's vision of what the Internet would look like if it was a place you could actually, physically visit (with the equivalents of pop-up ads, porn sites, etc.). Equally inspired is a sketch in which a freeloading Chappelle, having impregnated the ultra-rich Oprah Winfrey, indulges his every whim. Best of all is Chappelle's take on what President Bush's administration would look like if the Chief Executive were, in fact, a black man. —Tom Keogh

Woody Allen It must be true that getting out of town can do a fellow a lot of good, because Vicky Cristina Barcelona is the best movie Woody Allen has made in years. Okay, you're right, 2006's Match Point already claimed that honor and, as Allen's first film made in England, established the virtues of getting away from overfamiliar territory (namely Manhattan). But the Woodman's first film made in Spain matches the ice-cold Match Point for crisp authority, and yields a good deal more sheer pleasure besides. Rebecca Hall (Vicky) and Scarlett Johansson (Cristina) play two young Americans, best friends, spending a summer in Catalonia. Vicky is going for a master's in "Catalan identity" (though her Spanish is shaky); Cristina is going along for, oh, just about anything. That soon includes celebrated abstract artist Juan Antonio (Javier Bardem), who's anything but abstract in his forthright proposition that the two join him in his private plane, his travels, and his bed. That he has an insane ex-wife, Maria Elena (Penélope Cruz), who may or may not have tried to kill him is not really an issue until the wife reappears and ... well, consider the possibilities.

Vicky Cristina Barcelona isn't exactly a comedy, at least not in the manner of Allen's "early, funny ones," but it's informed by a rueful wit that finds its fullest expression in reflective voiceover commentary. Spoken by Christopher Evan Welch, but surely on behalf of the 73-year-old auteur, this element of the film is neither (as some have charged) patronizing nor uncinematic; rather, it's integral to the movie's participation in a venerable European literary tradition, the sentimental education. Instead of Bergman or Fellini, this time Allen is invoking the François Truffaut of Jules and Jim and Eric Rohmer in his many meditations on the game of love. The entire cast is terrific (both Hall and Johansson get to play "the Woody part" at different points), with Bardem and Cruz especially delightful as exemplars of Old Worldliness. Cinematographer Javier Aguirresarobe honors every drop of Catalonian sunlight and glint of Gaudí architecture. —Richard T. Jameson

Andrea Ambandos Studio: Lions Gate Home Ent. Release Date: 03/18/2008 Run time: 60 minutes Rating: Nr

Jon Amiel Sean Connery plays a master thief thought to be long retired, while Katherine Zeta-Jones is his foil, a hotshot insurance investigator assigned to his case. They both have a little something to hold over each other's heads, until it turns out that Zeta-Jones is a professional art thief herself and is playing on both sides of the fence. At first they eye each other with mutual distrust until they team up for a job, which goes off without a hitch. Inevitably their prickly relationship begins to thaw somewhat, and the two become attracted to each other as they plan out the massive Y2K bank scam that is the movie's climax (complete with sequel-ready ending). Entrapment plays somewhat like a '70s caper movie revamped for the gadget-happy high-tech '90s. The plot takes a few too many labored twists and turns, and the chemistry between the two leads is nearly nonexistent, though both carry on gamely in their parts. On the other hand, there is some genuine suspense in many scenes as they go about their business, dripping with whiz-bang burglary devices. Zeta-Jones, of course, is drop-dead gorgeous, and Connery is as reliable as always in his role. The fairly flat editing and direction tends to drag the film down somewhat, but fans of caper movies, high-tech thrillers, and the two leads should find plenty to like in this film. —Jerry Renshaw

Sean Anders, Andy Behrens Special edition includes 3 discs of hilarious action from the movie, with bonus features galore! Exclusive features include: The Passion of James and Clark, Fall Out Boy Rocks the Amish, and Seth Green: Method Actor featurettes.

Sooner or later, the new breed of coming-of-age comedy (good ones like Superbad, not-so-good ones like College) had to inspire a parody of itself, and that self-conscious knock-off is the sporadically funny Sex Drive. A road movie about a virginal nice guy, Ian (John Zuckerman), who drives cross-country in his brother's car to score with a girl he met online, Sex Drive sounds like just another teen farce. But it isn't, exactly: with stops in a rockin' Amish community, in the redneck house of a bathroom fetishist, and in Ian's own family home (where a well-meaning new stepmother is continually exposed to Ian's unsavory private life), the film has an original life of its own. Casting counts for a lot in this movie. Clark Duke plays the likeable, over-confident nebbish we've come to expect since meeting McLovin' in Superbad, and Amanda Crew is Felicia, Ian's best friend and obvious romantic destiny (once these crazy kids figure that out). The three of them go traveling together in search of Ian's sure thing. But Sex Drive really becomes a much better comedy once Seth Green appears (as an Amish guy steeped in guilt-tripping sarcasm) and James Marsden (as Ian's bullying, homophobic brother) lets loose with a very funny performance. The two of them, really, have never been better on screen. There are a number of noteworthy scenes, particularly a chaotic climax that brings most of the characters together for an unexpected finish. Sex Drive, in some ways, is a more inspired movie than some of the ones it lampoons. —Tom Keogh

Michael Anderson, Ronald Saland If you can stifle the urge to laugh at its pastel unisex costumes and futuristic shopping-mall décor, this extravagant science fiction film from 1976 is still visually fascinating and provocatively entertaining. Set in the year 2274, when ecological disaster has driven civilization to the protection of domed cities, the story revolves around a society that holds a ceremonial death ritual for all citizens who reach the age of 30. In a diseaseless city where free sex is encouraged and old age is virtually unknown, Logan (Michael York) is a "sandman," one who enforces this radical method of population control (but he's about to turn 30 and he doesn't want to die). Escaping from the domed city via a network of underground passages, Logan is joined by another "runner" named Jessica (Jenny Agutter), while his former sandman partner (Richard Jordan) is determined to terminate Logan's rebellion. Using a variety of splendid matte paintings and miniatures, Logan's Run earned a special Oscar for visual effects (images of a long-abandoned Washington, D.C., are particularly impressive), and in addition to fine performances by Jordan and Peter Ustinov, the film features '70s poster babe Farrah Fawcett in a cheesy supporting role. Jerry Goldsmith's semi-electronic score is still one of the prolific composer's best, and Logan's Run remains an interesting example of '70s sci-fi that preceded Star Wars by less than a year. —Jeff Shannon

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

Paul Thomas Anderson A handful of people in the San Fernando Valley are having one hell of a day. TV mogul Earl Partridge (Jason Robards) is on his deathbed; his trophy wife (Julianne Moore) is popping pills with alarming frequency. Earl's nurse (Philip Seymour Hoffman) is trying desperately to get in touch with Earl's only son, sex guru Frank T.J. Mackey (Tom Cruise), who's about to have his carefully constructed past blown by a TV reporter (April Grace). Whiz kid Stanley (Jeremy Blackman) is being goaded by his selfish dad into breaking the record for the game show What Do Kids Know? Meanwhile, Stanley's predecessor, the grown-up quiz kid Donnie Smith (William H. Macy) has lost his job and is nursing a severe case of unrequited love. And the host of What Do Kids Know?, the affable Jimmy Gator (Philip Baker Hall), like Earl, is dying of cancer, and his attempt to reconcile with his cokehead daughter (Melora Walters) fails miserably. She, meanwhile, is running hot and cold with a cop (John C. Reilly) who would love to date her, if she can sit still for long enough. And over it all, a foreboding sky threatens to pour something more than just rain.

This third feature from Paul Thomas Anderson (Boogie Nights) is a maddening, magnificent piece of filmmaking, and it's an ensemble film to rank with the best of Robert Altman—every little piece of the film means something, and it's solidly there for a reason. Deftly juggling a breathtaking ensemble of actors, Anderson crafts a tale of neglectful parents, resentful children, and love-starved souls that's amazing in scope, both thematically and emotionally. Part of the charge of Magnolia is seeing exactly how may characters Anderson can juggle, and can he keep all those balls in air (indeed he can, even if it means throwing frogs into the mix). And it's been far too long since we've seen a filmmaker whose love of making movies is so purely joyful, and this electric energy is reflected in the actors, from Cruise's revelatory performance to Reilly's quietly powerful turn as the moral center of the story. While at three hours it's definitely not suited to everyone's taste, Magnolia is a compelling, heartbreaking, ultimately hopeful mediation on the accidents of chance that make up our lives. Featuring eight wonderful songs by Aimee Mann, including "Save Me."—Mark Englehart

Ray Anthony (III) Considering the lofty expectations that preceded it, The Matrix Reloaded triumphs where most sequels fail. It would be impossible to match the fresh audacity that made The Matrix a global phenomenon in 1999, but in continuing the exploits of rebellious Neo (Keanu Reeves), Morpheus (Laurence Fishburne), and Trinity (Carrie-Anne Moss) as they struggle to save the human sanctuary of Zion from invading machines, the codirecting Wachowski brothers have their priorities well in order. They offer the obligatory bigger and better highlights (including the impressive "Burly Brawl" and freeway chase sequences) while remaining focused on cleverly plotting the middle of a brain-teasing trilogy that ends with The Matrix Revolutions. The metaphysical underpinnings can be dismissed or scrutinized, and choosing the latter course (this is, after all, an epic about choice and free will) leads to astonishing repercussions that made Reloaded an explosive hit with critics and hardcore fans alike. As the centerpiece of a multimedia franchise, this dynamic sequel ends with a cliffhanger that virtually guarantees a mind-blowing conclusion. —Jeff Shannon

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

George Armitage Hit man Martin Q. Blank (John Cusack) is in an awkward situation. Several of them, actually. He's attending his high school reunion on an assignment; he's got a rival hit man (Dan Aykroyd) on his tail; and he's going to have to explain to his old girlfriend (Minnie Driver) why he stood her up on prom night. This amiable black comedy, cowritten by Cusack and directed by Jonathan Demme protégé George Armitage (Miami Blues), has the feel of Demme's Something Wild and Married to the Mob—which is to say its humor is dark and brightly colored at the same time. Cusack and Driver are utterly charming—as is the leading man's sister, Joan, who plays his secretary. (Ms. Cusack received an Oscar nomination for her next role, in In & Out.) Alan Arkin is also very funny as Martin's psychiatrist. —Jim Emerson

Brad Armstrong

Miguel Arteta Jennifer Aniston gives a career-changing performance in The Good Girl, a movie that questions whether goodness is a virtue or a trap. Justine (Aniston), weary of her dead-end retail job and her childless marriage to Phil (John C. Reilly), diverts herself with a new coworker named Holden (Jake Gyllenhaal), who feels as ill-treated by his life as Justine does with hers. The empathy between them leads, all too quickly, to an affair—which just as quickly turns into an obsession that threatens to destroy Justine's marriage. But this is only the beginning; Phil's buddy Bubba (Tim Blake Nelson), the store security guard (Mike White), and a handful of other characters all have a part to play in the unraveling of Justine's life. The script and performances of The Good Girl are subtle but vivid, and the movie's emotional impact will linger long after the movie is over. —Bret Fetzer

John Mallory Asher

John Bacchus

Chris Bailey, Steve Loter, Nicholas Filippi Studio: Buena Vista Home Video Release Date: 08/05/2003

Ralph Bakshi

Siddiq Barmak The first movie produced by Afghanistan filmmakers after the fall of the Taliban, Osama is a searing portrait of life under the oppressive fundamentalist regime. Because women are not allowed to work, a widow disguises her young daughter (Marina Golbahari) as a boy so they won't starve to death. Simply walking the streets is frightening enough, but when the disguised girl is rounded up with all the boys in the town for religious training, her peril becomes absolutely harrowing. Golbahari's face—beautiful but taut with terror—is riveting. The movie captures both her plight and the miseries of daily life in spare, vivid images. At one point, her mother is nearly killed for exposing her feet while riding on the back of a bicycle; for the entire scene, the camera shows only her feet, with the spokes of the wheel radiating out behind as she lowers her burka over them. —Bret Fetzer

Robert V. Barron Producers at Harmony Gold combined the series Super Dimension Fortress: Macross, Genesis Climber Mospeada, and Super-dimensional Cavalry Southern Cross to create a sprawling space opera with a new plot: Robotech (1985), which helped to build an audience for anime in the U.S. The story begins in 1999, when a gigantic spaceship strikes the Earth. Ten years later, Earth forces relaunch the ship as the alien Zentraedi attack, hoping to recapture it. The seesaw warfare is played against a vague romantic triangle involving brash pilot Rick Hunter, straight-laced officer Lisa Hayes, and aspiring singer Minmei. The Zentraedi have somehow lost the secret of biological reproduction, but the two races are virtually identical biochemically. The similarity is sealed by the marriage of Earth pilot Max and Zentraedi spy Miriya. Minmei's performances become a key element in the ongoing war, as the Zentraedi consider her bubblegum pop songs a form of "psychological assault." (They have a point.) Although humanity emerges victorious, much of the Earth is devastated. Lisa and Rick discover their true feelings as the new threat of the Robotech Masters appears—which leads into the second continuity. Gen-X-ers who grew up on Robotech will delight in retracing the coy romances and crude space battles; viewers accustomed to the faster pacing, snazzier effects, and more dramatic conflicts of more recent anime will grow impatient with the endless shilly-shallying. It's a classic of sorts. (Suitable for all ages; appropriate for ages 8 and up: mild violence restricted to spaceship and robot battles) —Charles Solomon

Craig R. Baxley Having built a name for himself playing Apollo Creed in the Rocky movies, Carl Weathers hoped to launch his own action-hero franchise as the wishfully named Action Jackson. But this first film never took off and it turned into a one-movie series. Weathers plays Jackson, a police sergeant so nicknamed because he always seems to be where the action is. He runs afoul of an evil auto magnate (Craig T. Nelson), who promptly sets about putting Jackson in the middle of a jackpot for murder. Jackson springs himself from jail and goes on the run, aided by junkie-with-a-heart-of-gold Vanity, before bringing Nelson to justice. Weathers is an impressive specimen but an indistinct personality (though he can handle a one-liner), and he's overmatched against fire-breathing villain Nelson. —Marshall Fine

Michael Bay Slick to a fault, this glossy action flick takes place in sunny Florida, where Martin Lawrence and Will Smith play two cops—one married with kids, the other a swinging bachelor. The two are forced to trade places to foil criminal mastermind Fouchet (Tchéky Karyo) who has stolen $100 million worth of heroin from a police lockup. Violent, illogical, and filled with wall-to-wall profanity, Bad Boys was the last film produced by the hit-making team of Don Simpson and Jerry Bruckheimer before Simpson's untimely death, and marked the directorial debut of Michael Bay who followed up with The Rock. Bad Boys will be of interest to action buffs and fans of Téa Leoni, who makes one of her early screen appearances in the central supporting role. —Jeff Shannon

Michael Bay Sometimes bigger is actually better. Nearly matching the size of director Michael Bay's ego, this massive four-disc set is a veritable Pearl Harbor archive, and ironically, Bay's film remains the least interesting component. It's a purely conventional Hollywood take on the tragedy, using a clichéd love triangle between two ace pilots (Josh Hartnett, Ben Affleck) and a Pearl Harbor nurse (Kate Beckinsale) as an "intimate" means of spectacularly re-creating the attack that thrust America into World War II. The director's cut adds little to the previous DVD release, apart from authentic R-rated carnage during the Japanese raid, and minor expansion of the Hartnett-Beckinsale romance. Commentaries range from superfluous (Bay and film historian Jeanine Basinger) to highly entertaining (Ben Affleck and costars) and technically informative (primary production team), and a spirited examination of visual effects (with Bay and ILM supervisor Eric Brevig) is guaranteed to fascinate anyone interested in physical effects and CGI. A broad "making of" documentary is noteworthy for one-time viewing, while abundant historical records make this a valuable compilation of definitive materials.

The History Channel's "One Hour over Tokyo" and "Unsung Heroes of Pearl Harbor" provide depth that Bay's movie lacks, and Charles Kiselyak's interactive timeline is arguably the finest feature included, providing an in-depth historical perspective on U.S.-Japan relations. Even a brief reenactment of a Pearl Harbor nurse's journal is moving in a way that Bay's film can only try to be, while the "Interactive Attack Sequence" provides a multifaceted exploration of the entire production process (a highly educational feature for aspiring filmmakers). All in all, these four discs offer an admirable balance between Bay's technically impressive but ill-conceived epic and a thorough, fitting tribute to those who endured hell on that fateful Sunday in 1941. —Jeff Shannon

Michael Bay When you add up all the best things about The Island, you might just conclude that there's hope yet for Hollywood's most critically reviled hit-maker, Michael Bay. Recruited by Steven Spielberg to direct this lavish and often breathtaking sci-fi action thriller, Bay rises to the occasion with an ambitious production that is, by his standards (and compared to Bay's earlier hits like The Rock and Armageddon), surprisingly intelligent as it explores the repercussions of cloning in a sealed-off society where humans are cultivated for spare parts, surrogate parenthood, and full-body replacements for wealthy clientele. But when two of the clones (Ewan McGregor, Scarlett Johanssen) begin to question their fate and the motives of their keepers, they escape into the real world and The Island becomes just another Michael Bay action extravaganza, albeit an impressively exciting one. With elaborate chase scenes and a high-tech feast of CGI to dazzle the eye, The Island recycles much of the plot from 1979's Clonus while borrowing elements from Logan's Run, Gattaca and Minority Report, and while it's not as smartly conceived as those earlier films, there's no denying that, in many ways, it's Bay's best film to date. —Jeff Shannon

Anthony Bell, Lesean Thomas, Joe Horne, Seung Eun Kim Based on cartoonist Aaron McGruder's politically charged daily comic strip, The Boondocks brings no-holds-barred social commentary and comedy to the Cartoon Network's Adult Swim programming, and now, all 15 episodes of the 2005-2006 debut season are available in an uncut and uncensored format in this three-disc set. As with McGruder's strip, the animated version of The Boondocks uses a fish-out-of-water format—10-year-old revolutionary-in-training Huey Freeman (voiced by Regina King), his 8-year-old brother Riley (also King), and their salty Granddad (John Witherspoon) relocate to an upscale suburban neighborhood—to take aim at all manner of cultural issues in both the black and white communities. Targets sighted in these episodes include singer R. Kelly's bedroom shenanigans ("The Trial of R. Kelly"); gangsta rap ("The Story of Gangstalicious," which includes a wicked spoof of the documentary Tupac: Resurrection); Oprah Winfrey (who is almost kidnapped by Riley in "Let's Nab Oprah"); and Martin Luther King, who revives from a coma to be branded a terrorist in "Return of the King," which generated plenty of heat from the Rev. Al Sharpton upon its broadcast. All of the above topics are handled in a decidedly less-than-respectful and occasionally offensive manner, though exactly who will find The Boondocks scandalous and who will find its approach fearless and on the money will depend on the viewer. But there's no arguing that the show is frequently as funny as McGruder's comic. Extras include audio and video commentary by McGruder and the production staff (as well as commentaries by the character Uncle Ruckus, Granddad's thoroughly unhinged friend whose fixation on a White Jesus is tackled in the season closer, "The Passion of Ruckus"), as well as deleted scenes, some unaired Adult Swim promo spots, and a behind-the-scenes featurette that addresses the show's conception and production. —Paul Gaita

Peter Berg Peter Berg's dark comedy about a bachelor party gone horribly awry is highly ambitious in its attempts to satirize suburbia, male bonding, and self-help philosophy, and for the most part it does succeed in hitting its targets with a malicious, misanthropic glee. When five buddies arrive in Las Vegas for some pre-wedding shenanigans, things quickly spiral out of control when the requisite prostitute falls victim to a grisly accident, igniting a spark in an already unstable powder keg of personalities. Following the lead of real estate agent and self-help guy Robert (Christian Slater), the men warily agree on a cover-up and covert desert burial. A couple hours and another corpse later, however, they're already at each other's throats, and their escalating breakdowns threaten to disrupt the highly prized wedding of hard-as-nails bride Laura (a stunning Cameron Diaz). Berg, like most actor-turned-directors (this is The Last Seduction star's filmmaking debut) helms the film with a wildly sliding tone and tends to weigh its strengths heavily on its performers. Slater's psycho turn is by far his most inventive yet (he's more in control than ever before), Diaz effectively mixes sunshine with poison, and Jon Favreau is effective and understated as the hapless bridegroom; the rest of the cast, however, tends to play up the histrionics. Be warned, though: Those expecting a sunny-style There's Something About Mary gross-out comedy will probably be shocked by Berg's take-no-prisoners agenda; this is comedy at its absolute blackest, and no one is spared. —Mark Englehart

Robert Berlinger When mischievous teenaged cousins Bo Duke (Jonathan Bennett, Mean Girls) and Luke Duke (Randy Wayne, ABC's Sons and Daughters) are arrested, both boys are paroled to the care of their Uncle Jesse (Willie Nelson) in Hazzard, sentenced to a summer of hard work. It's not long before the Duke boys learn of Boss Hogg's (Chris McDonald) plans to foreclose on Uncle Jesse's farm. Together, with help from their frumpy cousin Daisy (April Scott), Bo and Luke vow to save the family's property and its storied history of producing the best moonshine in all of Hazzard. Driving through Hazzard in the "General Lee" blasting its famed Dixie horn, the Duke boys join forces to make Boss Hogg's life miserable, concocting one crazy scheme after another.

Zev Berman Inez Macbeth (Dominique Swain) is married to Edgar (Henry Thomas), a violent petty thief with big ambitions. When her loveless marriage leads to an affair with a gentle young lawyer, Edgar retaliates by brutally holding her captive with the help of his best friend Flowers (Arie Verveen). With time running out, Inez concocts a desperate escape, but does she have the guts to do what it takes? Sometimes love hurts, sometimes it kills.

Bernardo Bertolucci A love letter to movies (and the French new wave of the 1960s in particular), Bernardo Bertolucci's The Dreamers starts with a 1968 riot outside of a Parisian movie palace then burrows into an insular love triangle. Matthew (Michael Pitt, Hedwig and the Angry Inch), an expatriate American student, bonds with a twin brother and sister, Isabelle (Eva Green) and Theo (Louis Garrel), over their mutual love of film—they not only quote lines of dialogue, they act out small bits and challenge each other to name the cinematic source. Matthew suspects the twins of incest, but that doesn't stop him from falling into his own intimacies with Isabelle. As the threesome becomes threatened, Paris succumbs to student riots. The Dreamers aspires to be kinky, but the results are more decorative than decadent; nonetheless, the movie's lively energy recalls the careless and vital exuberance of Godard and Truffaut. —Bret Fetzer

Luc Besson Luc Besson (The Fifth Element) made his American directorial debut with this stylized thriller about a French hit man (Jean Reno) who takes in an American girl (Natalie Portman) being pursued by a corrupt killer cop (Gary Oldman). Oldman is a little more unhinged than he should be, but there is something genuinely irresistible about the story line and the relationship between Reno and Portman. Rather than cave in to the cookie-cutter look and feel of American action pictures, Besson brings a bit of his glossy style from French hits La Femme Nikita and Subway to the production, and the results are refreshing even if the bullets and explosions are awfully familiar. —Tom Keogh

Kathryn Bigelow War is a drug. Nobody knows that better than Staff Sergeant James, head of an elite squad of soldiers tasked with disarming bombs in the heat of combat. To do this nerve-shredding job, it’s not enough to be the best: you have to thrive in a zone where the margin of error is zero, think as diabolically as a bomb-maker, and somehow survive with your body and soul intact. Powerfully realistic, action-packed, unrelenting and intense, The Hurt Locker has been hailed by critics as “an adrenaline-soaked tour de force” (A.O. Scott, The New York Times) and “one of the great war movies.” (Richard Corliss, Time)

Shane Black As a screenwriter, Shane Black made millions of dollars from screenplays for the big-budget action movies Lethal Weapon and The Last Boy Scout, among others. With his directing debut Kiss Kiss, Bang Bang, Black mocks and undercuts every cliche he once helped to invent. While fleeing from the cops, small time hood Harry Lockhart (Robert Downey Jr., Wonder Boys) stumbles into an acting audition—and does so well he gets taken to Hollywood, where—pursuing a girl he loved in high school (foxy Michelle Monaghan, North Country)—he gets caught up in twisty murder mystery. His only chance of getting out alive is a private detective named Gay Perry (Val Kilmer, Wonderland, The Doors), who sidelights as a consultant for movies. No plot turn goes untweaked by Black's clever, witty script, and Downey, Kilmer, and Monaghan clearly have a ball playing their screwball variations on action movie stereotypes. There's nothing profound about Kiss Kiss, Bang Bang, but it brings back wicked mischief to a genre that all often takes itself too seriously. —Bret Fetzer

Don Bluth In his book, Robert C. O'Brien called his brave widow mouse "Mrs. Frisby," but Disney escapee animator Don Bluth must have thought kids would laugh the wrong way at that. They renamed her "Mrs. Brisby" for NIMH. That acronym stands for the National Institute of Mental Health, and the rats that live near Mrs. Brisby came from NIMH—they have strange ways. But they're the only ones who can save her house and her children, so Brisby seeks them out with the help of a humorous crow (Dom DeLuise). The magic gets laid on a little thick but this is Don Bluth's most successful attempt to achieve a complete, sincere, animated film. It's often forgotten, but it's a true surprise and a rare treat in the vast wasteland of insubstantial children's fare. —Keith Simanton

David Blyth Trent Colbert is an out-of-state college freshman speeding along an interstate highway, eager to return home for his family Thanksgiving when he meets roadside hooker Miya Falk. Their adventure starts with a wild ride, but slowly, deceptively, with each turn of the odometer, with each kiss, Miya takes control, molding Trent into a tool for her own twisted desires. A.k.a. "Red Blooded American Girl 2."

Uwe Boll Prepare yourself for the hilarious, laugh-packed comedy POSTAL, the irreverent and outrageous film based on the popular video game. After a clueless slacker named the Postal Dude (Zack Ward) loses his job, he joins his shady Uncle Dave (Dave Foley) and a bevy of big-breasted, scantily clad female cult followers in a scheme to steal a shipment of hot new toys. But first they must foil a band of ruthless terrorists led by none other than Osama Bin Laden and save the world from destruction in this offensive, mayhem-ridden laugh riot that threatens the very limits of common decency.

Tom Brady David Koechner (Anchorman: The Legend of Ron Bergundy) gives an outsized Farley-esque performance as Lambeau Fields, the worst coach in history, who accepts a position at Heartland State University, home of the hapless football team, the Comebacks, in rural Texas. Will he ignore his wife (Melora Hardin from The Office) in pursuit of victory? Will his rebellious gymnast teenage daughter (Brooke Nevin) choose the team's hotshot me-first player (Jackie Long) or the tutu-wearing quarterback (Matthew Lawrence) whose fumbles are an embarrassment to his father, a Cher impersonator? Will the star player Aceel Tare (Robert Ri'chard) live up to his name (mispronounced by Coach as "ACL Tear")? Will the team make it to the—oy—Toilet Bowl? The Comebacks tackles the inspirational "one last shot" sports movie, but is mostly content to simply quote other sports films and TV shows, including Field of Dreams, Bend It Like Beckham, Stick It, Remember the Titans, Invincible, Miracle, Dodge Ball (itself a sports film spoof), the Friday Night Lights TV series, and Radio (with a mentally challenged character named—wait for it—iPod). Some of The Comebacks is inspired. The Coach, demanding total commitment from his players, insists they flunk their courses and rack up felonies and probations. The fractious team bonds over Journey's "Don't Stop Believing" in a lip-synced, pyrotechnic performance worthy of MTV's Music Video Awards. And Bill Buckner wins the good sports award for a cameo that re-creates his momentous error in the '86 World Series. Despite several fumbles (a 15-yard penalty for the Andy Dick cameo), The Comebacks manages to score enough laughs to cheer Date Movie/Epic Movie fans, although it's not in the same league as Not Another Teen Movie or the Scary Movie films. —Donald Liebenson

Marco Brambilla Alicia Silverstone was so hot after the success of Clueless that she formed her own production company at the age of 19, and Excess Baggage was the first movie she chose as a starring vehicle. Silverstone plays Emily, a spoiled rich girl who has everything but her father's affection, so she decides to stage her own kidnapping to see if dad will come to his senses and appreciate the daughter he so blindly disregards. But when Emily locks herself in the trunk of her own car, she's surprised when the car is stolen by Vincent (Benicio Del Toro, from Fear and Loathing in Las Vegas), a professional car thief whose partner (Harry Connick Jr.) has misplaced $200,000 of the Mob's money. Christopher Walken stars as Emily's "Uncle Ray," who's hot on her trail as she goes on the lam with Vincent. It's not the meandering plot that matters so much as the funny dialogue between Silverstone and Del Toro, who steals his scenes with a smoky mumble and easygoing charm. This one is mostly for Alicia fans, but the film has got enough good laughs and low-key appeal to make it a home-video sleeper. —Jeff Shannon

Martin Brest Meet Joe Black seemed almost fated to fail when it was released in 1998, but this romantic fantasy—a remake of 1934's Death Takes a Holiday—deserves a chance at life after box-office death. Although many moviegoers were turned off by director Martin Brest's overindulgent three-hour running time, those who gear into its deliberate pace will find that Meet Joe Black offers ample reward for your attention.

Brad Pitt plays Death with a capital D, enjoying some time on Earth by inhabiting the body of a young man who'd been killed in a shockingly sudden pedestrian-auto impact. Before long, Death has ingratiated himself with a wealthy industrialist (Anthony Hopkins) and pursues romance with the man's beautiful daughter (newcomer Claire Forlani), whom he'd briefly encountered while still an earthbound human. Under the assumed identity of "Joe Black," he samples all the pleasures that corporeal life has to offer—power, romance, sex, and such enticing pleasures as peanut butter by the spoonful.

But Death has a job to do, and Meet Joe Black addresses the heart-wrenching dilemma that arises when either father or daughter (the plot keeps us guessing) must confront his or her inevitable demise. The film takes its own sweet time to establish this emotional crisis and the love that binds Hopkins's semidysfunctional family so closely together. But if you've stuck with the story this far, you may find yourself surprisingly affected. And if Meet Joe Black has really won you over, you'll more than appreciate the care and affection that gives the film a depth and richness that so many critics chose to ignore. —Jeff Shannon

Craig Brewer The idea of a soulful pimp as the hero of a movie will strike some viewers as objectionable and perhaps even repellent, but Terrence Dashon Howard's complex and fierce performance will challenge such easy moral decisions. DJay (Howard, Crash, The Best Man) hustles a small stable of whores, including corn-rowed Nola (Taryn Manning, A Lot Like Love). When he learns that former local rapper turned superstar named Skinny Black (real life rapper Ludacris) is coming back to town for the 4th of July, DJay teams up with a frustrated sound engineer (Anthony Anderson, Kangaroo Jack) and a geeky musician (DJ Qualls, Road Trip) to put together a demo tape that he hopes will be his ticket to fame and fortune. What's most impressive about Hustle & Flow is that it doesn't oversell its hero. DJay's aspirations are more economic than poetic—he—he's not out to create art, he just wants a better life. This lack of pretension allows the movie to capture a genuine sense of how creativity can improve people's lives, which surprises DJay as much as anyone. The movie's other strength is a keen eye for social behavior, in particular the ways in which DJay manipulates everyone around him. Howard, who's almost always stood out in every movie he's made, plays these scenes with what can only be called smooth desperation. The entire cast gives substantial performances, but it's Howard who drives the movie irresistibly forward. —Bret Fetzer

Craig Brewer The lurid scenario—a nymphomaniacal white trash nymphet (Christina Ricci) is held prisoner by a bitter bluesman (Samuel L. Jackson)—gives way to an affecting tale of redemption in Black Snake Moan, writer/director Craig Brewer's follow-up to the acclaimed Hustle & Flow. Lazarus (Jackson, Jungle Fever, Pulp Fiction) finds Rae (Ricci, Monster, The Ice Storm) beaten unconscious on the road in front of his backwoods house. After bringing her inside, he learns of her wanton ways and decides to exorcise his own demons by curing Rae of her sexual compulsion. Black Snake Moan could have been terrible, but Brewer takes his story seriously enough to dig into the genuine emotions of such a situation (though along the way he certainly flirts with sexploitation overtones—several scenes look like they were plucked straight out of a hitherto unknown 1970s trash classic). Ricci, Jackson, and the supporting cast (including pop star Justin Timberlake, giving a surprisingly good performance as Rae's boyfriend) treat the characters with respect, honesty, and humor. The result is off-kilter and maybe a little too fond of its sleazy cinematic forbears to truly hit the emotional notes it's after, but Black Snake Moan has considerably more substance than its marketing would suggest. —Bret Fetzer

Beyond Black Snake Moan

The Soundtrack

More Music Stars on DVD

More DVDs with Samuel L. Jackson

Stills from Black Snake Moan (click for larger image)

Paul Brickman Little did Tom Cruise know that he would become a box-office superstar after he cranked up some Bob Seeger and played air guitar in his underwear. But there's more to this 1983 hit than the arrival of a hot young star. Making a stylish debut, writer-director Paul Brickman crafted a subtle satire of crass materialism wrapped in an irresistible plot about a crafty high schooler named Joel (Cruise) who goes into risky business with the beguiling prostitute Lana (Rebecca De Mornay) while his parents are out of town. Joel turns his affluent Chicago-suburb home into a lucrative bordello and forms a steamy personal and professional partnership with Lana, but only as long as the two can avoid the vengeful pimp Guido (Joe Pantoliano) and keep their customers happy. A signature film of the 1980s, Risky Business still holds up thanks to Cruise's effortless charm and the movie's timeless appeal as an adolescent male fantasy. —Jeff Shannon

James L. Brooks For all of its conventional plotting about an obsessive-compulsive curmudgeon (Jack Nicholson) who improves his personality at the urging of his gay neighbor (Greg Kinnear) and a waitress (Helen Hunt) who inspires his best behavior, this is one of the sharpest Hollywood comedies of the 1990s. Nicholson could play his role in his sleep (the Oscar he won should have gone to Robert Duvall for The Apostle), but his mischievous persona is precisely necessary to give heart to his seemingly heartless character, who is of all things a successful romance novelist. As a single mom with a chronically asthmatic young son, Hunt gives the film its conscience and integrity (along with plenty of wry humor), and she also won an Oscar for her wonderful performance. Greg Kinnear had to settle for an Oscar nomination (while cowriter-director James L. Brooks was inexplicably snubbed by Oscar that year), but his work was also singled out in the film's near-unanimous chorus of critical praise. It's questionable whether a romance between Hunt and the much older Nicholson is entirely believable, but this movie's smart enough—and charmingly funny enough—to make it seem endearingly possible. —Jeff Shannon

Robert Meyer Burnett This modest but likeable movie is driven by a sincere love of the screenwriters' childhood kitsch, with Star Trek dominant above all—although Logan's Run, the X-Men, Planet of the Apes, and dozens of other science fiction touchstones of the 1970s have been worked in as well. Even an action figurine of almighty Isis, from the Saturday morning TV show, plays a major role in the plot, if plot is the right word. The story follows two guys on the fringe of the movie industry: Robert (Rafer Wiegel) edits movies like Teen Bimbo Beach Assault, while Mark (Eric McCormack from Will and Grace) is writing a screenplay about a serial killer who murders all the characters from The Brady Bunch. The movie touches on their career struggles but spends most of its time with their floundering love lives, suggesting that their pop-culture programming may not be the best model for life. The actors are clearly enjoying themselves, and the writing makes its innumerable pop references with wit, but what really makes the movie work is William Shatner. Shatner plays himself with affectionate but cutting self-mockery, simultaneously lampooning Star Trek obsessiveness and Hollywood egotism in general. Shatner displays not only a more subtle sense of humor than he's ever shown before, but also a surprising vulnerability. He may have alienated a lot of his fans when he did that Saturday Night Live sketch telling them to get a life ("It was just a TV show!"), but his performance in Free Enterprise may just win them back. —Bret Fetzer

Tim Burton It's enlightening to view Tim Burton's Mars Attacks! as his twisted satire of the blockbuster film Independence Day, which was released earlier the same year, although the movies were in production simultaneously. Burton's eye-popping, schlock tribute to 1950s UFO movies actually plays better on video than it did in theaters. The idea of invading aliens ray gunning the big-name movie stars in the cast is a cleverly subversive one, and the bulb-headed, funny-sounding animated Martians are pretty nifty, but it all seemed to be spread thin on the big screen. On video, however, the movie's kooky humor seems a bit more concentrated. The Earth actors (most of whom get zapped or kidnapped for alien science experiments) include Jack Nicholson, Glenn Close, Annette Bening, Pierce Brosnan, Danny DeVito, Martin Short, Sarah Jessica Parker, Rod Steiger, Michael J. Fox, Lukas Haas, Jim Brown, Tom Jones, and Pam Grier. The digital video disc features an isolated track for Danny Elfman's score, as well as a few other clever and nasty little Martian surprises. —Jim Emerson

Christopher Cain Part of what was touted as a late-1980s revival of Westerns (and you can see how long that lasted), this good-looking, empty-brained film was like a spurs-and-chaps version of a Joel Schumacher movie, filled with pretty faces, prettier imagery, and absolutely no new ideas. The idiotically grinning Emilio Estevez is cast as Billy the Kid, who slowly accumulates a gang of Brat Pack buddies (Lou Diamond Phillips, Kiefer Sutherland, Dermot Mulroney) and fashions them into a group of male models with six-guns. The action is confused and the script is trite, though Terence Stamp is intriguing as the old reprobate who helps the gang get its act together. Followed by an even worse sequel. —Marshall Fine

Marty Callner Dane Cook receives a rock star's welcome from a packed arena in this stand-up concert originally broadcast on HBO. But the jury may still be out on whether Cook is phenomenally funny or simply a phenomenon. He is certainly a master of the new media. Cook has savvily marketed himself on the Internet to his target college-age audience, and they have embraced him as a fellow "bro" and "dude," who would seemingly be awesome to party with. In his timbre and physicality, he has the shaggy, likeable quality of Will Farrell, another frat boy favorite. Cook is a man of his people. At one point, he is interrupted by a drunken Boston Red Sox fan who wants to shake his hand. Cook then leaps off the stage and chases him up the aisle to give him a send-off hug, all the while being clapped on the back and offered high and low fives by the cheering audience. Cook comes complete with arrested development lingo, such as "Here's what drove me banana sandwich," that will no doubt be repeated around the dorm.

Don't look to Cook for satirical insights on politics, the war, or even pop culture. His world view is much narrower. In Vicious Circle he expounds on the pleasures and traps of lying, male crying, being sneezed on, his father's robe, bad relationships, and sundry sexual matters that cannot be printed here. Cook takes awhile to get where he's going, but his digressions are often funnier than the pay offs. He puts the brakes on one story during which he mimes driving a car to remark that if he were actually driving this way, he would be all over the road. During other bits, he parses the different spray modes on Windex, and takes the phrase "being cheated on" literally. And it takes some kind of associative genius to compare a certain female body part to a high school stage theatre curtain. The less than well received Employee of the Month aside, Cook is currently king of the comedy hill. Vicious Circle offers a time capsule look at these heady good times for the great Dane. As for where he goes from here, the good news is that Steve Martin once filled arenas like this. The bad news: So did Andrew Dice Clay. —Donald Liebenson

Martin Campbell A lusty and rousing adventure, this calls to mind those glorious costume dramas produced so capably by the old Hollywood studio system—hardly surprising, in that its title character, a de facto Robin Hood in Old California, provided starring vehicles for Douglas Fairbanks and Tyrone Power, the '50s TV hit, and dozens of serials and features. Zorro, a pop-fiction creation invented by Johnston McCulley in 1918, is given new blood in this fast-moving and engaging version, which actually works as a sequel to the story line in the Fairbanks-Power saga, The Mark of Zorro. A self-assured Anthony Hopkins is Don Diego de la Vega, a Mexican freedom fighter captured and imprisoned just as Spain concedes California to Santa Ana. Twenty years later, he escapes from prison to face down his mortal enemy, a land grabbing governor played with slimy spitefulness by Stuart Wilson. Too old to save the local peasants on his own, he trains bandito Antonio Banderas to take his place. Much swashbuckling ensues as Banderas woos Catherine Zeta-Jones, becomes a better human being, and saves the disenfranchised rabble. Director Martin Campbell wisely instills a measure of frivolity into the deftly choreographed action sequences, while letting a serious tone creep in when appropriate. This covers much ground under the banner of romantic-action-adventure, and it does so most excellently. —Rochelle O'Gorman

Danny Cannon There was so much story left to tell after I Know What You Did Last Summer that the filmmakers brought back all the beloved, surviving characters from the first film for this sequel. Ray (Freddie Prinze Jr.), Julie (Jennifer Love Hewitt), and Julie's white tank top (Jennifer Love Hewitt's white tank top) return to once again face a hook-wielding maniac. Not satisfied merely to repeat a theme, director Danny Cannon and screenwriter Trey Callaway add variation by introducing Karla (Brandy) as Julie's best friend in the whole wide world. Karla and Julie have won a summer trip to the Bahamas with their current infatuations but find that they've arrived at the start of the storm season and that at their hotel "Do Not Disturb" signs should flip to say "R.I.P." One can only hope to hang just such a sign on this repetitive, tedious franchise, especially since this version is less scary than the price of beer in those little hotel room refrigerators. Definite contender for Gratuitous T&A Shot of the Year (it's of Hewitt and that's not meant as a recommendation). —Keith Simanton

Frank Capra Political heavyweights decide that Jefferson Smith (James Stewart), an obscure scoutmaster in a small town, would be the perfect dupe to fill a vacant U.S. Senate chair. Surely this naive bumpkin can be easily controlled by the senior senator (Claude Rains) from his state, a respectable and corrupted career politician. Director Frank Capra fills the movie with Smith's wide-eyed wonder at the glories of Washington, all of which ring false for his cynical secretary (Jean Arthur), who doesn't believe for a minute this rube could be for real. But he is. Capra was repeating the formula of a previous film, Mr. Deeds Goes to Town, but this one is even sharper; Stewart and Arthur are brilliant, and the former cowboy star Harry Carey lends a warm presence to the role of the vice president. Bright, funny, and beautifully paced, Mr. Smith Goes to Washington is Capra's ode to the power of innocence—an idea so potent that present-day audiences may find themselves wishing for a new Mr. Smith in Congress. The 1939 Congress was none too thrilled about the film's depiction of their august body, denouncing it as a caricature; but even today, Capra's jibes about vested interests and political machines look as accurate as ever. —Robert Horton

Joe Carnahan Slick Las Vegas illusionist Buddy "Aces" Israel isn't playing nice. Turns out he's telling mob secrets to the FBI. After a $1 million contract is put out on him Aces tries to pull his greatest disappearing act before a rogues' gallery of ex-cons hit men and smokin' hot assassins tries to rub him out in this dark action comedy that takes no prisoners.System Requirements:Running Time: 109 Mins.Format: DVD MOVIE Genre: ACTION/ADVENTURE Rating: R UPC: 025193226624 Manufacturer No: 61032266

Wiebke von Carolsfeld, Mina Shum, Lyne Charlebois, Lynne Stopkewich, Stacey Stewart Curtis

John Carpenter Titles Included:
Halloween Restored original 1978 film
Halloween Extended Edition Halloween 4 The Return Of Michael Myers
Halloween 5 The Revenge of Michael Myers
Halloween 25 Years Of Terror SPECIAL BONUS DISC Halloween release

Thomas Carter (II) Save the Last Dance enjoyed a profitable release in early 2001, with box-office earnings that exceeded anyone's expectations. Its performance illustrates the staying power of a formulaic movie that avoids the pitfalls and clichés that would otherwise render it forgettable. Since there's nothing new here, you'll appreciate the original quirks in a character-based plot that's just around the corner from Flashdance, and just as familiar. Sara (Julia Stiles) gave up a promising ballet career when her mother was killed while rushing to attend her daughter's crucial audition to Juilliard; Sara blames herself for the accident, and at her new, mostly African American high school in Chicago, she's uncertain of her future.

Derek (Sean Patrick Thomas) has no such doubts; his own future is bright, and his attraction to Sara is immediate; they connect (predictably), and Sara's dormant funk emerges, with Derek's coaching, as she learns hip-hop dancing in a local club. Obligatory subplots are equally routine: Derek's sister (Kerry Washington) is a single mom struggling with her child's absentee father; Derek's best friend (Fredro Starr) feels trapped in his gangsta lifestyle; and Sara's once-estranged father (Terry Kinney) is doing his best to correct past mistakes. Within the confines of this standard follow-your-dream drama, director Thomas Carter capitalizes on a script that allows these characters to be real, intelligent, and thoughtful about their lives and their futures. It's obvious that Stiles's dancing was intercut with that of a professional double, but that illusion hardly matters when the rest of the movie's so earnestly positive and genuine. —Jeff Shannon

Nick Cassavetes When you consider that old-fashioned tearjerkers are an endangered species in Hollywood, a movie like The Notebook can be embraced without apology. Yes, it's syrupy sweet and clogged with clichés, and one can only marvel at the irony of Nick Cassavetes directing a weeper that his late father John—whose own films were devoid of saccharine sentiment—would have sneered at. Still, this touchingly impassioned and great-looking adaptation of the popular Nicholas Sparks novel has much to recommend, including appealing young costars (Ryan Gosling and Rachel McAdams) and appealing old costars (James Garner and Gena Rowlands, the director's mother) playing the same loving couple in (respectively) early 1940s and present-day North Carolina. He was poor, she was rich, and you can guess the rest; decades later, he's unabashedly devoted, and she's drifting into the memory-loss of senile dementia. How their love endured is the story preserved in the titular notebook that he reads to her in their twilight years. The movie's open to ridicule, but as a delicate tearjerker it works just fine. Message in a Bottle and A Walk to Remember were also based on Sparks novels, suggesting a triple-feature that hopeless romantics will cherish. —Jeff Shannon

Zoe R. Cassavetes Croatian born NINA (Aleksandra Vujcic) escapes with her family from their war ravaged homeland to the culturally mixed suburbs of Auckland New Zealand. Smothered by the controlling love of her volatile father IVAN (Rade Serbedzija) Nina finds tender romance when she falls in love with EDDIE (Julian Arahanga) a New Zealand native (Maori). Frustrated Nina knows there is no chance that she and E

Peter Cattaneo A group of unemployed Yorkshire steelworkers hopes to replenish their empty wallets and boost their flagging morale by following in the footsteps of the Chippendale's strippers. These guys are hardly what you would think of as buff, and few can even dance. They simply take these problems in stride, because these are men with a plan—displaced, unemployed, and feeling suffocated by the women in their lives, they just want to earn a little respect. The dialogue and interaction between these men will have you screeching with laughter, but of equal importance is their sense of camaraderie and caring. First-time director Peter Cattaneo is a name to watch for; he easily conveys the sheer humanity of these people in their small town with their sad stories and irresistible sense of optimism. —Rochelle O'Gorman

Larry Charles It takes a certain kind of comic genius to create a character who is, to quote the classic Sondheim lyric, appealing and appalling. But be forewarned: Borat is not "something for everyone." It arrives as advertised as one of the most outrageous, most offensive, and funniest films in years. Kazakhstan journalist Borat Sagdiyev (Sacha Baron Cohen reprising the popular character from his Da Ali G Show), leaves his humble village to come to "U.S. of A" to film a documentary. After catching an episode of Baywatch in his New York hotel room, he impulsively scuttles his plans and, accompanied by his fat,

hirsute producer (Hardy to his Laurel), proceeds to California to pursue the object of his obsession, Pamela Anderson. Borat is not about how he finds America; it's about how America finds him in a series of increasingly cringe-worthy scenes. Borat, with his '70s mustache, well-worn grey suit, and outrageously backwards attitudes (especially where Jews are concerned) interacts with a cross-section of the populace, catching them, a la Alan Funt on Candid Camera, in the act of being themselves. Early on, an unwitting humor coach advises Borat about various types of jokes. Borat asks if his brother's retardation is a ripe subject for comedy. The coach patiently replies, "That would not be funny in America." NOT! Borat is subversively, bracingly funny. When it comes to exploring uncharted territory of what is and is not appropriate or politically correct, Borat knows no boundaries, as when he brings a fancy dinner with the southern gentry to a halt after returning from the bathroom with a bag of his feces ("The cultural differences are vast," his hostess graciously/patronizingly offers), or turns cheers to boos at a rodeo when he calls for bloodlust against the Iraqis and mangles "The Star Spangled Banner."

Success, John F. Kennedy once said, has a thousand fathers. A paternity test on Borat might reveal traces of Bill Dana's Jose Jimenez, Andy Kaufman, Michael Moore, The Jamie Kennedy Xperiment, and Jackass. Some scenes seem to have been staged (a game Anderson, whom Borat confronts at a book signing, was reportedly in on the setup), but others, as the growing litany of lawsuits attests, were not. All too real is Borat's encounter with loutish Southern frat boys who reveal their sexism and racism, and the disturbing moment when he asks a gun store owner what gun he would recommend to "kill a Jew" (a Glock automatic is the matter-of-fact reply). Comedy is not pretty, and in Borat it can get downright ugly, as when Borat and his producer get jiggly with it during a nude fight that spills out from their hotel room into the hallway, elevator, lobby and finally, a mortgage brokers association banquet. High-five! —Donald Liebenson

Beyond Borat

All things Sacha Baron Cohen

Borat Apparel

Borat Soundtrack

Stills from Borat (click for larger image)

Larry Charles Comedian & tv host bill maher takes a pilgrimage across the globe on a mind-opening journey into the ultimate taboo: questioning religion. Studio: Lions Gate Home Ent. Release Date: 02/17/2009 Starring: Bill Maher Run time: 101 minutes Rating: R

Peter Chelsom The irresistible casting of John Cusack and Kate Beckinsale highlights this predictable romantic comedy, which combines the romantic yearning of An Affair to Remember and the New York charm of You've Got Mail. It all begins "a few years ago," when New Yorker Jonathan (Cusack) meets Brit beauty Sara (Beckinsale). They share a few perfect hours together before parting ways, leaving future encounters to her quirky obsession with fate. "A few years later," they're about to marry their respective fiancés (reluctantly, of course), and urgently hoping for destiny to bring them back together. Under the casual direction of Peter Chelsom (barely recovering from Town & Country), this starry-eyed romance offers no surprises, but it has a comforting familiarity, made warmer by the easy chemistry of the leads, with obligatory best-friend support by Molly Shannon and long-time Cusack pal Jeremy Piven. It's hokey, but die-hard romantics are sure to be forgiving. —Jeff Shannon

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

Chuck Cirino The sadistically sexy Queen Sartanika has a kinky plan for Earth’s conquest and tries to enlist Top Heavy, a — shall we say — buoyant all-girl rock band, to do her dirty work. Can these patriotic Earth girls match their wits with the evil Queen before the last reel?

Jim Clark (II)

Zoe Clarke-Williams A breath of fresh air in a stale genre, Zoe Clarke-Williams's canny look at the catty world of college cliques is the smartest dissection of the complex world of class envy, social acceptance, and the seduction of privilege since Heathers. But this drama plays it for tragedy. Local working-class girl Mia Kirshner is transformed from social outcast to campus Cinderella and adopted into the hedonistic party world of a trio of rich fun-loving sorority princesses (Meredith Monroe, Dominique Swain, and Rachel True), and comes out the other end in a drug-induced coma. Confidently directed and elegantly constructed in puzzle-piece flashbacks, this sensitive, sympathetic, smartly made drama is refreshingly free of glib moralizing, the rare young-adult film that twists the usual clichés and leaves its audience with more questions than answers. The DVD also features an audio commentary track by director Zoe Clarke-Williams. —Sean Axmaker

Robert Clouse The last film completed by Bruce Lee before his untimely death, Enter the Dragon was his entrée into Hollywood. The American-Hong Kong coproduction, shot in Asia by American director Robert Clouse, stars Lee as a British agent sent to infiltrate the criminal empire of bloodthirsty Asian crime lord Han (Shih Kien) through his annual international martial arts tournament. Lee spends his days taking on tournament combatants and nights breaking into the heavily guarded underground fortress, kicking the living tar out of anyone who stands in his way. The mix of kung fu fighting (choreographed by Lee himself) and James Bond intrigue (the plot has more than a passing resemblance to Dr. No) is pulpy by any standard, but the generous budget and talented cast of world-class martial artists puts this film in a category well above Lee's primitive Hong Kong productions. Unfortunately he's off the screen for large chunks of time as American maverick competitors (and champion martial artists) John Saxon and Jim Kelly take center stage, but once the fighting starts Lee takes over. The tournament setting provides an ample display of martial arts mastery of many styles and climaxes with a huge free-for-all, but the highlight is Lee's brutal one-on-one with the claw-fisted Han in the dynamic hall-of-mirrors battle. Lee narrows his eyes and tenses into a wiry force of sinew, speed, and ruthless determination. —Sean Axmaker

B.B. Coals

Ethan Coen, Joel Coen Only Joel and Ethan Coen, the fraternal director and producer team behind art-house hits such as The Big Lebowski and Fargo and masters of quirky and ultra-stylish genre subversion, would dare nick the plot line of Homer's Odyssey for a comic picaresque saga about three cons on the run in 1930s Mississippi. Our wandering hero in this case is one Ulysses Everett McGill, a slick-tongued wise guy with a thing about hair pomade (George Clooney, blithely sending up his own dapper image) who talks his chain-gang buddies (Coen-movie regular John Turturro and newcomer Tim Blake Nelson) into lighting out after some buried loot he claims to know of. En route they come up against a prophetic blind man on a railroad truck, a burly, one-eyed baddie (the ever-magnificent John Goodman), a trio of sexy singing ladies, a blues guitarist who's sold his soul to the devil, a brace of crooked politicos on the stump, a manic-depressive bank robber, and—well, you get the idea. Into this, their most relaxed film yet, the Coens have tossed a beguiling ragbag of inconsequential situations, a wealth of looping, left-field dialogue, and a whole stash of gags both verbal and visual. O Brother (the title's lifted from Preston Sturges's classic 1941 comedy Sullivan's Travels) is furthermore graced with glowing, burnished photography from Roger Deakins and a masterly soundtrack from T-Bone Burnett that pays loving homage to American '30s folk styles—blues, gospel, bluegrass, jazz, and more. And just to prove that the brothers haven't lost their knack for bad-taste humor, we get a Ku Klux Klan rally choreographed like a cross between a Nuremberg rally and a Busby Berkeley musical. —Philip Kemp

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

Joel Coen, Ethan Coen The Coen brothers (Raising Arizona, Fargo) have become the most consistently original filmmakers in the land. In a salute/reworking of the fast-talking comedies of the '40s, we follow Norville Barnes (Tim Robbins) and his amazing rise to the top. But he's only a puppet for the evil Sidney J. Mussburger (Paul Newman), who wants the company for himself. The Coens' design is the real star, and their first big-budget film will stimulate movie fans. The story weakens in the middle, but you will find very few films that move with this much imagination. As a Kate Hepburn hybrid, Jennifer Jason Leigh is wonderful in an almost unplayable role. The less you know about the film, the better it plays, so just think of it as How to Succeed in Business Without Really Trying mixed with Brazil and every journalistic drama made before 1960. Cowritten by Sam Raimi. —Doug Thomas

Joel and Ethan Coen After the dark brilliance of No Country for Old Men, Burn After Reading may seem like a trifle, but few filmmakers elevate the trivial to art quite like Joel and Ethan Coen. Inspired by Stansfield Turner's Burn Before Reading, the comically convoluted plot clicks into gear when the CIA gives analyst Osborne Cox (John Malkovich) the boot. Little does Cox know his wife, Katie (Tilda Swinton, riffing on her Michael Clayton character), is seeing married federal marshal Harry (George Clooney, Swinton's Clayton co-star, playing off his Syriana role). To get back at the Agency, Cox works on his memoirs. Through a twist of fate, fitness club workers Linda (Frances McDormand) and Chad (Brad Pitt in a pompadour that recalls Johnny Suede) find the disc and try to wrangle a "Samaratin tax" out of the surly alcoholic. An avid Internet dater, Linda plans to use the money for plastic surgery, oblivious that her manager, Ted (The Visitor's Richard Jenkins), likes her just the way she is. Though it sounds like a Beltway remake of The Big Lebowski, the Coen entry it most closely resembles, this time the brothers concentrate their energies on the myriad insecurities endemic to the mid-life crisis—with the exception of Chad, who's too dense to share such concerns, leading to the funniest performance of Pitt's career. If Lebowski represented the Coen's unique approach to film noir, Burn sees them putting their irresistibly absurdist stamp on paranoid thrillers from Enemy of the State to The Bourne Identity. —Kathleen C. Fennessy

Stills from Burn After Reading (Click for larger image)

Franklin Cofod From days of long ago, from uncharted regions of the universe, comes a legend. The legend of Voltron: Defender of the Universe! A mighty robot, loved by good, feared by evil. A force of space explorers, Kieth, Lance, Hunk, Pidge, and Sven are sent to find the last princess of planet Arus, Allura, and the keys to Voltron. Together they find the five robot lions that make up the legendary robot. King Zarkon, an evil warlord, rains down destruction across the universe. But our heroes form Voltron at the last moment, and begin a new war against his cruel empire.

Michael Coldewey, Michel Lemire Instead of cartoon vignettes that chronicle adolescent fantasies of sex and drugs in the near future, this sequel to 1981's Heavy Metal follows but one story. On a distant planet, a fountain of eternal life has been locked away by a race of supposedly wise people, who have buried the only key deep in space. If found, the key will give directions to the planet, but will also drive the finder crazy—which is exactly what happens. On his way to the planet of youth, Tyler (voice of venerable character actor Michael Ironside) wipes out most of a space colony and kidnaps a sexy woman. His big mistake is that he doesn't kill the woman's sister, Julie (voice of B-movie actress Julie Strain), who then sets out on a mission of rescue and revenge. Created with an uneasy blend of computer and traditional cel animation, Heavy Metal 2000 is utterly predictable. Even the sex scenes are bland and politically correct, eschewing the joy of dirty sex in favor of glimpses of T&A and lots of violence and gore. Of course, one big reason for this movie is to supplement its heavy metal soundtrack, which includes Pantera, Monster Magnet, MDFMK, Insane Clown Posse, Billy Idol, and others. It's probably better to think of it more as a string of music videos than as a story. —Andy Spletzer

Chris Columbus Way before she grabbed an Oscar nomination for her searing performance as a world-weary prostitute in Leaving Las Vegas, Elisabeth Shue was known as one of the squeaky-clean actresses of the '80s. Having made a splash in The Karate Kid and the '60s-nostalgia TV series Call to Glory, Shue cemented her good-girl reputation with the charming but badly titled Adventures in Babysitting. Set in the John Hughes-style suburbs of Chicago, the titular adventures follow babysitter Chris (Shue), who agrees to watch the Anderson kids (Keith Coogan and Maia Brewton) when her boyfriend cancels their anniversary date. All is quiet on the home front until Chris is called upon to rescue her best friend (Penelope Ann Miller, also doing good-girl duty) from the seedy downtown bus station. She can't leave the kids, and she can't leave her friend alone in the big bad city, so she packs everyone in the station wagon and heads into Chicago. Screwball craziness begins as they encounter car thieves, knife-wielding gangs, gun-toting truck drivers, and, worst of all, Chris's duplicitous boyfriend. It's hardly mature entertainment, but Shue makes it work; when she wins over the audience at a blues club with her improv singing, you'll be won over, too. In his directorial debut, Chris Columbus (who later went on to helm the sap-fests Mrs. Doubtfire and Home Alone) gently skewers the suburbia white-bread mindset of the main characters, and plays up the comedy over the schmaltz with a subtlety of which he now seems incapable; the near romance between Shue and Coogan is played lightly and adorably. Look for brief appearances by art-house faves Lolita Davidovich as a college party girl and Vincent D'Onofrio as an unlikely savior. —Mark Englehart

Chris Columbus Here's an event movie that holds up to being an event. This filmed version of Harry Potter and the Sorcerer's Stone, adapted from the wildly popular book by J.K. Rowling, stunningly brings to life Harry Potter's world of Hogwarts, the school for young witches and wizards. The greatest strength of the film comes from its faithfulness to the novel, and this new cinematic world is filled with all the details of Rowling's imagination, thanks to exuberant sets, elaborate costumes, clever makeup and visual effects, and a crème de la crème cast, including Maggie Smith, Richard Harris, Alan Rickman, and more. Especially fine is the interplay between Harry (Daniel Radcliffe) and his schoolmates Ron (Rupert Grint) and Hermione (Emma Watson), as well as his protector, the looming Hagrid (Robbie Coltrane). The second-half adventure—involving the titular sorcerer's stone—doesn—doesn't translate perfectly from page to screen, ultimately because of the film's fidelity to the novel; this is a case of making a movie for the book's fans, as opposed to a transcending film. Writer Steve Kloves and director Chris Columbus keep the spooks in check, making this a true family film, and with its resourceful hero wide-eyed and ready, one can't wait for Harry's return. Ages 8 and up. —Doug Thomas

Chris Columbus First sequels are the true test of an enduring movie franchise, and Harry Potter and the Chamber of Secrets passes with flying colors. Expanding upon the lavish sets, special effects, and grand adventure of Harry Potter and the Sorcerer's Stone, Harry's second year at Hogwarts School of Witchcraft and Wizardry involves a darker, more malevolent tale (parents with younger children beware), beginning with the petrified bodies of several Hogwarts students and magical clues leading Harry (Daniel Radcliffe), Ron (Rupert Grint), and Hermione (Emma Watson) to a 50-year-old mystery in the monster-laden Chamber of Secrets. House elves, squealing mandrakes, giant spiders, and venomous serpents populate this loyal adaptation (by Sorcerer's Stone director Chris Columbus and screenwriter Steve Kloves), and Kenneth Branagh delightfully tops the supreme supporting cast as the vainglorious charlatan Gilderoy Lockhart (be sure to view past the credits for a visual punchline at Lockhart's expense). At 161 minutes, the film suffers from lack of depth and uneven pacing, and John Williams' score mostly reprises established themes. The young, fast-growing cast offers ample compensation, however, as does the late Richard Harris in his final screen appearance as Professor Albus Dumbledore. Brimming with cleverness, wonderment, and big-budget splendor, Chamber honors the legacy of J.K. Rowling's novels. —Jeff Shannon

Bill Condon One of the best films of 2004, Kinsey pays tribute to the flawed but honorable man who revolutionized our understanding of human sexuality. As played by Liam Neeson in writer-director Bill Condon's excellent film biography, Indiana University researcher Alfred Kinsey was so consumed by statistical measurements of human sexual activity that he almost completely overlooked the substantial role of emotions and their effect on human behavior. This made him an ideal researcher and science celebrity who revealed that sexual behaviors previously considered deviant and even harmful (homosexuality, oral sex, etc.) are in fact common and essentially normal in the realm of human experience, but whose obsession with scientific method frequently placed him at odds with his understanding wife (superbly played by Laura Linney) and research assistants. In presenting Kinsey as a driven social misfit, Condon's film gives Neeson one of his finest roles while revealing the depth of Kinsey's own humanity, and the incalculable benefit his research had on our collective sexual enlightenment. With humor, charm, and intelligence, Kinsey shines a light where darkness once prevailed. —Jeff Shannon

Sofia Coppola Previously criticized for her marginal acting skills, Sofia Coppola made her directorial debut with The Virgin Suicides and silenced her detractors. No amount of coaching from her director father (Francis Coppola) or husband (Spike Jonze) could have guaranteed a film this assured, and in adapting Jeffrey Eugenides's novel, Coppola demonstrates the sensitivity and emotional depth that this material demands. Surely the pain of youth and public criticism found its way into her directorial voice; in the story of four sisters who self-destruct under the steady erosion of their youthful ideals, one can clearly sense Coppola's intimate connection to the inner lives of her characters.

Played in a delicate minor key, the film is heartbreaking, mysterious, and soulfully funny, set in a Michigan suburb of the mid-1970s but timeless and universal to anyone who's been a teenager. The four surviving Lisbon sisters lost a sibling to suicide, and as its title suggests, the film will chart their mutual course to oblivion under the vigilance of repressive parents (Kathleen Turner and James Woods, perfectly cast). But The Virgin Suicides is more concerned with life in that precious interlude of adolescence, when the Lisbon girls are worshipped by the neighborhood boys, their notion of perfection epitomized by Lux (Kirsten Dunst) and her storybook love for high-school stud Trip (Josh Hartnett). Unfolding at the cusp of innocence and sexual awakening, and recalled as a memory, The Virgin Suicides is, ultimately, about the preservation of the Lisbon sisters by their own deaths—suspended in time, polished to perfection, and forever untainted by adulthood. —Jeff Shannon

Sofia Coppola Like a good dream, Sofia Coppola's Lost in Translation envelops you with an aura of fantastic light, moody sound, head-turning love, and a feeling of déjà vu, even though you've probably never been to this neon-fused version of Tokyo. Certainly Bob Harris has not. The 50-ish actor has signed on for big money shooting whiskey ads instead of doing something good for his career or his long-distance family. Jetlagged, helplessly lost with his Japanese-speaking director, and out of sync with the metropolis, Harris (Bill Murray, never better) befriends the married but lovelorn 25-year-old Charlotte (played with heaps of poise by 18-year-old Scarlett Johansson). Even before her photographer husband all but abandons her, she is adrift like Harris but in a total entrapment of youth. How Charlotte and Bill discover they are soul mates will be cherished for years to come. Written and directed by Coppola (The Virgin Suicides), the film is far more atmospheric than plot-driven: we whiz through Tokyo parties, karaoke bars, and odd nightlife, always ending up in the impossibly posh hotel where the two are staying. The wisps of bittersweet loneliness of Bill and Charlotte are handled smartly and romantically, but unlike modern studio films, this isn't a May-November fling film. Surely and steadily, the film ends on a much-talked-about grace note, which may burn some, yet awards film lovers who "always had Paris" with another cinematic destination of the heart. —Doug Thomas

Nicholas Corea Anchor Bay's Incredible Hulk double-disc set offers The Incredible Hulk Returns (1988) and The Trial of the Incredible Hulk (1989), the first two of three made-for-TV movies featuring the Marvel Comics monster hero that aired after the CBS series' demise in 1982. Both discs also include a considerable amount of supplemental material, including interviews with star Lou Ferrigno and comic book legend Stan Lee. Bill Bixby returns as tormented scientist David Banner (in addition to executive producing Returns and directing Trial), as does Ferrigno as his green-skinned alter ego. In both titles, they are paired with other Marvel creations; in Returns, Banner is joined by the Mighty Thor to thwart industrial espionage, and in Trial, he's defended by blind lawyer Matt Murdock (Rex Smith), a.k.a. Daredevil. Bixby's always-credible presence brings believability to the fanciful storylines, and both features have the right mix of drama and action that should satisfy fans of the series and its graphic origins alike. —Paul Gaita

George P. Cosmatos This Western has become a modest cult favorite since its release in 1993, when the film was met with mixed reviews but the performances of Kurt Russell (as Wyatt Earp) and especially Val Kilmer, for his memorably eccentric performance as the dying gunslinger Doc Holliday, garnered high praise. The movie opens with Wyatt Earp trying to put his violent past behind him, living happily in Tombstone with his brothers and the woman (Dana Delany) who puts his soul at ease. But a murderous gang called the Cowboys has burst on the scene, and Earp can't keep his gun belt off any longer. The plot sounds routine, and in many ways it is, but Western buffs won't mind a bit thanks to a fine cast and some well-handled action on the part of Rambo director George P. Cosmatos, who has yet to make a better film than this. —Jeff Shannon

Michael Cristofer Original Sin belongs in the "so bad it's good" category of languid potboilers, offering enough nudity, sexual chemistry, and far-fetched plotting to make it an enjoyable lazy-day diversion. Based on Cornell Woolrich's novel Waltz into Darkness (previous filmed by François Truffaut as Mississippi Mermaid) and set in turn-of-the-century Cuba, the film traces a tailspin of amorous obsession when coffee plantation owner Luis (Antonio Banderas) discovers that his American mail-order bride (Angelina Jolie) is not the plain wife he'd expected, but a beautiful, scheming thief who's after his fortune. The movie asserts that love is truly blind, but absurd twists of plot make Luis appear more stupid than passionate. Writer-director Michael Cristofer fared better with Jolie in Gia; here, he's made another good-looking film about beautiful people, but its plot just can't be taken seriously. —Jeff Shannon

Michael Cristofer Eight glossy, good-looking young actors, including Sean Patrick Flanery (Powder, Suicide Kings), Jerry O'Connell (Stand by Me, Scream 2), Amanda Peet (One Fine Day), Tara Reid (American Pie, Urban Legend), and Brad Rowe (Billy's Hollywood Screen Kiss). Women in their underwear and short, tight dresses; men in suits. Men's bare buttocks and women's bare breasts (at least in the unrated version). Characters talking earnestly to the audience about blowjobs, domination, anal penetration, one-night stands, and the difference between sex and love. Lots and lots of alcohol consumption in a cavernous, neon-lit club. A bloody fistfight. The plot, to the degree there is one, concerns an accusation of rape, which is shown from his-and-her points of view. People similar to these characters probably do exist in real life, but there's no reason to make a movie about them. Everyone involved in making Body Shots should have to do 100 hours of community service to make up for the time they've stolen from viewers' lives. The script and direction are particularly banal and self-important. Vacuous. —Bret Fetzer

David Cronenberg Adapted from the controversial novel by J.G. Ballard, Crash will either repel or amaze you, with little or no room for a neutral reaction. The film is perfectly matched to the artistic and intellectual proclivities of director David Cronenberg, who has used the inspiration of Ballard's novel to create what critic Roger Ebert has described as "a dissection of the mechanics of pornography." Filmed with a metallic color scheme and a dominant tone of emotional detachment, the story focuses on a close-knit group of people who have developed a sexual fetish around the collision of automobiles. They use cars as a tool of arousal, in which orgasm is directly connected to death-defying temptations of fate at high speeds. Ballard wrote his book to illustrate the connections between sex and technology—the ultimate postmodern melding of flesh and machine—and Cronenberg takes this theme to the final frontier of sexual expression. Holly Hunter, James Spader, and Deborah Unger are utterly fearless in roles that few actors would dare to play, and their surrender to Cronenberg's vision makes Crash an utterly unique and challenging film experience. It's rated NC-17, so don't say you weren't warned! —Jeff Shannon

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

Cameron Crowe

Cameron Crowe Vanilla Sky reunites director Cameron Crowe (Jerry Maguire) with über-playboy Tom Cruise, adds another sexy Cruz (Penélope) and Cameron Diaz for good measure, and delivers a wildly entertaining, bizarre venture into erotic science fiction. Adapted near exactly from Spanish filmmaker Alejandro Amenábar's 1997 romantic thriller Open Your Eyes, the film follows David Aames (Cruise) as he falls from his graceful Manhattan perch of inordinate wealth, good looks, and newfound love with Sofia (Cruz) because of severe facial disfigurement in a car accident caused by a suicidal ex-lover (Diaz). What at first promises to be a conventional allegory of redemption via true love is turned on its head as Cruise's character, reduced to wearing a latex mask and spurned by his friends, wins back his princess only after a miracle of plastic surgery restores his former beauty. A series of plot twists follows as waking life, technological advances, and nightmares flip-flop to dizzying effect and David ultimately comes face to face with his own mortality. Despite a final conceit to some vague morality, the appeal of the film is the wonderfully callous message conveyed by the rest of it (money and physical beauty equal happiness) through an unabashed vanity perfectly embodied by Cruise and Cruz. A delicious, decadent treat. —Fionn Meade

Billy Crystal 61* is an endearing ode to the baseball days of yore when the press was the enemy, salaries were in check, and breaking records with bat and glove took on Ruthian proportions. In 1961 baseball expanded its season from 154 games to 162, allowing weaker pitching into the major leagues and two New York Yankees teammates—the colorless Roger Maris and golden boy Mickey Mantle—to make an assault on the sport's ultimate record: Babe Ruth's 60 home runs. To add to the stew, baseball commissioner Ford Frick announced any record set in the last eight games of the season wouldn't count toward the official record; records had to be achieved in 154 games.

Director Billy Crystal guarantees success for his movie in the perfect casting of the leads. Barry Pepper (Saving Private Ryan's religious sniper) is deft as Maris, and Thomas Jane is a perfect Mantle, a superman in a Yankee uniform. Despite the differences between family man Maris and hard-living Mantle, they form a rewarding friendship amid the media and fan frenzy. The shy Maris took the brunt of the storm, even facing boo-birds in his home stadium. Crystal and first-time writer Hank Steinberg keep the pace moving quickly between the field, the locker room, the press box, and the home front. The film never tries to dazzle with more than the facts (and it softens Mantle up a bit), yet it belongs on the short list of grand baseball movies. —Doug Thomas

Alfonso Cuarón In Harry Potter and the Prisoner of Azkaban, Harry, Ron and Hermione, now teenagers, return for their third year at Hogwarts, where they are forced to face escaped prisoner, Sirius Black, who poses a great threat to Harry. Harry and his friends spend thei

Alfonso Cuarón, Carlos Cuarón Plenty of juicy "s" words apply to And Your Mother Too: sexy, sweet, subtle, sad, surprising, superb... and did we say sexy? With enough male and female nudity to qualify as softcore porn—but deserving none of the stigma attached to that label—this vibrant coming-of-age road movie is guaranteed to jumpstart any viewer's libido. Frank treatment of its characters' burgeoning sexuality makes this unrated film a real eye-opener, but it's never prurient or juvenile. Rather, the three-way odyssey of two 17-year-old Mexican boys (Gael García Bernal, Diego Luna) and a 28-year-old Spanish beauty (Maribel Verdú) is energetic and affirmative, while acknowledging that relationships—and sexual adventures—rarely develop without a hitch or two (or three). Filmed in sequence by Alfonso Cuarón (Great Expectations), and shot with invigorating natural style, this refreshing comedy-drama employs an omniscient narrator to reflect upon precious stolen moments, weaving three lives into a memorable tapestry of fun, friendship, and fate. —Jeff Shannon

Frank Darabont When this popular prison drama was released in 1994, some critics complained that the movie was too long (142 minutes) to sustain its story. Those complaints miss the point, because the passage of time is crucial to this story about patience, the squeaky wheels of justice, and the growth of a life-long friendship. Only when the film reaches its final, emotionally satisfying scene do you fully understand why writer-director Frank Darabont (adapting a novella by Stephen King) allows the story to unfold at its necessary pace, and the effect is dramatically rewarding. Tim Robbins plays a banker named Andy who's sent to Shawshank Prison on a murder charge, but as he gets to know a life-term prisoner named Red (Morgan Freeman), we realize there's reason to believe the banker's crime was justifiable. We also realize that Andy's calm, quiet exterior hides a great reserve of patience and fortitude, and Red comes to admire this mild-mannered man who first struck him as weak and unfit for prison life. So it is that The Shawshank Redemption builds considerable impact as a prison drama that defies the conventions of the genre (violence, brutality, riots) to illustrate its theme of faith, friendship, and survival. Nominated for seven Academy Awards including Best Picture, Actor, and Screenplay, it's a remarkable film that signaled the arrival of a promising new filmmaker—a film that many movie lovers count among their all-time favorites. —Jeff Shannon

Gregory Dark

Michael Davis (II) Self-described "tragically glib" college freshman Jonathan Tucker finds true love in a girls' dorm elevator during a blackout, but when he forgets to get her name he has 100 suspects to sift through, one by one! It may sound like the premise of just another teen sex farce, but writer-director Michael Davis makes it the starting point of the boy's getting of wisdom. Amiable young star Tucker brings an excited and endearing innocence to his journey, and Emmanuelle Chriqui is a delight as the "promiscuous" girl who teaches him a thing or three about crippling stereotypes. Larisa Oleynik, Jaime Pressly, Marissa Ribisi, and Katherine Heigl are just a few of the other girls who help him along. 100 Girls is a refreshingly frank, funny, and sexy exploration of the dynamics of young men and women and the power of first impressions, reputations, and expectations. —Sean Axmaker

Michael Davis (II)

Tamra Davis Cannabis comedy doesn't get more juvenile than this pro-pot goof about three stoners who come to the rescue of a fourth buddy when he's arrested for feeding a lethal dose of junk food to a diabetic police horse. Kenny (Harland Williams) is sent to jail, and to rescue him from the almost inevitable trauma of homosexual rape (giving you some idea of this movie's level of humor), his buddies set out to raise his $100,000 bail by selling high-grade weed ripped off from a pharmaceutical research lab. That's about it for the plot; the rest of the movie's a parade of marijuana jokes and amusing pot-friendly cameos by the likes of Snoop Dog, Willie Nelson, and Janeane Garofalo. As two of the bong-hitting buddies, Jim Breuer (from Saturday Night Live) and comedian Dave Chappelle do their best to disguise the movie's lack of inspiration. But no matter how hard they try to milk laughs from the one-joke premise, they can't stop the movie's title from being an apt description of the movie itself. — Jeff Shannon

Ed Decter Aimed at teens with numb senses of humor, The New Guy earns its chuckles mostly by accident. Most of the comedy is DOA, although the cast—especially DJ Qualls in the title role—possesses a modicum of scrappy charm. DJ plays a "blip" on his high school’s social radar, briefly jailed for chronic misbehavior and mentored in coolness by a fellow inmate (Eddie Griffin), who becomes the funky "new guy" at a new school, where he’s worshipped as a mysterious hipster and attracts the hottest cheerleader (Eliza Dushku). Directed without a shred of inspiration (by a cowriter of There’s Something About Mary) and looking like a drab 16-millimeter industrial film, the movie would be a waste of time were it not for its abiding cheerfulness, rock-star cameos (Henry Rollins, Gene Simmons, Tommy Lee), Lyle Lovett as DJ’s dad, and a fresh cast that almost makes this lowbrow mess worthwhile. —Jeff Shannon

Howard Deutch A MAN WHO MAKES HIS LIVING CONVINCING WOMEN TO RUN BACK INTO THE ARMS OF THE MEN THEY HAVE RECENTLY DUMPED IS HIRED BY HIS BEST FRIEND TO TAKE OUT THE BEAUTY HE LONGS TO WIN BACK.

vin diesel Vin Diesel is no James Bond, and he doesn't want to be. That's why XXX announced Diesel as the adrenalin-junkie Bond of the PlayStation generation, copying the Bond formula so shamelessly that this action-packed silliness would be a Bond movie if it starred Pierce Brosnan. Reuniting Diesel with his Fast and the Furious director Rob Cohen, XXX has an attitude (if not a brain) all its own, plucking Diesel's Xander Cage from his celebrity as an extreme sports renegade, recruited by a National Security Agency big shot (Samuel L. Jackson) to foil a nasty Czech villain (Marton Csokas) who's eager to depopulate Prague with remote-controlled biological weaponry. Toss in a sulky, sultry Russian agent (Asia Argento) and you've got extreme Bond-age for anyone who thinks tuxedos are passé. With a handful of eye-popping action sequences, XXX launched a movie franchise with a cool guy, another cool muscle car, and plenty of box-office sizzle. —Jeff Shannon

Ken Dixon A pair of bikini-clad babes escape from a deep-space prison ship and crash-land on a remote jungle planet. They're greeted by a pair of bickering robots, two other stranded travelers, and a flamboyant hunter who's grown bored of wild animals and prefers to pick off his guests in nightly adventures. "You've got spirit. This will be fun," he says, smiling wickedly while sizing up his latest prey. While the film is never quite as campy as its title would suggest, this trashy remake of The Most Dangerous Game delivers on everything else: studio-bound jungle chases through mist-shrouded sets, B-movie starlets in skimpy outfits, medieval castles in the technologically advanced future, and the obligatory succession of topless scenes. Shakespeare this ain't, and frankly writer-director-producer Ken Dixon can't summon the barest hint of style to enliven the usual clichés, but the comic bluntness serves its purpose, and Dixon does deliver striking sets and a few slick special effects that belie his meager budget. Cindy Beal and Elizabeth Kaitan play the bodacious fugitives, and kittenish cult actress Brinke Stevens costars as a previously grounded babe in reserve. —Sean Axmaker

David Dobkin With Vince Vaughn and Owen Wilson as a pair of brazen wedding crashers, this buddy/romantic comedy milks a few big laughs from its foolproof premise. Under the direction of David Dobkin (who previously worked with Wilson on Shanghai Knights), the movie ranges from bawdy romp to mushy romance, and that tonal identity crisis curtails the overall hilarity. But when the well-teamed costars are firing on all pistons with fast-paced dialogue and manic situations, belly laughs are delivered at a steady clip. Things get complicated when the guys infiltrate the family of the Treasury Secretary (Christopher Walken), resulting in a romantic pair-off between Vaughn and the congressman's oversexed daughter Gloria (Isla Fisher) while Wilson sincerely woos another daughter, Claire (Rachel McAdams), who's unhappily engaged to an Ivy League cheater (Bradley Cooper). Walken is more or less wasted in his role, but Jane Seymour and Henry Gibson make amusing appearances, and a surprise guest arrives late in the game for some over-the-top scene-stealing. It's all a bit uneven, but McAdams (considered by some to be "the next Julia Roberts") is a pure delight, and with enough laughs to make it easily recommended, Wedding Crashers will likely find its place on DVD shelves alongside other flawed but enjoyable R-rated comedies that embrace a naughtier, nastier brand of humor with no need for apologies. —Jeff Shannon

On the DVD
The "Uncorked" edition of Wedding Crashers adds about 8 minutes of footage to the theatrical release. Of chief interest are extended beach and bathroom scenes between Vince Vaughn and Isla Fisher, and Vaughn's extended confession to Father O'Neil (Henry Gibson), but there are also new scenes featuring Keir O'Donnell as the eccentric Todd and Ellen Albertini Dow as the potty-mouthed grandmother. This edition is billed as unrated because it wasn't resubmitted to the MPAA, but the sexier bathroom scene and coarser confession aren't particularly raunchier than the original film, and there's no additional nudity. You can watch the Uncorked edition once to see the new footage, but for subsequent viewings you'll probably choose to stick with the theatrical release, which is also included on the DVD.

Bonus features consist of two very good commentary tracks, one by director David Dobkin and another by Vaughn and Owen Wilson. Dobkin's is more technically informative, and he specifically discusses why the added scenes were originally cut. Vaughn and Wilson are a little more subdued than might be expected, but they share some laughs, recall some material that was left out, and wander into irrelevant territory such as football and Wilson's dog. Other features include four deleted scenes with optional commentary by Dobkin, and two featurettes covering the making of the film (including the logistics of staging five different weddings, and interviews with the "magic and balloon consultant") and Vaughn and Wilson's meandering discussion of "the rules" of wedding crashing. For a more organized recap, there's a 24-screen text-only list of all the rules. The opening menu is clever, but slow to load after you've watched it the first time. —David Horiuchi

Vince Vaughn's Movies

Why We Love Rachel McAdams

Owen Wilson's Movies

The Soundtrack

The Return of Crass Comedy

The 40-Year-Old Virgin

Peter Docter, David Silverman, Lee Unkrich The folks at Pixar can do no wrong with Monsters, Inc., the studio's fourth feature film, which stretches the computer animation format in terms of both technical complexity and emotional impact. The giant, blue-furred James P. "Sulley" Sullivan (wonderfully voiced by John Goodman) is a scare-monster extraordinaire in the hidden world of Monstropolis, where the scaring of kids is an imperative in order to keep the entire city running. Beyond the competition to be the best at the business, Sullivan and his assistant, the one-eyed Mike Wazowski (Billy Crystal), discover what happens when the real world interacts with theirs in the form of a 2-year-old baby girl dubbed "Boo," who accidentally sneaks into the monster world with Sulley one night. Director Pete Doctor and codirectors David Silverman and Lee Unkrich follow the Pixar (Toy Story) blueprint with an imaginative scenario, fun characters, and ace comic timing. By the last heart-tugging shot, kids may never look at monsters the same, nor artists at what computer animation can do in the hands of magicians. —Doug Thomas

Andrew Dominik Of all the movies made about or glancingly involving the 19th-century outlaw Jesse Woodson James, The Assassination of Jesse James by the Coward Robert Ford is the most reflective, most ambitious, most intricately fascinating, and indisputably most beautiful. Based on the novel of the same name by Ron Hansen, it picks up James late in his career, a few hours before his final train robbery, then covers the slow catastrophe of the gang's breakup over the next seven months even as the boss himself settles into an approximation of genteel retirement. But in another sense all of the movie is later than that. The very title assumes the audience's familiarity with James as a figure out of history and legend, and our awareness that he was—will be—murdered in his parlor one quiet afternoon by a backshooting crony.

The film—only the second to be made by New Zealand-born writer-director Andrew Dominik—reminds us that Dominik's debut film, Chopper (2000), was the cunningly off-kilter portrait of another real-life criminal psychopath who became a kind of rock star to his society. The Jesse James of this telling is no Robin Hood robbing the rich to give to the poor, and that train robbery we witness is punctuated by acts of gratuitous brutality, not gallantry. Nineteen-year-old Bob Ford (Casey Affleck) seeks to join the James gang out of hero worship stoked by the dime novels he secretes under his bed, but his glam hero (Brad Pitt) is a monster who takes private glee in infecting his accomplices with his own paranoia, then murdering them for it. In the careful orchestration of James's final moments, there's even a hint that he takes satisfaction in his own demise.

Affleck and Pitt (who co-produced with Ridley Scott, among others) are mesmerizing in the title roles, but the movie is enriched by an exceptional supporting cast: Sam Shepard as Jesse's older, more stable brother Frank; Sam Rockwell as Bob Ford's own brother Charlie, whose post-assassination descent into madness is astonishing to behold; Paul Schneider, Garret Dillahunt, and Jeremy Renner as three variously doomed gang members; and Mary-Louise Parker, who as Jesse's wife Zee has few lines yet manages with looks and body language to invoke a wellnigh-novelistic backstory for herself. There are also electrifying cameos by James Carville, doing solid actorly work as the governor of Missouri; Ted Levine, as a lawman of antic spirit; and Nick Cave, composer of the film's score (with Warren Ellis) and screenwriter of the Aussie "Western"The Proposition, suddenly towering over a late scene to perform the folk song that set the terms for the book and movie's title.

Still, the real costar is Roger Deakins, probably the finest cinematographer at work today. The landscapes of the movie (mostly in Alberta and Manitoba) will linger in the memory as long as the distinctive faces, and we seem to feel the sting of its snows on our cheeks. Interior scenes are equally persuasive. Few Westerns have conveyed so tangibly the bleakness and austerity of the spaces people of the frontier called home, and sought in vain to warm with human spirit. —Richard T. Jameson

Roger Donaldson When released in December 2000, Thirteen Days was pummeled for taking liberties with the facts of the Cuban missile crisis and smothering its compelling drama with phony Boston accents by its primary stars. More tolerant critics hailed it as one of the year's best films, and that's the opinion to believe for anyone who enjoys taut, intelligent political thrillers. For those too young to relate directly to the timeless urgency of the crisis that played out over 13 days in October 1962, Thirteen Days joins the classic TV treatment The Missiles of October (1973) as an intense and thought-provoking study of leadership under pressure.

The film (and costar-coproducer Kevin Costner) drew criticism for fictionally enhancing the White House role of presidential aide Kenneth O'Donnell, but while Costner's Boston accent may be grating, his fine performance as O'Donnell offers expert witness to the crisis, its nerve-wracking escalation, and the efforts of John F. Kennedy (Bruce Greenwood) and Robert F. Kennedy (Steven Culp) to negotiate a peaceful settlement with Russia. While Soviet missiles approach operational status in Cuba, director Roger Donaldson (who directed Costner in No Way Out) cuts to exciting U.S. Navy flights over the missile site, ramping up the tension that history itself provided. Donaldson's occasional use of black and white is self-consciously distracting, and he's further guilty of allowing a shrillness (along with repetitive, ominous shots of nuclear explosions) to invade the urgency of David Self's screenplay. Still, as Hollywood history lessons go, Thirteen Days is riveting stuff. You may find yourself wondering what might happen if reality presented a repeat scenario under less intelligent leadership. —Jeff Shannon

Richard Donner In the fourth and reportedly final film of the Lethal Weapon series, director Richard Donner reunites with Mel Gibson and Danny Glover, who reprise their roles as Martin Riggs and Roger Murtaugh for one last hurrah in a film that is decidedly better than the third and first chapters. This time the pair are pitted against Jet Li, who plays the leader of a Chinese organized crime unit. Li, a veteran of hundreds of Hong Kong action films, more than holds his own against the more established team of Gibson, Glover, Renee Russo, and Joe Pesci with his subtle yet strong portrayal of the quietly irrepressible Wah Sing Ku. As always with the Lethal series, the plot is incredibly simple to follow: someone steals something, someone gets killed, and Murtaugh is reluctantly thrown into the mix while Riggs dives into the case with gleeful aplomb. As with the previous movies, we watch for the sheer action and chemistry alone. The action sequences throughout the fourth installment are exquisite, from the opening scene involving a flamethrower, a burning building, and a half-naked Murtaugh strutting like a chicken (don't ask, just watch), to the climactic showdown that pays genuine tribute to Jet Li's masterful martial art skills. As for chemistry, the bond between these characters is so strong by now that you sometimes feel like you're watching a TV series in its sixth season, such is the warm familiarity between the audience and the personalities on the screen. The humor is more fluid than ever, aided immeasurably by the casting of comedian Chris Rock, who like Li does a great job of making his presence known in some memorable verbal tirades that would bring a smile out of the Farrelly brothers. But it's the verbal and emotional jousting between Glover and Gibson that makes this fourth episode especially appealing; both are in peak form with great physical and verbal timing. One can only hope that if this is indeed the last of the Lethal films, that it won't be the last time we see Glover and Gibson together on screen. —Jeremy Storey

Laurence Dunmore Oscar® nominee* Johnny Depp delivers "a tour de force performance" (Baz Bamigboye, The Daily Mail) in the "seductively entertaining" (Jan Stuart, Newsday) The Libertine. As the celebrated writer and bad boy John Wilmot, second Earl of Rochester, Depp brings to life a decadent 17th century London. There, Wilmot falls passionately in love with his aspiring actress muse (Oscar® nominee Samantha Morton**), but is cast from the heights of privileged society when he scandalizes King Charles II (Oscar® nominee John Malkovich***) with a shockingly audacious play. At the depths of ruin, the rebel seeks redemption on his own terms. "Johnny Depp is brilliant," raves Cosmopolitan, while Peter Travers of Rolling Stone calls The Libertine a "one-of-a-kind spellbinder."

Kevin Dunn (III) E-C-W! E-C-W! E-C-W!" - a chant still heard in arenas around the world. ECW: Extreme Championship Wrestling redefined professional wrestling in the '90s with a reckless, brutal, death-defying, and often bloody style that came to be known as "hardcore." It attracted a rabid, cult-like following that is still going strong today.

This 6-hour, 2-disc set follows the rise and eventual demise of the company that raised the bar and revolutionized sports-entertainment forever.

DVD EXTRAS:
Seven bonus matches, including:
*The Pit Bulls vs. Raven & Stevie Richards
*Rey Misterio Jr. vs. Psicosis
*Mikey Whipwreck vs. The Sandman
*2 Cold Scorpio vs. Sabu
*Tommy Dreamer vs. Raven*
*Tazz vs. Bam Bam Bigelow*
*Rob Van Dam vs. Jerry Lynn*

*includes alternate commentary

Kevin Dunn (III)

Kevin Dunn (III) A driving guitar beat heralded his explosion to the ring with his signature arm bands and face paint. His intensity was unparalleled. His controversial personality was equally unmatched. Learn about the man and the myth from the people who witnessed his meteoric rise to the WWE Championship in a victory against Hulk Hogan before 67000 fans at Wrestlemania VI. Hear from the Superstars who worked with the man. Did he burn out or drop out?Relive his feuds with "Macho Man" Randy Savage "Ravishing" Rick Rude Hulk Hogan and more. Exclusive interviews with Vince McMahon and Eric Bischoff break down the Ultimate Warrior's stints in WWE & WCW. Find out exactly what happened at Summerslam 1991 when The Ultimate Warrior help up the WWE for more money!System Requirements: Running Time 180 MinFormat: DVD MOVIE Genre: SPORTS/GAMES Rating: NR UPC: 651191938902 Manufacturer No: WWE93890

Kevin Dunn “Macho Man” Randy Savage was one of the most controversial superstars in history of sports entertainment. His complicated relationship with Miss Elizabeth, his dramatic WWE championship tournament run at WrestleMania IV, the formation and explosive breakup of the MegaPowers with Hulk Hogan, his reign as the Macho King, and his shocking jump to WCW all made him a legend. Savage always brought a chaotic poetry to the ring. He’s widely considered one of the finest in-ring competitors of all time, and his interviews were always a sight to behold. For the first time ever, fans can relive the entire storied career in Macho Madness: The Randy Savage Ultimate Collection, a 3-DVD set that spans two decades of exciting and intense matchups.

Griffin Dunne Actor Griffin Dunne improves a bit on his first film as a director, Addicted to Love, with this drama-comedy about a family of witches. Nicole Kidman and Sandra Bullock play spell-casting sisters of different temperaments: the former is a high-living, free-spirited sort, while Bullock's character is a homebody who can't get around a family curse that kills the men in their lives. A widowed single mom, Bullock gets into a jam with an abusive Bulgarian (Goran Visnjic) and is helped out by her sibling, but the result brings a good-looking, warm, inquisitive cop (Aidan Quinn) into their lives. The film has a variety of tonal changes—cute, scary, glum—that Dunne can't always effectively juggle. But the female-centric, celebratory nature of the film (the fantasies, the sharing, the witchy bonds) is infectious, and supporting roles by Dianne Wiest and Stockard Channing as Kidman and Bullock's magical aunts are a lot of fun. —Tom Keogh

Jesse Dylan Grab your favorite munchies, kids. Red and Meth, that dope-addled dynamic duo, are going to Harvard! And while it's not an episode of Masterpiece Theatre, How High is destined to become a guilty pleasure of the cannabis crowd. The plot's a familiar one—take the basic selling points of any Cheech & Chong movie (a pair of shambolic protagonists who smoke lots of weed while slinging slang and driving funky, '70s-style cars), graft them onto a generic "raising hell on campus" teen movie scenario, and shake vigorously. The result is a prosaic effort that does contain some all-too-brief moments of genuine humor. Red and Meth, a.k.a. Redman and Method Man, may look like the world's oldest freshmen, but both offer genial performances, especially Method Man, who imbues the character of Silas with a dog-eared gentleness that raises him above the film's leaden script and plasticine directing. —Rebecca Levine

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

Atom Egoyan In spite of its atrociously misleading packaging, Exotica is a beguiling mystery by enigmatic Canadian filmmaker Atom Egoyan, in which people and their relationships are not what they seem. What at first appear to be disparate stories of a tormented tax auditor, a lonely pet-shop owner, and a sensitive stripper and her coworkers gradually merge to reveal a larger, interconnected portrait. The sequences involving Mia Kirshner's schoolgirl stripper are particularly engrossing because of her character's intelligence and the scenes' deeper subtext. Indeed, Exotica is less about stripping than about fragile human relationships, and it is not until the truly revelatory final scene that we are able to fully absorb the film's deeper meaning. —Bryan Reesman

Harry Elfont This underrated teen comedy from 1998 is guilty of being a proud underachiever, and it doesn't bring anything new to the genre, but look closely and you'll find the makings of a much better movie buried under all the keg-party antics. The basic story is typical for this kind of comedy. A young, aspiring writer named Preston (Ethan Embry) has been lusting after class beauty Amanda (Jennifer Love Hewitt, from TV's Party of Five) for four years of high school, but he's never had the nerve to tell her. Now that they're about to graduate he's finally worked up the courage to write her a soul-baring love letter. At the raucous graduation keg party that takes up most of the movie's 98 minutes, Preston agonizes while Amanda's selfish jock ex-boyfriend tries to win her back, and delivering his love letter turns out to be more difficult than he ever imagined. What's interesting about Can't Hardly Wait has little to do with its attractive leads, however. The most engagingly real and entertaining characters are the misfits who show up in the subplots, including a geek (Charlie Korsmo) who turns into the life of the party, and a pair of old friends (Seth Green, Lauren Ambrose) who confront each other about their mutual needs and insecurities. There are some really good scenes between these two, and this modest movie has a few other pleasant surprises up its sleeve. That doesn't make it particularly good, but it does make it an agreeable waste of time. —Jeff Shannon

David R. Ellis Just when you think it's getting silly, Cellular serves up another tantalizing twist. In the time-honored tradition of Sorry, Wrong Number and Wait Until Dark, Kim Basinger is well-cast as a resourceful damsel-in-distress who thwarts her kidnappers by connecting with a n'er-do-well cell-phone user (Chris Evans, later seen in The Fantastic Four) who races against time to rescue her from afar. One good cop (William H. Macy) assembles clues to uncover conspiracy, while first-time writer Chris Morgan and pulp-movie master Larry Cohen (who conceived the plot, similar to his own Phone Booth screenplay) serve up a consistently satisfying string of high-tension surprises. Jason Statham continues to prove his rising-star status as the film's tenacious villain, and director David Ellis (Final Destination 2) takes advantage of his experience as a veteran stunt coordinator and second-unit director, making good use of locations in his native Santa Monica, and wringing credible suspense from a deliriously far-fetched premise. —Jeff Shannon

Jim Enright

Nicholas Erasmus, David Mackenzie Fresh, funny and racy, Spread is a look at the trials and tribulations of sleeping your way to a life of privilege in Los Angeles. Nikki (Ashton Kutcher) is a fun-loving, freeloading hipster who understands his greatest assets are his looks and sexual prowess. His latest conquest, Samantha (Anne Heche), a stunning middle-aged lawyer, gives Nikki more than he’s ever had before. But when Heather (Margarita Levieva), a gorgeous waitress playing the same game, catches his eye, their lifestyles force a choice between love and money. Nikki has to decide whether he can live on his own once and for all in the hopes of finding something real.

Julian Farino Set in sin city the story revolves around 2 people who discover theyve gotten married following a night of debauchery with one of them winning a huge jackpot after playing the others quarter. The unhappy pair try to undermine each other & get their hands on the money — falling in love along the way. Studio: Tcfhe Release Date: 08/26/2008 Starring: Cameron Diaz Rob Corddry Run time: 99 minutes Rating: Pg13

Valerie Faris, Jonathan Dayton Little Miss Sunshine tells the story of the Hoovers, one of the most endearingly fractured families ever seen on motion picture screens. Together, the motley six-member family treks from Albuquerque to the Little Miss Sunshine pageant in Redondo Beach, California, to fulfill the deepest wish of 7-year-old Olive, an ordinary little girl with big dreams. Along the way the family must deal with crushed dreams, heartbreaks, and a broken-down VW bus, leading up to the surreal Little Miss Sunshine competition itself. On their travels through this bizarrely funny landscape, the Hoovers learn to trust and support each other along the path of life, no matter what the challenge.

Peter Farrelly, Bobby Farrelly Coming from the creators of Dumb & Dumber and There's Something About Mary, the sensitivity of Shallow Hal seems like a minor miracle. The codirecting Farrelly brothers haven't forsaken their lowbrow inclinations, but this clever romantic fantasy offers unexpected substance with the same comedic effrontery that made the Farrellys famous. Their antihero is Hal (Jack Black), whose fixation on beautiful women is reversed (after an encounter with self-help guru Tony Robbins) so he can see only the inner beauty of "undesirables" like his new girlfriend Rosemary (Gwyneth Paltrow), now gorgeous in Hal's eyes despite being grossly obese. The movie's handling of this conundrum is sweetly sincere, poking fun at social prejudices while validating those (overweight, homely, disabled) who are often heartbroken by Hal's brand of shallowness. The concept won't hold up to scrutiny (i.e., the movie trades one set of stereotypes for another), but Shallow Hal works as an often hilarious reminder that physical beauty is only skin deep. —Jeff Shannon

Guy Ferland The sinuous world of 1950s Cuban dance halls provides the setting for Dirty Dancing: Havana Nights, a "reimagining" that shares with the original movie a deep love of sexy young people pressed tightly together on the dance floor. Fresh from New England, bookish and lovely Katey (Romola Garai, adorable in the charming but little-seen I Capture the Castle) meets a fiery young busboy named Javier (Diego Luna, Y Tu Mama Tambien) at a snooty hotel. Before you can say Tito Puente, the two have found a common language in the sensual swaying of their limbs, despite the resistance of Katey's mother (Sela Ward). It's all ridiculous, of course—the dialogue is atrocious, the characters tortilla-thin, and the politics embarrassing—but that's hardly the point. Luna is dreamy, there's lots of sweaty dancing, and Patrick Swayze makes an appearance—what more can you ask from a movie called Dirty Dancing? —Bret Fetzer

Joey Figueroa, Zak Knutson Studio: Genius Products Inc Release Date: 10/21/2008 Run time: 222 minutes Rating: Nr

David Fincher The most viscerally frightening and disturbing homicidal maniac picture since The Silence of the Lambs, Seven is based on an idea that's both gruesome and ingenious. A serial killer forces each of his victims to die by acting out one of the seven deadly sins. The murder scene is then artfully arranged into a grotesque tableau, a graphic illustration of each mortal vice. From the jittery opening credits to the horrifying (and seemingly inescapable) concluding twist, director David Fancher immerses us in a murky urban twilight where everything seems to be rotting, rusting, or molding; the air is cold and heavy with dread. Morgan Freeman and Brad Pitt are the detectives who skillfully track down the killer—all the while unaware that he has been closing in on them, as well. Gwyneth Paltrow and Kevin Spacey are also featured, but it is director Fancher and the ominous, overwhelmingly oppressive atmosphere of doom that he creates that are the real stars of the film. It's a terrific date movie—for vampires. —Jim Emerson

David Fincher All films take a certain suspension of disbelief. Fight Club takes perhaps more than others, but if you're willing to let yourself get caught up in the anarchy, this film, based on the novel by Chuck Palahniuk, is a modern-day morality play warning of the decay of society. Edward Norton is the unnamed protagonist, a man going through life on cruise control, feeling nothing. To fill his hours, he begins attending support groups and 12-step meetings. True, he isn't actually afflicted with the problems, but he finds solace in the groups. This is destroyed, however, when he meets Marla (Helena Bonham Carter), also faking her way through groups. Spiraling back into insomnia, Norton finds his life is changed once again, by a chance encounter with Tyler Durden (Brad Pitt), whose forthright style and no-nonsense way of taking what he wants appeal to our narrator. Tyler and the protagonist find a new way to feel release: they fight. They fight each other, and then as others are attracted to their ways, they fight the men who come to join their newly formed Fight Club. Marla begins a destructive affair with Tyler, and things fly out of control, as Fight Club grows into a nationwide fascist group that escapes the protagonist's control.

Fight Club, directed by David Fincher (Seven), is not for the faint of heart; the violence is no holds barred. But the film is captivating and beautifully shot, with some thought-provoking ideas. Pitt and Norton are an unbeatable duo, and the film has some surprisingly humorous moments. The film leaves you with a sense of profound discomfort and a desire to see it again, if for no other reason than to just to take it all in. —Jenny Brown

Gary Fleder Based on the bestseller by John Grisham, Runaway Jury is a slick thriller that's exciting enough to overcome the gaps in its plot. The ultimate target has been changed: Grisham's legal assault on the tobacco industry was switched to the hot-button issue of gun control (no doubt to avoid comparison to The Insider) in a riveting exposé of jury-tampering. Gene Hackman plays the ultra-cynical, utterly unscrupulous pawn of the gun-makers, using an expert staff and advanced electronics to hand-pick a New Orleans jury that will return a favorable verdict; Dustin Hoffman (making his first screen appearance with real-life former roommate Hackman) defends the grieving widow of a gun-shooting victim with idealistic zeal, while maverick juror John Cusack and accomplice Rachel Weisz play both ends against the middle in a personal quest to hold gun-makers accountable. It's riveting stuff, even when it's obvious that Grisham and director Gary Fleder have glossed over any details that would unravel the plot's intricate design. —Jeff Shannon

Richard Fleischer Not much jazz spoken in this 1980 version of the Jolson classic, directed by Richard Fleischer (The Vikings) and starring a very tentative Neil Diamond as a cantor's son who would rather sing commercially than in a synagogue. The soundtrack is tedious, the portrait of L.A.'s music industry preposterous, and Diamond (despite his talents as a singer-songwriter in the real world) can't help but look like a speck on the wall in the presence of Laurence Olivier, who plays his father. —Tom Keogh

Richard Fleischer Charlton Heston seemed fond of starring in apocalyptic science-fiction films in the late 1960s and early '70s. There was Planet of the Apes, of course, and The Omega Man. But there was also 1973's Soylent Green, a strange detective film (based on Harry Harrison's Make Room! Make Room!) set in 2022 and starring Heston as a Manhattan cop trying to solve a murder in the overpopulated, overheated city. His roommate (a necessity in the overcrowded metropolis), played by Edward G. Robinson, tries telling him about a better time on Earth before there were no more resources or room left; but Heston doesn't care. Directed by Richard Fleischer (The Vikings), the film has a curious but largely successful mix of mystery and bleak futuristic vision, somewhat like Blade Runner but without the extraordinary art direction. This was Robinson's last film and he's easily the best thing about it; his final scene seems terribly appropriate in retrospect. Joseph Cotten makes an appearance as the man whose murder results in the revelation of a shocking secret. —Tom Keogh

Andrew Fleming If Buffy the Vampire Slayer represents the lighter side of high school as a macabre experience, here's a movie that asks the burning question, "What happens when angst-ridden teenagers develop supernatural powers?" More to the point, how do four outcast teenaged witches handle their ability to cast wicked spells on the taunting classmates who've nicknamed them "The Bitches of Eastwick"? The answer, of course, is "don't get mad, get even." That's about all there is to this terminally silly movie, which makes up for its ludicrous plot by letting its young female cast have a field day as they indulge their dark fantasies. Fairuza Balk is enjoyable as the most wicked of the witches, and is therefore the focus of the film's most dazzling special effects. But it's Neve Campbell from television's Party of Five who made this film a modest box-office hit, just before she became her generation's fright-movie favorite in Scream and its popular sequel. —Jeff Shannon

George Folsey Jr., John Landis

Bruno Fontana, Brad Jacques

Milos Forman Talk about too little, too late. A year after Stephen Frears's marvelous Dangerous Liaisons, Milos Forman released this film, based on the same material: the novel Les Liaisons Dangereuses. Shot at the same time but held so as not to compete, it suffered by comparison. The story—about a pair of aristocrats, former lovers, who wager that the man cannot seduce a particularly chaste woman—is still awash in lust and intrigue. But, while Forman's craft was exceptional, his cast couldn't match the power of its predecessor. In particular, Colin Firth, as the game-playing title character, lacked the snaky charm of John Malkovich, and Meg Tilly couldn't compare to the tragic beauty of Michelle Pfeiffer. Annette Bening, though born to play a vixen, seemed callow and insubstantial next to the sinister depths of Glenn Close. —Marshall Fine

Marc Forster Sweetness that doesn't turn saccharine is hard to find these days;Finding Neverland hits the mark. Much credit is due to the actors: Johnny Depp applies his genius for sly whimsy in his portrayal of playwright J. M. Barrie, who finds inspiration for his greatest creation from four lively boys, the sons of widow Sylvia Llewelyn Davies (Kate Winslet, who miraculously fuses romantic yearning with common sense). Though the friendship threatens his already dwindling marriage, Barrie spends endless hours with the boys, pretending to be pirates or Indians—and gradually the elements of Peter Pan take shape in his mind. The relationship between Barrie and the Llewelyn Davies family sparks both an imagined world and a quiet rebellion against the stuffy forces of respectability, given physical form by Barrie's resentful wife (Radha Mitchell, High Art) and Sylvia's mother (Julie Christie, McCabe and Mrs. Miller). This gentle silliness could have turned to treacle, but Depp and Winslet—along with newcomer Freddie Highmore as one of the boys—keep their feet on the earth while their eyes gaze into their dreams. Also featuring a comically crusty turn from Dustin Hoffman (who appeared in another Peter Pan-themed movie, Hook) as a long-suffering theater producer. —Bret Fetzer

John Fortenberry, Amy Heckerling Excellent condition, includes the original DVD, case, and paperwork, fast shipped, may have one or two very tiny light minor scratches that do not affect play, ask me for my DVD List! :)

John Frankenheimer Robert De Niro stars as an American intelligence operative adrift in irrelevance since the end of the Cold War—much like a masterless samurai, a.k.a. "ronin." With his services for sale, he joins a renegade, international team of fellow covert warriors with nothing but time on their hands. Their mission, as defined by the woman who hires them (Natascha McElhone), is to get hold of a particular suitcase that is equally coveted by the Russian mafia and Irish terrorists. As the scheme gets underway, De Niro's lone wolf strikes up a rare friendship with his French counterpart (Jean Reno), gets into a more-or-less romantic frame of mind with McElhone, and asserts his experience on the planning and execution of the job—going so far as to publicly humiliate one team member (Sean Bean) who is clearly out of his league. The story is largely unremarkable—there—there's an obligatory twist midway through that changes the nature of the team's business—but legendary filmmaker John Frankenheimer (Seconds, The Manchurian Candidate) leaps at the material, bringing to it an honest tension and seasoned, breathtaking skill with precision-action direction. The centerpiece of the movie is an honest-to-God car chase that is the real thing: not the how-can-we-top-the-last-stunt cartoon nonsense of Richard Donner (Lethal Weapon), but a pulse-quickening, kinetic dance of superb montage and timing. In a sense, Ronin is almost Frankenheimer's self-quoting version of a John Frankenheimer film. There isn't anything here he hasn't done before, but it's sure great to see it all again. —Tom Keogh

John Frankenheimer You will never find a more chillingly suspenseful, perversely funny, or viciously satirical political thriller than The Manchurian Candidate, based on the novel by Richard Condon (author of Winter Kills). The film, withheld from distribution by star Frank Sinatra for almost a quarter century after President Kennedy's assassination, has lost none of its potency over time. Former infantryman Bennet Marco (Sinatra) is haunted by nightmares about his platoon having been captured and brainwashed in Korea. The indecipherable dreams seem to center on Sergeant Raymond Shaw (Laurence Harvey), a decorated war hero but a cold fish of a man whose own mother (Angela Lansbury, in one of the all-time great dragon-lady roles) describes him as looking like his head is "always about to come to a point." Mrs. Bates has nothing on Lansbury's character, the manipulative queen behind her second husband, Senator John Iselin (James Gregory), a notoriously McCarthyesque demagogue. Digital video disc extras include interviews with Sinatra, producer George Axelrod, and director John Frankenheimer, and audio commentary by Frankenheimer. —Jim Emerson

Stephen Frears A sumptuously mounted and photographed celebration of artful wickedness, betrayal, and sexual intrigue among depraved 18th-century French aristocrats, Dangerous Liaisons (based on Christopher Hampton's Les Liaisons Dangereuses) is seductively decadent fun. The villainous heroes are the Marquise De Merteuil (Glenn Close) and the Vicomte De Valmont (John Malkovich), who have cultivated their mutual cynicism into a highly developed and exquisitely mannered form of (in-)human expression. Former lovers, they now fancy themselves rather like demigods whose mutual desires have evolved beyond the crudeness of sex or emotion. They ritualistically act out their twisted affections by engaging in elaborate conspiracies to destroy the lives of their less calculating acquaintances, daring each other to ever-more-dastardly acts of manipulation and betrayal. Why? Just because they can; it's their perverted way of getting get their kicks in a dead-end, pre-Revolutionary culture. Among their voluptuous and virtuous prey are fair-haired angels played by Michelle Pfeiffer and Uma Thurman, who have never looked more ripe for ravishing. When the Vicomte finds himself beset by bewilderingly genuine emotions for one of his victims, the Marquise considers it the ultimate betrayal and plots her heartless revenge. Dangerous Liaisons is a high-mannered revel for the actors, who also include Swoosie Kurtz, Mildred Natwick, and Keanu Reeves. —Jim Emerson

Jason Friedberg, Aaron Seltzer Prepare to fight... back tears of laughter watching this ferociously funny Unrated "Pit of Death" Special Edition of Meet the Spartans - with ruder cruder footage not shown in theaters and an army of hysterical historical special features!The battle begins when the heroic Leonidas armed with nothing but leather underwear and a cape leads a ragtag group of 13 - count'em 13! - warriors to defend their homeland against the invading Persians whose ranks include Ghost Rider Rocky Balboa the Transformers and a hunchbacked Paris Hilton!System Requirements:Running Time: 87 minutesFormat: DVD MOVIE Genre: COMEDY/PARODY & SPOOF Rating: UNRATED UPC: 024543519058 Manufacturer No: 2251905

Liz Friedlander Inspired by a true story, Antonio Banderas stars as internationally acclaimed ballroom dancer Pierre Dulane in the energetic and moving film Take The Lead. When Dulane volunteers to teach dance in the New York public school system, his background first clashes with his students' tastes...but together they create a completely new style of dance.

DVD Features:
Audio Commentary
Music Clips

Antoine Fuqua A powerhouse performance by Denzel Washington fuels this brutal urban police drama, in which a rookie narcotics cop learns the hard way that even good cops can go very, very bad. Washington plays veteran detective Alonzo Harris, a self-proclaimed "wolf among wolves," eager to teach his rookie partner Jake (Ethan Hawke) that normal rules don't apply on the mean streets of Los Angeles. Caught in a web of deception, Jake watches with escalating horror as Alonzo uses his badge (and the support of his superiors) to justify a self-righteous policy of corruption. In stark contrast to most of his previous work, Denzel unleashes his dark side with fearlessness and fury, and the result is excellence without compromise. Director Antoine Fuqua (The Replacement Killers) won't score any points for subtlety, but gritty details (including actual L.A. gang members as extras) and Hawke's finely tuned performance are perfectly matched to Washington's frightening volatility. —Jeff Shannon

Joel Gallen "Not Another Teen Movie is a big, fat, jucy spitball lobbed, with mostly dead-on aim, at the teen-smarm cliches that have accumulated like so much earwax over the last three years.""Not Another Teen Movie is a happy, nasty and frequently hilarious assault on 20 years' worth of youth pictures."

Alvin Ganzer, Richard Donner, Robert Florey, William F. Claxton, Don Medford, Jus Addiss, Ron Winston, Perry Lafferty, Ted Post, Lamont Johnson, Montgomery Pittman, Elliot Silverstein, Alan Crosland Jr., David Orrick McDearmon, John Brahm, Douglas Heyes, Joseph M. Newman, James Sheldon, Stuart Rosenberg, Richard L. Bare Episodes: "A Most Unusual Camera" (Ep. 46, December 16, 1960) - Two thieves (Fred Clark and Jean Carson) discover that a camera they have stolen takes pictures of the future. A gold mine in greedy hands. But not every photo develops as might be expected. "The Jungle" (Ep. 77, December 1, 1961) - Returned from a business trip to Africa, Alan Richards (John Dehner) scoffs at the voodoo lion curse that was placed on him. Yet soon he will sense that something is chasing him through the streets of New York City and hear the sounds of the jungle. "The 7th Is Made Up of Phantoms" (Ep. 130, December 6, 1963) - A trio of National Guardsmen conducting war exercises near Little Big Horn in 1964 encounters evidence that another battle is going on—one that occurred in 1876. "Uncle Simon" (Ep. 128, November 15, 1963) - Barbara Polk (Constance Ford) has taken care of her detested Uncle Simon (Cedric Hardwicke) for 25 years, waiting impatiently to inherit his wealth. But his will stipulates that she must take care of his latest invention, a robot with an unnervingly familiar personality.

Risa Bramon Garcia Trying to cash in on the '80s-nostalgia bandwagon, this New Year's Eve ensemble comedy, set in 1981 Manhattan, offers a vintage soundtrack, some memorable fashion statements, and most notably a talented ensemble that's pretty much all dressed up with no place to go. The large cast—featuring such bleeding-edge actors as Christina Ricci, Ben Affleck, Paul Rudd, Janeane Garofalo, Jay Mohr, and a surprisingly demure Courtney Love—does manage to exude some charm, but in all the cross-cutting between numerous subplots we never get a chance to spend much time with anyone. Just when the story about two friends (Rudd and Love) who decide to have sex starts to get interesting, we're thrust into the adventures of two Long Island girls (Ricci and an uncannily authentic Gaby Hoffman) lost in SoHo. And then when they get picked up by two punk boys, it's off to the uncomfortable second date between an egotistical actor (Mohr) and the young virgin he just deflowered last night (Kate Hudson, Goldie Hawn's daughter), and then off to even more characters, etc. The closest we get to a focal point in the film is a dizzyingly hysterical Martha Plimpton (better than she's been in a while), the hostess of the party everyone's going to—except no one's shown up yet, sending Plimpton into neurotic rages about crab dip going bad. Longtime casting director Risa Bramon Garcia, making her directorial debut, exhibits a fine hand with her actors—she succeeds in making Courtney Love a believably insecure firebrand who when drunk sings along to "Through the Eyes of Love"—but trips herself up by diluting her characters' misadventures. As a result, Affleck's charmingly goofy bartender gets lost in the shuffle, and Garofalo's part is reduced to a glorified cameo (though she lights up the screen when she's on). Make sure, though, you take in the wide-eyed Hudson, who at times seems to be channeling her mother's mannerisms and speech inflections to great if eerie comic effect. Nobody's mixed innocence, sexiness, and physical comedy so deftly since... well, Goldie Hawn. Also, look for Elvis Costello in a brief but pivotal cameo. —Mark Englehart

Leon Gast Decades ago, documentary filmmaker Leon Gast attempted to complete a feature about the 1974 "Rumble in the Jungle" championship bout between boxers Muhammad Ali and George Foreman in Kinshasa, Zaire. Sundry complications, though, held up the project until its release in 1996. It was well worth the delay. From Gast's perspective of modern history, the six weeks Ali and Foreman were forced to spend waiting in Africa for their fight to take place now looks like an important moment in America's cultural understanding of African American roots. In a nutshell, Ali had been stripped of his heavyweight champion title because his opposition to the Vietnam War-era draft had landed him in prison. Reigning champ Foreman agreed to a Don King-promoted match in Kinshasa, but after all parties got there the fight was put off. Gast captures the charismatic Ali, in the ensuing days and weeks, going out among the people and getting to know them while the more reclusive Foreman keeps to his own company. Meanwhile, King brings over black American artists such as James Brown and the Spinners to mix it up with African musicians. The sense of excitement and connection is thrilling, as is the boxing footage of Foreman and Ali finally taking swings at one another in a titanic duel. Writers George Plimpton and Norman Mailer, each of whom was covering the fight as journalists, are on hand to recollect the details. Whether you're a fight fan or not, this is a unique experience and a fascinating insight into America's sense of identity. —Tom Keogh

Terry George Solidly built around a subtle yet commanding performance by Don Cheadle, Hotel Rwanda emerged as one of the most highly-praised dramas of 2004. In a role that demands his quietly riveting presence in nearly every scene, Cheadle plays real-life hero Paul Rusesabagina, a hotel manager in the Rwandan capital of Kigali who in 1994 saved 1,200 Rwandan "guests" from certain death during the genocidal clash between tribal Hutus, who slaughtered a million victims, and the horrified Tutsis, who found safe haven or died. Giving his best performance since his breakthrough role in Devil in a Blue Dress, Cheadle plays Rusesabagina as he really was during the ensuing chaos: "an expert in situational ethics" (as described by critic Roger Ebert), doing what he morally had to do, at great risk and potential sacrifice, with an understanding that wartime negotiations are largely a game of subterfuge, cooperation, and clever bribery. Aided by a United Nations official (Nick Nolte), he worked a saintly miracle, and director Terry George (Some Mother's Son) brings formidable social conscience to bear on a true story you won't soon forget. —Jeff Shannon

Naomi Geraghty, Neil Burger Three soliders on leave from the iraq war who unexpectedly find themselves on a poitnant journey of self-discovery. Studio: Lions Gate Home Ent. Release Date: 01/27/2009 Starring: Rachel Mcadams Tim Robbins Run time: 115 minutes Rating: R Director: Neil Burger

Ricky Gervais, Stephen Merchant

Mel Gibson After all the controversy and rigorous debate has subsided, Mel Gibson's The Passion of the Christ will remain a force to be reckoned with. In the final analysis, "Gibson's Folly" is an act of personal bravery and commitment on the part of its director, who self-financed this $25-30 million production to preserve his artistic goal of creating the Passion of Christ ("Passion" in this context meaning "suffering") as a quite literal, in-your-face interpretation of the final 12 hours in the life of Jesus, scripted almost directly from the gospels (and spoken in Aramaic and Latin with a relative minimum of subtitles) and presented as a relentless, 126-minute ordeal of torture and crucifixion. For Christians and non-Christians alike, this film does not "entertain," and it's not a film that one can "like" or "dislike" in any conventional sense. (It is also emphatically not a film for children or the weak of heart.) Rather, The Passion is a cinematic experience that serves an almost singular purpose: to show the scourging and death of Jesus Christ in such horrifically graphic detail (with Gibson's own hand pounding the nails in the cross) that even non-believers may feel a twinge of sorrow and culpability in witnessing the final moments of the Son of God, played by Jim Caviezel in a performance that's not so much acting as a willful act of submission, so intense that some will weep not only for Christ, but for Caviezel's unparalleled test of endurance.

Leave it to the intelligentsia to debate the film's alleged anti-Semitic slant; if one judges what is on the screen (so gloriously served by John Debney's score and Caleb Deschanel's cinematography), there is fuel for debate but no obvious malice aforethought; the Jews under Caiaphas are just as guilty as the barbaric Romans who carry out the execution, especially after Gibson excised (from the subtitles, if not the soundtrack) the film's most controversial line of dialogue. If one accepts that Gibson's intentions are sincere, The Passion can be accepted for what it is: a grueling, straightforward (some might say unimaginative) and extremely violent depiction of the Passion, guaranteed to render devout Christians speechless while it intensifies their faith. Non-believers are likely to take a more dispassionate view, and some may resort to ridicule. But one thing remains undebatable: with The Passion of the Christ, Gibson put his money where his mouth is. You can praise or damn him all you want, but you've got to admire his chutzpah. —Jeff Shannon

Jim Gillespie As they celebrate their high school graduation, four friends are involved in a hit-and-run accident when their car hits—and apparently kills—a pedestrian on an isolated roadway. They dispose of the body and vow to keep the incident a secret, but a year later somebody starts sending them letters bearing the warning "I Know What You Did Last Summer." At that point the panicked foursome becomes the target of an elusive serial killer whose disguise consists of a fisherman's slicker and a lethal ice hook. Part mystery and part slasher flick, this thriller was heavily hyped as a follow-up to Scream by screenwriter Kevin Williamson (who later created the TV series Dawson's Creek), and like Scream it's a showcase for a teenage cast including Jennifer Love Hewitt and Sarah Michelle Gellar. And while this shocker isn't as inspired as Scream, it's guaranteed to give its target audience a few good thrills as it dives toward a routine climax of mayhem and murder. Based (rather loosely) on the popular novel by Lois Duncan. —Jeff Shannon

Terry Gilliam The original cowriter and director of Fear and Loathing in Las Vegas was Alex Cox, whose earlier film Sid and Nancy suggests that Cox could have been a perfect match in filming Hunter S. Thompson's psychotropic masterpiece of "gonzo" journalism. Unfortunately Cox departed due to the usual "creative differences," and this ill-fated adaptation was thrust upon Terry Gilliam, whose formidable gifts as a visionary filmmaker were squandered on the seemingly unfilmable elements of Thompson's ether-fogged narrative. The result is a one-joke movie without the joke—an endless series of repetitive scenes involving rampant substance abuse and the hallucinogenic fallout of a road trip that's run crazily out of control. Johnny Depp plays Thompson's alter ego, "gonzo" journalist Raoul Duke, and Benicio Del Toro is his sidekick and so-called lawyer Dr. Gonzo. During the course of a trip to Las Vegas to cover a motorcycle race, they ingest a veritable chemistry set of drugs, and Gilliam does his best to show us the hallucinatory state of their zonked-out minds. This allows for some dazzling imagery and the rampant humor of stumbling buffoons, and the mumbling performances of Depp and Del Toro wholeheartedly embrace the tripped-out, paranoid lunacy of Thompson's celebrated book. But over two hours of this insanity tends to grate on the nerves—like being the only sober guest at a party full of drunken idiots. So while Gilliam's film may achieve some modest cult status over the years, it's only because Fear and Loathing is best enjoyed by those who are just as stoned as the characters in the movie. —Jeff Shannon

Harvey Glazer THE MAN. THE MYTH. THE BEGINNING. ITS FRESHMAN YEAR AT COOLIDGE COLLEGE AND VAN WILDER IS READY TO PARTY. TO HIS DISMAY, ALL THE GIRLS HAVE TAKEN A VOW OF CHASITY AND UPTIGHT DEAN RULES.

Rafael Glenn

Will Gluck In this laugh-out-loud comedy, Ford High' s star football players Shawn Colfax and Nick Brady scheme to ditch football camp so they can spend the summer surrounded by beautiful girls?at cheer camp. The guys are having the time of their lives as they use their new reputation as "sensitive guys" to talk the hotties into skinny dipping, cheering naked, and hooking up. But when Shawn falls for the gorgeous head cheerleader who' s suspicious of their motives, the players must change their game to prove Shawn' s intentions before the thrilling cheer competition finals.

Bernie Goldmann, Melissa Wallack A guy fed up with his job and married to a cheating wife reluctantly mentors a rebellious teen. Studio: First Look Home Entertain Release Date: 10/21/2008 Starring: Aaron Eckhart Elizabeth Banks Run time: 95 minutes Rating: R

Michel Gondry Experience the antics of two outcasts as they attempt to save a local video store. Studio: New Line Home Video Release Date: 09/30/2008 Starring: Jack Black Danny Glover Run time: 101 minutes Rating: Pg13 Director: Michel Gondry

Steven E. Gordon, Curt Geda To save humanity, the Earth's mightiest heroes must reunite for a rematch of heroic proportions. Mysterious Wakanda. It lies in the darkest heart of Africa, unknown to most of the world. An isolated land hidden behind closed borders, fiercely protected by its young king - the BLACK PANTHER. A king hold the fate of the entire earth in his hands. Because brutal alien invaders are coming, soon to fill every sky and control every land, seeking what is buried beneath ancient Wakanda. That leaves the Black Panther with a single option, one that goes against the sacred decrees of his people-to ask for help from outsiders. And so he turns to—- The Avengers - Captain America. Iron Man. Thor. Giant Man. Wasp. And the Incredible Hulk. These mightiest of heroes have battled the aliens before, and barely survived. They thought it was over. They were wrong.

Steven E. Gordon, Bob Richardson, Curt Geda

F. Gary Gray Be Cool takes its own advice: It's slick, Hollywood entertainment that kills two amusing hours with relative ease and comfort. Better than leftovers but not as tasty as a full-course meal, this sequel to 1995's hit comedy Get Shorty (and based on Elmore Leonard's 1999 sequel novel) finds former loan shark Chili Palmer (John Travolta) itching to get out of the movie business, so he hooks up with a newly widowed music executive (Uma Thurman) to launch the career of an up-'n-coming Beyoncé-like singer (newcomer Christina Milian). A mock-black manager (Vince Vaughn), his sleazy boss (Harvey Keitel), and an upscale gangsta-rap executive (Cedric the Entertainer) all have a competing stake in the fast-rising pop diva's future, and this sets the plot rolling in a fun but rather hand-me-down fashion that lacks the savvy panache of Get Shorty but still provides plenty of lightweight humor. The Rock and Outkast's André Benjamin provide the best laughs in supporting roles that effortlessly relieve the movie from the symptoms of sequelitis. —Jeff Shannon

Seth Green Robot Chicken: Star Wars 2 brazenly combines the satirical sensibilities of Seth Green and Matthew Senreich's (Stoopid Monkey Productions) Robot Chicken with the unforgettable moments and favorite characters of the Star Wars universeamong them, its creator himself, George Lucas. Transformed into the stop-motion animated characters that are the hallmark of Adult Swim's Robot Chicken, and in conjunction with ShadowMachine Films (Alex Bulkley/Corey Campodonico), the Star Wars galaxy takes on an entirely different attitude.

Luke Greenfield While it suffered a nearly unanimous beating from critics, The Girl Next Door attracted more than a few loyal defenders during its brief box-office lifespan. It pales when compared to its teen-comedy role model (the 1983 classic Risky Business), but you've got to admit that any movie about a teenager whose new next-door neighbor is a 19-year-old former porn star has bona fide cult-movie potential. To its credit, this rather schizoid blend of sleaze and comedy boasts an engaging pair of costars in Emile Hirsch (as the smitten, voyeuristic virgin) and 24's Elisha Cuthbert (as his sexy new house-sitting neighbor). And there are some good laughs in a script that takes unexpected turns when we learn that Cuthbert's character is trying to leave her porn-star past behind, to the chagrin of her pimp-like producer (Timothy Olyphant, in a scene-stealing role). Faring somewhat better than he did with the Rob Schneider non-comedy The Animal, director Luke Greenfield clearly recalls the turbulence that goes hand-in-hand with being young, horny, and confused. There's honesty and even (dare we say it?) maturity to be found in this raging-hormone fantasy, even if it's partially buried in a convoluted plot that's appalling or appealing, depending on your tolerance for good-natured prurience. —Jeff Shannon

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

Taylor Hackford Jamie Foxx's uncannily accurate performance isn't the only good thing about Ray. Riding high on a wave of Oscar buzz, Foxx proved himself worthy of all the hype by portraying blind R&B legend Ray Charles in a warts-and-all performance that Charles approved shortly before his death in June 2004. Despite a few dramatic embellishments of actual incidents (such as the suggestion that the accidental drowning of Charles's younger brother caused all the inner demons that Charles would battle into adulthood), the film does a remarkable job of summarizing Charles's strengths as a musical innovator and his weaknesses as a philandering heroin addict who recorded some of his best songs while flying high as a kite. Foxx seems to be channeling Charles himself, and as he did with the life of Ritchie Valens in La Bamba, director Taylor Hackford gets most of the period details absolutely right as he chronicles Ray's rise from "chitlin circuit" performer in the early '50s to his much-deserved elevation to legendary status as one of the all-time great musicians. Foxx expertly lip-syncs to Ray Charles' classic recordings, but you could swear he's the real deal in a film that honors Ray Charles without sanitizing his once-messy life. —Jeff Shannon —This text refers to the Theatrical Release edition.

More on Ray Charles

Modern Sounds In Country and Western Music (CD)

The Genius of Ray Charles (CD)

Ray Charles and Betty Carter—Dedicated to You (CD)

Genius & Soul—The 50th Anniversary Collection (CD)

Ray: A Tribute to the Movie, the Music, and the Man (book)

More Albums by Ray Charles

Deb Hagan Studio: Tcfhe/mgm Release Date: 01/27/2009 Run time: 95 minutes Rating: Ur

Paul Haggis Movie studios, by and large, avoid controversial subjects like race the way you might avoid a hive of angry bees. So it's remarkable that Crash even got made; that it's a rich, intelligent, and moving exploration of the interlocking lives of a dozen Los Angeles residents—black, white, latino, Asian, and Persian—is downright amazing. A politically nervous district attorney (Brendan Fraser) and his high-strung wife (Sandra Bullock, biting into a welcome change of pace from Miss Congeniality) get car-jacked by an oddly sociological pair of young black men (Larenz Tate and Chris "Ludacris" Bridges); a rich black T.V. director (Terrence Howard) and his wife (Thandie Newton) get pulled over by a white racist cop (Matt Dillon) and his reluctant partner (Ryan Phillipe); a detective (Don Cheadle) and his Latina partner and lover (Jennifer Esposito) investigate a white cop who shot a black cop—these are only three of the interlocking stories that reach up and down class lines. Writer/director Paul Haggis (who wrote the screenplay for Million Dollar Baby) spins every character in unpredictable directions, refusing to let anyone sink into a stereotype. The cast—ranging from the famous names above to lesser-known but just as capable actors like Michael Pena (Buffalo Soldiers) and Loretta Devine (Woman Thou Art Loosed)—meets the strong script head-on, delivering galvanizing performances in short vignettes, brief glimpses that build with gut-wrenching force. This sort of multi-character mosaic is hard to pull off; Crash rivals such classics as Nashville and Short Cuts. A knockout. —Bret Fetzer

Stills from Crash (click for larger image)

Mark Hamill Who knew Luke Skywalker was such a geek? As the director-coproducer-star of Comic Book: The Movie, Star Wars veteran Mark Hamill embraces his inner nerd and pays affectionate tribute to those who are attracted (either casually or obsessively) to the fantastical realms of comic books. As "Don Swan," high school teacher, lifelong comic collector, and microbudget filmmaker, Hamill joins legions of fans at San Diego's epic-scale ComiCon International (the world's largest sci-fi/comic convention), on a mission to thwart a dubious Hollywood makeover of Captain Courage, his favorite "Golden Age" comic superhero. Hamill's experiment in "mockumentary" is unscripted, haphazard, not very funny, and a bit too "inside" for mass appeal, but its spontaneous spirit hides a worthy agenda that any fan can relate to: While exploring the lively atmosphere of ultimate fandom, Comic Book: The Movie investigates the schism between Hollywood and fandom that results, too often, in lackluster big-screen adventures for beloved comic-book characters. By recruiting a cast of prominent cartoon-voice talent (like himself), in addition to an all-star list of comic-artist cameos including Stan Lee, Matt Groening, and many others, Hamill has crafted a casual yet thoroughly researched portrait of one of America's most vibrant subcultures. The abundant bonus features are arguably better than the feature itself, most notably the extended interviews with Stan Lee, Hugh Hefner, Kevin Smith, and B-movie king Bruce Campbell, all of whom (like Hamill) have played influential roles in the fandom they celebrate. —Jeff Shannon

Curtis Hanson Wonder Boys is one of those movies in which more twists and turns disrupt the life of the hero in one weekend than would bother most of us our whole lives. Professor Grady Tripp (Michael Douglas) is an aging one-novel wunderkind at a small Pittsburgh college who's laboring on his seven-years-in-the-making, 2000-plus page second opus with no end in sight. The morning of the college's literary lollapalooza, WordFest, Grady's wife leaves him; that evening, his mistress (Frances McDormand) announces she's pregnant (she's also the chancellor of the school, as well as the wife of Grady's boss). Grady's voracious editor (Robert Downey Jr.) is also in town, transvestite date in tow, determined to read the highly anticipated new book; there's also the nubile student (Katie Holmes), who seems more than willing to ease Grady's pain. And then there's James Leer (Tobey Maguire), the mordant and brilliant writing student who's the catalyst for Grady's lost weekend, which involves a soon-to-be-dead blind dog, a stolen car, and the jacket that Marilyn Monroe wore when she wed Joe DiMaggio.

Had enough flights of fancy? It's only the beginning, and in the hands of director Curtis Hanson (L.A. Confidential) and screenwriter Steve Kloves (The Fabulous Baker Boys), Wonder Boys will have you begging for more. Adroitly adapting Michael Chabon's novel and distilling it to its droll, melancholy essence, Kloves and Hanson have fashioned a briskly unsentimental and darkly funny tale; these characters may be down on their luck, but they sure don't feel sorry for themselves. Douglas, by turns dryly sarcastic and sincerely heartfelt, single-handedly makes up for years of alpha-male posturing as the passive pothead Tripp, and whoever thought of pairing him with the resilient McDormand is brilliant—they convey the complexities and history of their relationship in a single glance or movement. And under Hanson's guidance, the rest of the cast is truly exceptional, with Maguire in a breakthrough performance and Downey at his manic best. The ending of Wonder Boys may feel a little too pat, but after everything these characters have been through, a happy ending seems a just reward. —Mark Englehart

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

Catherine Hardwicke An average teen girl moves to a small town and falls in love with an extraordinary boy. Putting her life in danger by igniting a forbidden love affair between a vampire and a mortal. Studio: Uni Dist Corp. (summit) Release Date: 03/20/2009 Starring: Robert Pattinson Rating: Pg13 Director: Catherine Hardwicke

Greg Harrison (III) Parties are not always as fun as they look like they should be. The distinction lies in the realm between watching people have fun and actually having fun. Case in point: Groove. Set in San Francisco over the course of one night, this is the story of a rave, plain and simple. Preparation includes inhabiting an empty warehouse, finding the power supply, and sending out coded invitations. The movie kicks in as the party does, when people start arriving and the DJs start spinning. There's a nice moment early on when a cop shows up asking for the owner of the building, who is then taken on a tour of "a new Internet start-up." It becomes even funnier when the cop turns out to be smarter and more compassionate than anyone would expect. Writer-director Greg Harrison does a smart thing by focusing the story on David, a novice who's never been to a rave before, which breaks the story out of what could have been the suffocatingly insular world of rave culture. Unknowingly dosed by someone (his brother?), David is adopted by Layla, an attractive but lonely East Coast transplant who has begun to regret her party lifestyle. Other characters include a guy who's just proposed to his girlfriend, a college teaching assistant selling his own manufactured drugs, a nefarious lothario, a DJ who gets to meet his idol, and a gay couple having trouble finding the party. If the characters turn out to be just character types, that's OK because the movie itself floats by on its own high-octane enthusiasm. Groove is light and frothy entertainment with a beat you can dance to. —Andy Spletzer

Jordan Hawley When struggling writer Owen (Schneider) decides to ditch Los Angeles, burn all his bridges and start a new life on the East Coast his plans go awry when he meets Val, the woman of his dreams (Westfeldt) at the airport and decides to stay in town one more night to date her. When Owen realizes he is falling for her, he will do anything he can to lose her in hopes of finally escaping LA and starting his life over.

DVD Features:
Audio Commentary:Audio Commentary by writer/director Jordan Hawley, producer J. Todd Harris and actor Fred Willard
Deleted Scenes:Deleted Scenes (x7) with optional commentary by director Jordan Hawley (6:25 mins.)

Sterling Hayden, Francis Ford Coppola Throughout his long, wandering, often distinguished career Francis Ford Coppola has made many films that are good and fine, many more that are flawed but undeniably interesting, and a handful of duds that are worth viewing if only because his personality is so flagrantly absent. Yet he is and always shall be known as the man who directed the Godfather films, a series that has dominated and defined their creator in a way perhaps no other director can understand. Coppola has never been able to leave them alone, whether returning after 15 years to make a trilogy of the diptych, or re-editing the first two films into chronological order for a separate video release as The Godfather Saga. The films are our very own Shakespearean cycle: they tell a tale of a vicious mobster and his extended personal and professional families (once the stuff of righteous moral comeuppance), and they dared to present themselves with an epic sweep and an unapologetically tragic tone. Murder, it turned out, was a serious business. The first film remains a towering achievement, brilliantly cast and conceived. The entry of Michael Corleone into the family business, the transition of power from his father, the ruthless dispatch of his enemies—all this is told with an assurance that is breathtaking to behold. And it turned out to be merely prologue; two years later The Godfather, Part II balanced Michael's ever-greater acquisition of power and influence during the fall of Cuba with the story of his father's own youthful rise from immigrant slums. The stakes were higher, the story's construction more elaborate, and the isolated despair at the end wholly earned. (Has there ever been a cinematic performance greater than Al Pacino's Michael, so smart and ambitious, marching through the years into what he knows is his own doom with eyes open and hungry?) The Godfather, Part III was mostly written off as an attempted cash-in, but it is a wholly worthy conclusion, less slow than autumnally patient and almost merciless in the way it brings Michael's past sins crashing down around him even as he tries to redeem himself. —Bruce Reid

Amy Heckerling Before he became an overrated filmmaker, Cameron Crowe (Jerry Maguire) was a reporter for Rolling Stone who was so youthful looking that he could go undercover for a year at a California high school and write a book about it. He wrote the script for this film, based on that book, and it launched the careers of several young actors, including Jennifer Jason Leigh, Judge Reinhold, Phoebe Cates, and, above all, Sean Penn. The story line is episodic, dealing with the lives of iconic teen types: one of the school's cool kids, a nerd, a teen queen, and, most enjoyably, the class stoner (Penn), who finds himself at odds with a strict history teacher (a wonderfully spiky Ray Walston). This is not a great movie but very entertaining and, for a certain age group, a seminal movie experience. —Marshall Fine

Amy Heckerling, Harold Ramis VACATION-20TH ANN ED/EUROPEAN VACATION (DVD/DBFE/N

Mark Helfrich In a perfect world, Good Luck Chuck would've captured the humor of Superbad and the raunch of the American Pie films. But what we're left with, instead, is a raunchy film with an anemic storyline. Cursed as a child with a hex that prevents him from finding true love, Charlie "Chuck" Logan (Dane Cook) finds that the women he dates find the men of their dreams immediately after they've dumped him. For a guy who enjoys dating beautiful women, it doesn't seem like such a horrible thing. But then he meets and falls for beautiful and klutzy Cam Wexler (Jessica Alba). Charlie wants to have a meaningful relationship with her, but how can he make her fall in love with him without losing her to some unknown man waiting to sweep her off her feet? Good Luck Chuck isn't an original movie; Cook and Alba make for an attractive couple that exudes warm chemistry. And Alba proves that while she may be famous for her body, she's quite adept at physical comedy. Dan Fogler doesn't fare as well. He has the thankless role of playing Charlie's obnoxious best friend Stu, a borderline perv plastic surgeon who proudly displays a set of Pamela Anderson's breast implants in his office (which, coincidentally enough, is located right next door to Charlie's). The dialogue is crass and the direction is all over the place. Everything is played for laughs, but little actually is very funny in this comedy. This movie actually could've used a bit more good luck. And lots more wit. —Jae-Ha Kim

Stephen Herek RIDE THE WAVE OF EXTREME OCEAN ADVENTURE AS INTO THE BLUE 2: THE REEF TELLS THE WHITE-KNUCKLE TALE OF SCUBA DIVERS SEBASTION, A SEXY COUPLE THROWN INTO PRECARIOUS WATERS WHEN THEY ARE PROMISED BIG MONEY IN EXCHNAGE FOR LEADING DIVES ALONG A TREACHEROUS HAWAIIAN REEF.

Rowdy Herrington

Marshall Herskovitz Although it was unfortunately ignored during its brief theatrical release, this sumptuously seductive production is that rarest of cinematic breeds, the (barely) respectable guilty pleasure. Combining historical fact with hysterical anachronisms of language and mannerism, it's been tailored for maximum contemporary appeal but maintains a lush, romantic feel for its factual 16th-century tale of Venetian love, lust, and political repression. Catherine McCormack (Mel Gibson's ill-fated bride in Braveheart) delivers a star-making performance as the "dangerous beauty" who becomes a skillful courtesan to pursue her forbidden love for a dashing Venetian senator (Rufus Sewell). It's all rather silly in a high-toned fashion, and the film turns dour when the church intervenes with a Scarlet Letter-like papal inquest. But the movie's joyously ribald vitality is utterly irresistible, and the casting of McCormack with Jaqueline Bisset (as her mother and courtesan mentor) is a stroke of pure genius. Merchant-Ivory would've made a smarter film from this material, but it probably wouldn't be nearly as entertaining. —Jeff Shannon

Jared Hess This Jack Black vehicle seems, on the surface, like a perfect fit for the actor: an opportunity to showcase Black's unique style with the extreme facial gestures and exuberant physicality that have become his forte. Black plays Ignacio, a lowly cook in a monastery in central Mexico who feeds orphans by day, and wrestles in the town square at night. Ignacio teams up with Esqueleto (Hector Jimenez), a street urchin who tormented him, to form a tag-team duo that goes up against the strangest wrestlers Mexico has to offer. Besides doing it for money to feed the orphans, Ignacio is also fighting to win the forbidden affections of Sister Encarnacion (Ana de la Reguera) with predictable difficulty. While the movie has likeable characters and the plot is enjoyable enough, it can't overcome its plodding pace and formulaic structure enough to keep the movie interesting throughout. Jack Black is a very strong comedic actor, and the wrestling scenes offer plenty of chances for slapstick, physical comedy, but watching him run around in red briefs and blue tights amounts to half the laughs in the movie, and there's just not enough here for him to really work with. When he plays a more well-formed character, as in School of Rock and High Fidelity, his strengths really show. But in Nacho Libre he's saddled with a caricature. Weighed down by too much low-brow humor and a script that goes nowhere, Nacho Libre just can't make full enough use of Black's talents to overcome the obstacles. —Daniel Vancini

David Hillenbrand, Scott Hillenbrand This time, the turf hits the surf as the students of Billingsley U. ditch campus life for fun, sun and high times on the high seas. When the good ship Surveyor leaves port for romantic Mexico, rules, inhibitions and school clothes are quickly cast off as the salty air and the skimpy swimwear get everyone in the mood to mate. All aboard for laughs as these college hotties put the motion in the ocean in this wet 'n' wild romantic comedy.

Scott Hillenbrand National Lampoon Presents Dorm Daze is a raunchy college comedy set in a dormitory, where a chain of mistaken identities whips the co-ed residents into a slapstick frenzy. Sexist meathead Styles (Patrick Renna) insists that his virgin brother, Booker (Chris Owen), give it up to a hooker, Dominique (Boti Bliss), already on her way to the dorm. Incredibly, another Dominique (Marie Noelle), a French foreign exchange student, shows up at the same time, causing endless confusion, particularly with campus nerd Newmar (Tony Denman), who is trying to welcome the sweet Parisian but mistakenly offers his French sausage to the agreeable prostitute. Meanwhile, Claire (Tatyana Ali) misinterprets a play rehearsal between her boyfriend, Tony (Edwin Hodge), and another woman, Adrienne (Cameron Richardson), and a mix-up over look-alike purses furthers the chaos. For all the nuttiness, this unrated cut (adding four minutes) never quite lifts off, but it bears the trademark Lampoon anarchy. —Tom Keogh

Mike Hodges When the totalitarian planet of Mongo decides on a whim to obliterate Earth, it's up to the lunk-headed quarterback Flash Gordon and his oddball companions to make the universe safe for democracy. Based on the classic (and infinitely more reputable) comic strip and its '30s screen serialization, this cotton-candy-colored trash classic deserves immortality for Queen's unforgettably pulsating soundtrack alone. The legendary Max von Sydow appears to be having a blast as the evil Ming the Merciless, while Ornella Muti, as his daughter, is the living embodiment of what attracts adolescent boys to comics in the first place. (She makes Barbarella look mundane.) One of the most shamelessly entertaining movies ever made, this is a knowingly absurd sensory freak-out that'll have the viewer blissfully checking the sky afterward for signs of Hawkmen. —Andrew Wright

David Hogan Remember the old days, when Pamela Anderson Lee was still just a Playboy Playmate turned Baywatch babe? You know—back before the bootleg release of her infamous home video with then-husband and ne'er-do-well rocker Tommy Lee, at which time the whole world got to compare Pam's barely adequate acting chops with her formidable skill at fellatio? Yes, those were the days (1996, to be exact), when a movie like Barb Wire represented dubious progress for the busty blonde, who was determined to make as big a splash on the big-screen as she did in the world's most popular syndicated TV series. Set in the year 2017 when the Second Civil War is in full force, this sci-fi action thriller stars Pam in the title role—a leather-clad biker babe ("don't call me babe," she warns) who runs a nightclub in the last free city in America. The rest of country is controlled by the "Congressional Directorate," a dictatorial superpower which suspects Barb of trafficking in black-market contraband. That gets her into plenty of trouble (and a lot of cleavage-revealing costumes), and ... well, if any of this sounds even vaguely familiar, it's because this comic book-inspired movie is really just a shamelessly breast-enhanced variation on Casablanca, with Pam Anderson in the Bogart role. Taken for what it is, it's a brazen folly with action to spare, and as guilty pleasures go it's surprisingly enjoyable. What—you were expecting Oscar material? —Jeff Shannon

Savage Steve Holland After his girlfriend dumps him for a skier a teen meets an exchange student from france. Studio: Paramount Home Video Release Date: 01/27/2004 Starring: John Cusack Demian Slade Run time: 97 minutes Rating: Pg Director: Savage Steve Holland

Edward Holzman A free-spirited natural beauty teaches an entire family to reconnect with their own sexuality. Elke is invited to stay with the Stillman family in their luxurious home in Malibu. The outward appearances of a happy and successful family soon dissolve as Elke finds each to have emotional and sexual problems that only she can help them overcome.

Edward Holzman

Stephen Hopkins Before he made the man-eating lion thriller The Ghost and the Darkness and the special- effects-laden Lost in Space, director Stephen Hopkins helmed this ludicrous and critically panned thriller pitting a cop on the Boston Police bomb squad (Jeff Bridges) against a mad Irish bomber (Tommy Lee Jones) who's still holding a grudge from their early years in the Irish Republican Army. A showcase for the explosive skills of demolitions experts, Blown Away has got some impressive action sequences, although the story is somewhat convoluted and mean-spirited. Suzy Amis (Titanic) costars as Bridges's endangered girlfriend, who becomes a target of Jones's destructive scheme. —Jeff Shannon

Stephen Hopkins Packed with more than 750 dazzling visual effects, this $70 million adventure does more (and less) than give the 1965-68 TV series a state-of-the-art face-lift. Aimed at an audience that wasn't born when the series originally aired, the sci-fi extravaganza doesn't even require familiarity, despite cameo appearances by several of the TV show's original cast members. Instead it's a high-tech hybrid of the original premise with enough sensory overload to qualify as a spectacular big-screen video game, supported by a time-travel premise that's adequately clever but hardly original. It's certainly never boring, and visually it's an occasionally awesome demonstration of special effects technology. But in its attempt to be all things to all demographics, the movie's more of a marketing ploy than a satisfying adventure, thankfully dispensing with the TV show's cheesy camp but otherwise squandering a promising cast in favor of eye-candy and ephemeral storytelling. In keeping with the movie's high-tech appeal, the DVD is a feature-packed marvel, including two audio commentaries, deleted scenes, two featurettes covering special effects and the original TV series (featuring complete biographies and episode guides), the original screenplay, and interactive games. —Jeff Shannon

Ron Howard From Academy Award-winning director Ron Howard comes the electrifying, untold story behind one of the most unforgettable moments in history. When disgraced President Richard Nixon agreed to an interview with jet-setting television personality, David Frost, he thought he’d found the key to saving his tarnished legacy. But, with a name to make and a reputation to overcome, Frost became one of Nixon’s most formidable adversaries and engaged the leader in a charged battle of wits that changed the face of politics forever. Featuring brilliant portrayals by Frank Langella and Michael Sheen, Frost/Nixon is the fascinating and suspenseful story of truth, accountability, secrets and lies.

Reginald Hudlin Matthew Perry is a gifted comic actor whose style works nicely on TV but somehow hasn't translated into movie success. To change the formula a bit, Serving Sara puts Perry in a slightly scruffier mode, and pairs him with an actress whose sexiness and comic aplomb should be a good counterpart to his wonderfully shticky style: Elizabeth Hurley. And it still doesn't work. This one is set in the exciting world of process-serving, where Perry teams up with jilted wife Hurley to sting her rich husband (reliable goof Bruce Campbell). This screwball plot might have worked if the two stars evinced any chemistry together, and if director Reginald Hudlin knew how to set up a scene. Bright spot: Cedric the Entertainer, as Perry's boss, gets laughs just from doing the tiniest bits of business while seated behind his desk. No small thing in a movie that otherwise labors. —Robert Horton

Allen Hughes, Albert Hughes Heavy on atmosphere and light on everything else, From Hell is visually impressive while lacking the depth of the acclaimed graphic novel it's based upon. Making their third feature since 1993's Menace II Society, twins Allen and Albert Hughes approach the Jack the Ripper case with physical precision, re-creating the gritty Whitechapel district of 1888 London in meticulous detail. What they've forgotten is the sheer terror that gripped Whitechapel in the wake of the Ripper's slaying of five prostitutes, investigated here by a Scotland Yard sleuth (Johnny Depp) who uses opium, laudanum, and absinthe to fuel his semiprescient visions of the slayings. Heather Graham attempts a slippery Cockney accent as a would-be victim, while Ian Holm steals the show as a has-been surgeon with devilish delusions of grandeur. Violence is obliquely suggested or briefly graphic, but no matter how you cut it, From Hell is only marginally thrilling as it treads familiar territory. —Jeff Shannon

John Huston It was the last roundup for Clark Gable and Marilyn Monroe, who gave their final performances in this melancholy modern Western. Arthur Miller wrote the script (some say overwrote) as a contemplation of his then-wife, Monroe, and set the piece in the half-world of Reno, Nevada. The dangers of this kind of meta-fictional approach are not entirely avoided, but the clean, clear-eyed direction of John Huston keeps the film grounded. And then there are the people: Gable a warrior past his time, Monroe overwhelmed by the world and its attentions, Montgomery Clift visibly broken in pieces, Eli Wallach a postwar neurotic. If the encroaching mortality of Gable, Monroe, and Clift weren't enough, the stark photography and Alex North's score confirm this as a film about loss. It may have its problems, but seen at a distance of many years, The Misfits scatters its tender mercies with an aching beauty. —Robert Horton

Mark Illsley Pick up the phone, take the bet, and rake in the cold, hard cash! Toby (Nick Stahl, In the Bedroom), Jude (Johnny Galecki, Vanilla Sky) and Casey (Lukas Haas, Long Time Dead) aremaking a fortune, and college history, with their new book making scheme. But this isn't a game for amateurs, and when the mob gets wind of it, they want their share. Now, these three college buddies are in over their heads just when things were getting interesting. An Official Selection of the 2003 Sundance Film Festival, Bookies co-stars Rachael Leigh Cook (Scorched) in this film where the stakes are high and the winner takes all.

Robert Iscove This charming update of Pygmalion (by way of the John Hughes oeuvre, most notably Pretty in Pink) rode the crest of the late-'90s wave of immensely popular teen films (Varsity Blues, etc.), thanks primarily to the immense charisma of its two leads, Freddie Prinze Jr. and Rachael Leigh Cook. When school star Zach (Prinze)—who—who's a jock, smart, and popular—gets dumped by vacuous Taylor (Jodi Lyn O'Keefe) after spring break, he's left dateless for the all-important prom. With a little goading from his less-than-sensitive best friend (hunky Paul Walker), he bets that he can make any girl into prom queen a mere eight weeks before the dance. The object of their wager: misfit Laney (Cook), a gawky art student too busy with her paintings and taking care of her brother and dad to worry about school politics. However, after a couple looks from Zach, and a few dates that reveal him to be a hunk of substance, Laney's armor begins to melt—and her stock at school soars. Soon enough, she's the lone candidate for prom queen against the bitchy and relentless Taylor.

What elevates She's All That above the realm of standard teen fare is its mixture of good-natured fairy-tale romance and surprisingly clear-eyed view of high school social strata. The lines of class are demarcated as clearly as if in a Jane Austen novel, but the satire is equally deflating and affectionate. Sure, high school could be bad sometimes, but it was lots of fun too; this is a movie good-natured enough to take time out for an extended hip-hop dance number at the prom. Director Robert Iscove (who also helmed the Brandy-starring TV adaptation of Cinderella) has also assembled a great young cast, including a scene-stealing Anna Paquin as Zach's no-nonsense sister, Kieran Culkin as Laney's geeky brother, and a stupidly goofy Matthew Lillard as a Real World cast member whose arrival shakes things up a little too much. And amidst all the comedy and prom drama, you'd be hard-pressed to find two teen stars as talented, attractive, and appealing as Prinze and Cook. Prinze is an approachable and sensitive jock, though it's Cook who's the true star, investing Laney with confidence, humor, and heart. Like Zach, you'll be hard-pressed not to fall in love with her. By the story's end, both Cook and the film will have charmed the socks off of you. —Mark Englehart

Robert Iscove Kelly Clarkson's fresh-faced, small-town-girl charm—the charisma that led her to win the first season of American Idol—is on full display in From Justin to Kelly, a contemporary beach-party movie co-starring her former competition, Justin Guarini. The flimsy plot—Kelly and two gal pals go to the beach for spring break, where one of her friends gets jealous of Kelly and tries to ruin her budding romance with Justin—is just an excuse for glossy pop musical numbers, in which Kelly, Justin, and the rest of the cast exercise their glossy throats with lots of white soul vocal stylings. The best musical numbers suggest a new kind of disco-fueled pop operetta, with everyone singing the story along; you may wish that Kelly and Justin sang their way through the entire movie, never speaking at all. Plenty of skin—from girls and boys—is on display, but the overall tone is squeaky clean. —Bret Fetzer

Wilfred Jackson One of the brightest nuggets from Disney's golden age, this 1937 film is almost dizzying in its meticulous construction of an enchanted world, with scores of major and minor characters (including fauna and fowl), each with a distinct identity. When you watch Snow White's intricate, graceful movements of fingers, arms, and head all in one shot, it is not the technical brilliance of Disney's artists that leaps out at you, but the very spirit of her engaging, girl-woman character. When the wicked queen's poisoned apple turns from killer green to rose red, the effect of knowing something so beautiful can be so terrible is absolutely elemental, so pure it forces one to surrender to the horror of it. Based on the Grimm fairy tale, Snow White is probably the best family film ever to deal, in mythic terms, with the psychological foundation for growing up. It's a crowning achievement and should not be missed. —Tom Keogh

Michael Patrick Jann Subtle is not the word to describe Drop Dead Gorgeous, a mock documentary purporting to cover the Sarah Rose Cosmetics Teen America Beauty Pageant in Mount Rose, Minnesota. Ellen Barkin (Sea of Love) and Kirsten Dunst (Interview with a Vampire, Dick) are perfectly cast as a mother and daughter whose only ambition is to use the pageant to get out of their claustrophobic small-town lives. Opposing them are Denise Richards (Wild Things, Starship Troopers) and her mother, Kirstie Alley (Look Who's Talking), who just happens to be the pageant's organizer. The plot, which centers on contestants being murdered (mostly by flaming explosions), is clearly secondary to the backstage shenanigans and satirical portrayals of vanity, small-town corruption, and family dysfunction. There's not much suspense to the pageant itself, but Dunst is an endearing protagonist and along with the broad jokes are some excellent acting turns from the cast, particularly Barkin, Brittany Murphy (Clueless), Nora Dunn (a Saturday Night Live alumna), and the great character actress Allison Janney, who's played small roles in countless movies but finally gets a chance to shine as the supportive neighbor of Barkin and Dunst. In fact, for all the jokes and satirical jabs, in the end it's the characters' relationships that stay in your mind. A bonus: the soundtrack features a hard-rocking version of the theme from The Mary Tyler Moore Show, performed with cool aplomb by Joan Jett and the Blackhearts. —Bret Fetzer

Vicky Jenson William Steig's delightfully fractured fairy tale is the right stuff for this computer-animated adaptation full of verve and wit. Our title character (voiced by Mike Myers) is an agreeable enough ogre who wants to live his days in peace. When the diminutive Lord Farquaad (John Lithgow) evicts local fairy-tale creatures (including the now-famous Seven Dwarfs, Pinocchio, and the Gingerbread Man), they settle in the ogre's swamp and Shrek wants answers from Farquaad. A quest of sorts starts for Shrek and his new pal, a talking donkey (Eddie Murphy), where battles have to be won and a princess (Cameron Diaz) must be rescued from a dragon lair in a thrilling action sequence. The story is stronger than most animated fare, but it's the humor that makes Shrek a winner. The PG rating is stretched when Murphy and Myers hit their strides. The mild potty humor is fun enough for 10-year-olds but will never embarrass their parents. Shrek is never as warm and inspired as the Toy Story films, but the realistic computer animation and a rollicking soundtrack keep the entertainment in fine form. Produced by DreamWorks, the film also takes several delicious stabs at its crosstown rival, Disney. —Doug Thomas

Jean-Pierre Jeunet Perhaps the most charming movie of all time, Amélie is certainly one of the top 10. The title character (the bashful and impish Audrey Tautou) is a single waitress who decides to help other lonely people fix their lives. Her widowed father yearns to travel but won't, so to inspire the old man she sends his garden gnome on a tour of the world; with whispered gossip, she brings together two cranky regulars at her café; she reverses the doorknobs and reprograms the speed dial of a grocer who's mean to his assistant. Gradually she realizes her own life needs fixing, and a chance meeting leads to her most elaborate stratagem of all. This is a deeply wonderful movie, an illuminating mix of magic and pragmatism. Fans of the director's previous films (Delicatessen, The City of Lost Children) will not be disappointed; newcomers will be delighted. —Bret Fetzer

Norman Jewison 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

Mark Steven Johnson Darker than its popular comic-book predecessor Spider-Man, the $80 million extravaganza Daredevil was packaged for maximum global appeal, its juvenile plot beginning when 12-year-old Matt Murdock is accidentally blinded shortly before his father is murdered. Later an adult attorney in New York's Hell's Kitchen, Murdock (Ben Affleck) uses his remaining, superenhanced senses to battle crime as Daredevil, the masked and vengeful "man without fear," pitted against dominant criminal Kingpin (Michael Clarke Duncan) and the psychotic Bullseye (Colin Farrell), who can turn almost anything into a deadly projectile. Daredevil is well matched with the dynamic Elektra (Jennifer Garner), but their teaming is as shallow as the movie itself, which is peppered with Marvel trivia and cameo appearances (creator Stan Lee, Clerks director and Daredevil devotee Kevin Smith) and enough computer-assisted stuntwork to give Spidey a run for his money. This is Hollywood product at its most lavishly vacuous; die-hard fans will argue its merits while its red-leathered hero swoops and zooms toward a sequel. —Jeff Shannon

Julie Jordan

Mike Judge The creator of Office Space, writer-director Mike Judge (Beavis and Butt-head), moves from cubicles to the assembly line with Extract— his outrageous return to workplace comedy, featuring a hilarious ensemble cast of quirky characters. About to sell his successful flavor extract company, life is almost sweet for Joel (Jason Bateman) until a freak on-the-job accident happens. Add to that his bored wife (Kristen Wiig), his laid-back, stoner best friend (Ben Affleck), a sexy con artist (Mila Kunis) who blows into town with dollar signs in her bedroom eyes, and a dumb gigolo and life as he knows it turns sour. Filled with laugh-out-loud one-liners and raunchy comedy, Extract is 100% pure hilarity.

Bonus Features include: Mike Judge's Secret Recipe Featurette The Ingredients For A Classic Mike Judge Film

Don Jurwich Our favorite American hero has returned in this rerelease of the now cult-classic G.I. Joe movie from 1987. Once again G.I. Joe must protect the world from total obliteration. Cobra, the deadliest of foes and leader of an underground race of snake people, is proving to be a great threat to humankind. After spending many generations underground, he plans to take over the world again (with the help of his evil foes Pythona and Serpentor) by releasing deadly spores into the atmosphere. These spores can transform all life into the weakest of creatures, which means humans could potentially devolve into amoebas. However, in order to accomplish this, Cobra must acquire the Broadcast Energy Transmitter. (The BET activates the spores.) Luckily G.I. Joe is there to stop Cobra and his evil army. There are terrific fight scenes in which nobody gets hurt (like in all great A-Team episodes) and the cartoon style is true to the G.I. Joe character. All your favorite G.I. Joe characters are here, including Falcon, Bazooka, Alpine, Duke, Snowjob, and Roadblock. Starring voices also help lend a hand: Don Johnson, Burgess Meredith, and Sergeant Slaughter. Forever and always G.I. Joe will be "fighting for freedom wherever there's trouble, over land and sea and air!"—Samantha Allen Storey

Jonathan Kahn (III)

Joseph J. Kane Jr.

Rolfe Kanefsky

Rolfe Kanefsky

Jake Kasdan One of the most iconic figures in rock history, Dewey Cox (John C. Reilly) had it all: the women (over 411 served), the friends (Elvis, The Beatles) and the rock 'n' roll lifestyle (a close and personal relationship with every pill and powder known to man). But most of all, he had the music that transformed a dimwitted country boy into the greatest American rock star who never lived. A wild and wicked send-up of every musical biopic ever made, Walk Hard: The Dewey Cox Story is gut-busting proof that when it comes to hard rocking, living and laughing, a hard man is good to find.

Tony Kaye Perhaps the highest compliment you can pay to Edward Norton is that his Oscar-nominated performance in American History X nearly convinces you that there is a shred of logic in the tenets of white supremacy. If that statement doesn't horrify you, it should; Norton is so fully immersed in his role as a neo-Nazi skinhead that his character's eloquent defense of racism is disturbingly persuasive—at least on the surface. Looking lean and mean with a swastika tattoo and a mind full of hate, Derek Vinyard (Norton) has inherited racism from his father, and that learning has been intensified through his service to Cameron (Stacy Keach), a grown-up thug playing tyrant and teacher to a growing band of disenfranchised teens from Venice Beach, California, all hungry for an ideology that fuels their brooding alienation.

The film's basic message—that hate is learned and can be unlearned—is expressed through Derek's kid brother, Danny (Edward Furlong), whose sibling hero-worship increases after Derek is imprisoned (or, in Danny's mind, martyred) for the killing of two black men. Lacking Derek's gift of rebel rhetoric, Danny is easily swayed into the violent, hateful lifestyle that Derek disowns during his thoughtful time in prison. Once released, Derek struggles to save his brother from a violent fate, and American History X partially suffers from a mix of intense emotions, awkward sentiment, and predictably inevitable plotting. And yet British director Tony Kaye (who would later protest against Norton's creative intervention during post-production) manages to juggle these qualities—and a compelling clash of visual styles—to considerable effect. No matter how strained their collaboration may have been, both Kaye and Norton can be proud to have created a film that addresses the issue of racism with dramatically forceful impact. —Jeff Shannon

Elia Kazan, John Huston, José Quintero, Richard Brooks A much-needed DVD tribute to one of the essential American playwrights, The Tennessee Williams Collection gathers six Williams titles and one vintage documentary. Taken together, it's a potent introduction to the specific terrain (geographical and emotional) of this brilliant writer. The set is anchored by Warner's deluxe two-disc treatment of A Streetcar Named Desire, which has copious extras (among them a fine 90-minute documentary about director Elia Kazan). The multi-Oscar-winning Streetcar is one of the better stage adaptations in film history, and it captures the electrifying Marlon Brando, re-creating his stage role, in the part that changed American acting: the brutish New Orleans sensualist Stanley Kowalski. Vivien Leigh won an Oscar opposite him, as the faded (except in her own mind) Southern belle Blanche DuBois, whose arrival in the Kowalski home leads to disaster.

Kazan also directed Baby Doll, which Williams scripted from a couple of one-act plays. This outrageous sex comedy casts the excellent Carroll Baker as the 19-year-old wife of middle-aged Karl Malden, who anxiously awaits the day he can finally consummate his maddening marriage; immigrant cotton magnate Eli Wallach shows up at Malden's crumbling plantation house just in time to take the bloom off the rose, as it were. Famous for being condemned in 1956, Baby Doll remains a very modern (and gloriously dirty) movie. Cat on a Hot Tin Roof, directed by Richard Brooks, faithfully brings three of Williams's indelible characters to the screen, even if the script discreetly changes the original stage text: the hot Maggie the Cat (Elizabeth Taylor), her reluctant husband Brick (Paul Newman), and Brick's rich Big Daddy (Burl Ives). All three performers act the lights out.

Sweet Bird of Youth reunites Paul Newman with director Brooks, and also showcases Geraldine Page's performance as an aging film star tagging along with young stud Newman to his Southern home town. Some of Williams' more depraved touches are toned down, but the milieu is unmistakable and the movie is intense. The Night of the Iguana gives Richard Burton perhaps his finest hour onscreen: as Williams' dissolute defrocked priest, playing tour guide in Puerto Vallarta to tour groups of nattering biddies. The movie has director John Huston's sympathy for life's losers, as well as a trio of women built to torment Burton's reverend: Ava Gardner, Deborah Kerr, and Sue Lyon. The Roman Spring of Mrs. Stone, based on Williams's novel, is not a great movie, but gives Vivien Leigh a good workout as a wounded actress dallying with Italian gigolo Warren Beatty.

Tennessee Williams' South is a 1973 documentary featuring some marvelous observations from Williams, as he holds court for filmmaker Harry Rasky. It also has long scenes from his plays, enacted by good folks such as Maureen Stapleton, Colleen Dewhurst, and Burl Ives. Especially valuable is a Streetcar sequence with Jessica Tandy re-creating her original role as Blanche. Williams himself reads the narration from The Glass Menagerie, a privileged moment. This is not an exhaustive Williams set (Joseph Mankiewicz's Suddenly, Last Summer and Sidney Lumet's The Fugitive Kind are among the best Williams films), but it maps out the steamy, tortured landscape awfully well. —Robert Horton

Richard Kelly (II) This unclassifiable but stunningly original film obliterates the walls between teen comedy, science fiction, family drama, horror, and cultural satire—and remains wildly entertaining throughout. Jake Gyllenhaal (October Sky) stars as Donnie, a borderline-schizophrenic adolescent for whom there is no difference between the signs and wonders of reality (a plane crash that decimates his house) and hallucination (a man-sized, reptilian rabbit who talks to him). Obsessed with the science of time travel and acutely aware of the world around him, Donnie is isolated by his powers of analysis and the apocalyptic visions that no one else seems to share. The debut feature of writer-director Richard Kelly, Donnie Darko is a shattering, hypnotic work that sets its own terms and gambles—rightfully so, as it turns out—that a viewer will stay aboard for the full ride. —Tom Keogh

Victor Mignatti, Jim Swaffield R. Kelly R. Kelly has created a cultural phenomenon of which no one has seen before. His truly original and fresh urban operetta Trapped in the Closet earned him numerous accoloades, including a Grammy nomination. The media and the world were captivated with each episode as a new cliffhanger unfolded with every word in this unique rhyming soap-opera sung to a melody. Now the tale continues with Chapters 13 to 22 - featuring brand new characters and plot twists that are sure to capture the imagination of the public once again. 

Recap of Chapters 1-12

Chapters 13 - 22

Trapped Behind the Scenes - a sneak peek from the set

All chapters available in 5.1 sound 

All footage shot and edited in Hi Definition

Bonus features are unrated

J.M. Kenny To know the origin of "Snoochie-Boochies," you must spend An Evening with Kevin Smith. The Jersey-bred auteur of low-budget comedy proves equally adept as an uncensored raconteur, regaling five college audiences—his most devoted demographic—in this two-disc compilation of lively Q&A. Sporting his trademark slacker garb, Smith occasionally bites the loyal, sometimes moronic hands that feed him (as a result, audience participation is drop-dead hilarious), but he's arguably the most publicly and personally honest filmmaker to survive the insanity of Hollywood. His best stories lift the veil of show-biz decorum, describing absurd meetings with studio executives over his ill-fated screenplay Superman Lives; razzing the artsy pretensions of director Tim Burton; or exposing Prince (who hired him to direct a never-completed documentary) as a self-absorbed Jesus freak. These attacks aren't baseless; Smith's too smartly good-natured to provoke without purpose, and with an onstage visit by Jason Mewes ("Jay" to Smith's "Silent Bob"), this ribald, sharply assembled Evening compares favorably to Richard Pryor with its outrageous blend of comedy and candor. —Jeff Shannon

Irvin Kershner For the first time ever and for a limited time only, the enhanced versions of the Star Wars: Episode IV A New Hope, Star Wars: Episode V The Empire Strikes Back and Star Wars: Episode VI Return of the Jedi will be available individually on DVD. Plus, these 2-Disc DVD's will feature a bonus disc that includes, for the first time ever on DVD, the original films as seen in theaters in 1977, 1980 and 1983.

Dylan Kidd Campbell Scott bristles, burns, and sneers as Roger, a would-be smoothie who gets jilted by his older lover (who also happens to be his boss at an advertising agency). When his teenage nephew Nick (Jesse Eisenberg) appears at his office the next day, hoping for lessons in how to deal with the ladies, Roger uses his nephew partly as a foil, partly as a prop as he vents his anger and unhappiness on women in a scathing tour of bars and parties. A sharp script and multidimensional performances make Roger Dodger more than a standard war-of-the-sexes diatribe. Scott (Big Night, The Spanish Prisoner) doesn't ask for sympathy and doesn't allow for pity—his award-winning performance as Roger has defiance and dignity, whether the character is spitting bile or humiliating himself. Featuring strong supporting performances from Eisenberg, Isabella Rossellini (Blue Velvet), Jennifer Beals (In the Soup), and (surprise) Elizabeth Berkley (Showgirls). —Bret Fetzer

Beeban Kidron Although it's been three years since we last saw Bridget (Renée Zellweger), only a few weeks have passed in her world. She is, as you'll remember, no longer a "singleton," having snagged stuffy but gallant Mark Darcy (Colin Firth) at the end of the 2001 film. Now she's fallen deeply in love and out of her neurotic mind with paranoia: Is Mark cheating on her with that slim, bright young thing from the law office? Will the reappearance of dashing cad Daniel Cleaver (Hugh Grant) further spell the end of her self-confidence when they're shoved off to Thailand together for a TV travel story? If such questions also seem pressing to you, this sequel will be fairly painless, but you shouldn't expect anything fresh. Director Beeban Kidron and her screenwriters—all four of them!—are content to sink matters into slapstick, with chunky Zellweger (who's unflatteringly photographed) the literal butt of all jokes. Though the star still has her charms, and some of Bridget's social gaffes are amusing, the film is mired in low comedy—a sequence in a Thai women's prison is more offensive than outrageous—with only Grant's rakish mischief to pull it out of the swamp. —Steve Wiecking

Zalman King This camp spectacle stars Sherilyn Fenn (Boxing Helena) as an upper-crust Southern belle who abandons the posh life for sex on the road with a carny worker. Naturally, the older folk (Burl Ives, Louise Fletcher) take exception. Typically silly, soft-porn stuff from director Zalman King (Wild Orchid), this erotic joke of a movie is good for putting one's busy brain on hold for awhile. Colorful support from Kristy McNichol as a cowgirl, Screamin' Jay Hawkins, and the late Hervé Villechaiz (Fantasy Island). —Tom Keogh

David Koepp MORT RAINEY, A WRITER JUST COMING OFF A TROUBLESOME DIVORCE WITH HIS EX-WIFE, AMY, FINDS HIMSELF STALKED AT HIS REMOTE LAKE HOUSE BY A PSYCHOTIC STRANGER WHO CLAIMS MORT STOLE HIS BEST STORY IDEA (CHANGING JUST THE ENDING). BASED ON A STEVEN KING NOVEL: SECRET WINDOW, SECRET GARDEN.

Barbara Kopple After making her name in The Princess Diaries, Anne Hathaway takes a radical detour with this edgy independent drama. As Allie, a wealthy gangsta wannabe, she makes no excuses for her delinquent behavior: "We're just teenagers and we're bored." When her Pacific Palisades posse, including pal Emily (Bully's Bijou Phillips), starts hanging out with a Latino gang (including Six Feet Under's Freddy Rodríguez), they learn what thug life is really about. Hathaway couldn't be more game: She swears, she fights—she disrobes (several times). Written and directed by Oscar winners Stephen Gaghan (Traffic) and Barbara Kopple (American Dream), Havoc plays like a B movie, in the vein of the superior crazy/beautiful, and was released straight to video. For Hathaway fans, it's a chance to see this young talent in a very different light, but for Gaghan and Kopple followers, this lurid morality tale is sure to come as a letdown. —Kathleen C. Fennessy

Sue Kramer Gray Matters has one of the most adorable casts of any movie in recent years—the combined sweetness of Heather Graham (Austin Powers: The Spy Who Shagged Me), Bridget Moynahan (Lord of War), Molly Shannon (Year of the Dog), Thomas Cavanagh (Ed), Alan Cumming (X-Men 2), and Sissy Spacek (Carrie, In the Bedroom) narrowly avoids being diabetes-inducing. Gray (Graham) and her brother Sam (Cavanagh) have been best friends forever—so close that they find it hard to date. Gray pushes Sam into asking out Charlie (Moynahan), but when Sam and Charlie hit it off so well they spontaneously decide to get married, Gray finds herself unexpectedly dismayed... but not as dismayed as she is when, on a girls' night out before the ceremony, she and Charlie share a drunken kiss that sets Gray's body tingling. Gray Matters juggles a lot of emotional issues; the sibling interconnectedness problem doesn't flow smoothly into the coming-out story of the movie's second half. But sprinkled throughout are charming scenes and wonderfully deft moments that make the story's clumsy missteps all the more baffling. There's no question that Graham is a star who just can't seem to find the right vehicle;Gray Matters won't be her breakthrough, but it's further evidence of her significant appeal. —Bret Fetzer

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

Roger Kumble Manic energy and an agreeable level of comic insanity turn Just Friends into the kind of brainless comedy you can enjoy as a modest guilty pleasure. If you liked director Roger Kumble's previous comedy The Sweetest Thing (and let's face it, that movie had some really funny moments), chances are you'll get at least a few solid belly-laughs from this not-so-high-concept premise, in which a formerly fat high-schooler named Chris (Ryan Reynolds) is transformed, ten years later, into a womanizing music executive with a high-profile client (Anna Faris) in the Britney Spears/Christina Aguilera mold. As it zips along with some broad-stroked slapstick and snappy one-liners, the screenplay by Adam Tex Davis contrives to reunite Chris with Jamie (Amy Smart), the former cheerleader who was the great, unrequited love of Chris' miserable high-school life. By his narcissistic logic, he'll seduce her by treating her badly (i.e. she'll want what she thinks she can't have), but he gets unexpected competition in the form of a "Mr. Sensitive" type (Chris Klein, from American Pie), and it's pretty much Hollywood formula from there on, as Just Friends loses momentum without losing its basic appeal. And while Reynolds invests his character with an unexpected degree of emotional nuance, Faris (Scary Movie 3) pulls out all the stops, going deliriously over-the-top to maintain her reputation as a rising comedy starlet with a (hopefully) promising future. We're not talking rocket science here, folks... just sit back, take off your thinking cap, and have some fun. —Jeff Shannon

Tom Kuntz, Mike Maguire, James Kleiner This just in...The Onion invades DVD! Based on the wildly popular newspaper hailed by The New Yorker as the funniest publication in the United States The Onion Movie brings you uncensored uninhibited UNRATED news and views from around the world. In a stunning development when Onion News anchorman Norm Archer (Len Cariou) is asked to compromise his journalistic integrity to please a new corporate sponsor he doesn t just get mad he gets...angry. Taking aim at pop stars prisoners peace talks and of course high-testosterone action films The Onion Movie delivers hard-hitting headlines and side-splitting laughs!System Requirements:Running Time: 80 minutesFormat: DVD MOVIE Genre: COMEDY/PARODY & SPOOF Rating: NR UPC: 024543518945 Manufacturer No: 2251894

Ken Kwapis Who would expect a gimmick like a pair of magical pants to be the hook for such a smart, charming, and emotionally rich teen movie? Four close friends discover a pair of pants that fit them all perfectly, even though they're physically very different. Since all four are going in different directions for the summer, they pledge to each wear the pants for a week and then mail them to the next girl. In Greece, Lena (Alexis Bledel, Gilmore Girls) lands in the middle of a Romeo & Juliet family-feud romance; Carmen (America Ferrera, Real Women Have Curves) discovers that her estranged father is about to marry a blonde Southern belle; Bridget (newcomer Blake Lively) flirts with love at a Mexican soccer camp; and Tibby (Amber Tamblyn, Joan of Arcadia) stays home and gets a boring retail job to pay for her documentary film—but finds herself with an unwanted young assistant (Jenna Boyd, The Missing). These four stories manage to cover an amazing amount of ground (touching on race, body issues, divorce, mortality, and more) without resorting to stereotypes or easy resolutions. The engaging characters are brought to vivid life by these four talented actresses, who grab this excellent script and run with it. One of the best movies about teenage life in a long, long time. —Bret Fetzer

Ken Kwapis THE BALTIMORE-SET MOVIE OF INTERCONNECTING STORY ARCS DEALS WITH THE CHALLENGES OF READING OR MISREADING HUMAN BEHAVIOR.

Neil LaBute Controversial director Neil LaBute tweaks our culture's moral compass in his dark comedy The Shape of Things. Dorky museum guard Adam (indie heartthrob Paul Rudd, made to look as dweebish as possible) meets student Evelyn (Rachel Weisz) as she's preparing to deface a classical statue; instead of stopping her, he musters up the courage to ask her out. But soon he finds himself so completely in her thrall that he willingly succumbs to her every want—and she wants him to change his hair, his clothes, his face, even his friends (Frederick Weller and Gretchen Mol). In In the Company of Men, LaBute presented two men cruelly experimenting with a deaf woman's affections;The Shape of Things proposes that women can be just as monstrous. Though LaBute could stand to delve more deeply, this well-acted and cunningly written film will provoke conversation afterwards—and not many movies nowadays can do that. —Bret Fetzer

Edward Lachman The complete 5 disc set Studio: Paramount Home Video Release Date: 12/26/2006 Run time: 230 minutes Rating: Nr

John Landis Three Western stars (Martin Short, Steve Martin, Chevy Chase) from Hollywood silent films go to Mexico for what they assume will be a publicity appearance, and find they've actually been summoned to fight a local bandit. John Landis directed this 1986 comedy with self-conscious artifice, and it's hard to get into his self-congratulatory joke. Even the three main stars, brilliant comics all, can't sustain anything funny in it. —Tom Keogh

Michael Landon, Alfred E. Green, Lawrence C. Windom 3 Great Movies on 1 DVD. Star Power, Exciting Genre with Extras on each DVD.

Michael Lange Dominique Swain, best known as Lolita in the 1998 Adrian Lyne remake and the knife-wielding daughter in Face-Off, shows off her gift for romantic comedy in this lightweight little confection. Interning at glossy fashion magazine "Skirt," her inexperienced but plucky and charming Jocelyn jumps at the often outlandish commands of her editors and nurses a crush on the magazine's assistant art director (Ben Pullen) while waiting for her big break, specifically a paying position. The high-strung editorial staff includes Joan Rivers (who barks up a storm with new ideas on wheelchair chic), Peggy Lipton, Kathy Griffin, Anna Thompson, and Paulina Porizkova as a former model who can't shake her starvation diet. "She had an apple two days ago," someone comments after she faints. "That can't be it," nods another.

The ostensible plot involves industrial espionage and the campaign to flush out "the Yuri," a spy sending all their upcoming ideas to arch-rival Vogue that Jocelyn vows to uncover, but that's just another complication in the wacky world of haute couture. Crammed with insider jokes, industry potshots, and an army of cameos only fashion devotees will recognize, from Diane von Fürstenberg to Tommy Hilfiger (for the rest of us there's Gwyneth Paltrow for a few brief seconds), it's an old fashioned romantic comedy with a new wardrobe. It's Swain's engaging performance and Michael Lange's genial direction that mellow the caustic barbs and invest it with a sense of heart. —Sean Axmaker

Stan Lathan Dave Chappelle-For What It's Worth finds the Comedy Central superstar in performance at San Francisco's legendary Winterland, where he's welcomed with a huge ovation. Easing into his set, Chappelle shares a few observations about the city itself, noting there's nothing tender about the Tenderloin District: "You've got people smoking crack while sitting in front of Starbucks." Chappelle's inspiration dips a bit after that, as the subject of sex with monkeys and smoking weed with Indians doesn't quite reach his usual standards. Then, suddenly, he's on top of his game again, his material like an echo of vintage Lenny Bruce as he discusses why whites drink grape juice and blacks drink "grape drink," why police harassment has led him to believe in impromptu alibis, and why the culture of celebrity should stay away from real-world issues: "Maybe Jah Rule doesn't have the answers we want in a disaster."—Tom Keogh

J.F. Lawton Mix two parts Apocalypse Now with equal parts Raiders of the Lost Ark and any feminist studies text and you'll come up with Cannibal Women in the Avocado Jungle of Death. Shannon Tweed (of Playboy Playmate of the Year fame) and Bill Maher (Politically Incorrect) travel deep into the Uncharted Avocado Jungle of southern California on a mission for the U.S. government to find the ancient Piranha Women. See, the government wants to avert an avocado shortage precipitated by the Piranha Women's occupation of the jungle; that and the Piranha Women have this little peccadillo of eating their men, thus posing a threat to our phallocentric way of life. Tweed is supposed to convince them to move to Malibu condos, where they can continue eating men if they like, so long as we can get in there and get those avocados. Accompanying the duo on their mission, for contrast, is a Home Ec major named Bunny whose secret fantasy is to be tied up with red licorice whip, and who wants to join the Piranha Women so she can get one of those cute outfits. The previous envoy for the Military, one Dr. Kurtz (Adrienne Barbeau), an anthropologist and feminist, never came back, instead becoming the leader of the threatening Piranha Women. Yet she's really interested in writing an exposé about her time in the jungle ("a kiss-sacrifice-and-tell book") so she can get back on the talk show circuit. "You don't know what it's like trying to face David Letterman with a book on male insensitivity.... The horror, the horror!" Thoroughly smart and entertaining, with hilarious dialogue that never flags. —Jim Gay

Mimi Leder A great big rock hits the earth, and lots of people die. That's pretty much all there is to it, and most of that was in the trailer. Can a major Hollywood movie really squeak by with such a slender excuse for a premise? The old disaster-movie king, cheese-meister Irwin Allen (The Poseidon Adventure, Earthquake), would have made a kitsch classic out of this, with Charlton Heston, rather than a resigned and mumbly Robert Duvall, as the veteran astronaut who risks several lives trying to blow up the comet that's headed right this way! As stiffly directed by Mimi Leder, this thick slice of ham errs on the side of solemnity. It may the be most earnest end-of-the-world picture since Stanley Kramer's atomic-doom drama On the Beach. There are a couple of classic melodramatic flourishes: an estranged father and daughter who share a tearful reconciliation as a Godzilla-sized tidal wave looms on the horizon; and an astronaut, communicating on video with his loved ones back on Earth, who follows whispered instructions from a buddy lurking just off camera—so that his little boy won't realize that he's been struck blind. With Morgan Freeman as the president of the United States. —David Chute

Mimi Leder It seems that thrillers these days—even good ones—are all about scene-chewing bad guys, cute retorts fit for the Dennis Miller show, and one big special effect to end the movie. Well, something like The Peacemaker, the first feature film from DreamWorks, puts the record straight. Here is an expertly paced thriller with a sensible villain, smart instead of cute dialogue, and a focus on action instead of special effects. It's not original, just solid. It's the second of these energetic and effective thrillers that writer Michael Schiffer (Crimson Tide) has penned. The White House Nuclear Smuggling Group tracks down 10 stolen nuclear bombs after a suspicious train wreck in Russia. The acting head of the department (Nicole Kidman) and her military field officer (George Clooney) are off to Europe to track down the bombs. Instead of a Gary Oldman-Bruce Dern madman, The Peacemaker's heavy is an unknown Romanian actor (Marcul Iures) playing a Bosnian rebel who works passionately and quietly. This may be a popcorn movie, but it uses the ripe emotions of the Bosnian War to create tension. This is the best film vehicle yet for the overwhelming charisma of George Clooney as a quick witted, generally warm Oliver North type who will seek deadly vengeance without pause. He's matched very well by the professional polish of Nicole Kidman who is showing great flexibility in dividing her roles between serious and fun fare. —Doug Thomas

Malcolm D. Lee Blaxploitation movies deserve a good spoofing, and Undercover Brother tweaks the subgenre with a few good laughs. But what might have been an Afro-centric Austin Powers (adapted by John Ridley from his Internet film series) is instead a lackluster comedy with one basic joke: "Whitey"—personified as a faceless corporate despot known as "the Man"—has the power, but black folks have soul. With enough funk to make Shaft look passé, Eddie Griffin plays "U.B." with an oversized 'fro and a firm grasp of comedic possibilities. He's recruited by the B.R.O.T.H.E.R.H.O.O.D. (an all-black justice league) to foil the Man's plan to derail a Colin Powell-like presidential candidate (Billy Dee Williams), and U.B.'s undercover exploits keep the slim plot moving. Denise Richards and Neil Patrick Harris are gamely ridiculed as token white allies, and it's all in good fun as director Malcolm D. Lee (Spike's cousin) finds room for mild jolts of relevant social commentary. —Jeff Shannon

Spike Lee The Original Kings of Comedy achieves the seemingly impossible task of capturing the rollicking and sly comedy routines of stand-up and sitcom vets Steve Harvey, D.L. Hughley, Cedric the Entertainer, and Bernie Mac and the magic of experiencing a live concert show. Director Spike Lee and his crew plant a multitude of cameras in a packed stadium and onstage (as well as backstage, as they follow the comedians) to catch the vivid immediacy of the show, which is as much about the audience as it is about the jokes. And the jokes are funny.

All four riff fast and furiously (and with much swearing) on the world in terms of race, family, sex, and in one routine, outer space. Hughley takes comedic aim at extreme sports and eating disorders, while Cedric harks back to the day when gang fights meant calling opponents out onto the dance floor. Bernie Mac, the self-confessed id comedian of the group, presents a routine that is simultaneously offensive and hilarious—an apt reminder that comedy can and should be vicious if we are ever to learn to laugh at ourselves and hopefully be the better for it. Harvey, who acts as the MC for the show, has some transcendent moments with the crowd (a '70s slow jam sing-along, anyone?) that have to be seen to be believed. There's no doubt as to why Kings was a hit with concert and movie audiences; the laughs keep coming, in the tradition of Richard Pryor and Eddie Murphy, with a sharp eye on the nuances of today's racially affected culture. —Shannon Gee

Michael Lehmann After being brutally dumped by his knockout ex-girlfriend, Matt (Josh Hartnett, Pearl Harbor) is so torn up inside that he vows to give up sexual activity—including masturbation—for Lent. His friends and coworkers start betting on how soon he'll crack. Their skepticism is given fuel when Matt meets Erica (Shannyn Sossamon, A Knight's Tale) at a laundromat. They're immediately smitten with each other, but Matt struggles to stay true to his vow, even though it threatens to founder his potential relationship with Erica. Based on this description, you might think that 40 Days and 40 Nights is religious educational video—however, the barrage of sex gags and frequent nudity would quickly dispel this notion. Almost nothing in this movie remotely resembles human behavior. Some movies are so deeply stupid that they're depressing to watch; this is one of them. —Bret Fetzer

Danny Leiner From the director of Dude, Where's My Car? comes another crazed tale of two friends on a perilous quest—in this case, to eat burgers at the fast food restaurant White Castle. The pair—repressed Harold (John Cho, Better Luck Tomorrow) and freewheeling Kumar (Kal Penn, Love Don't Cost a Thing)—get extremely high and set off on the road, only to be sidetracked by skateboarding hooligans, racist cops, an inbred tow truck driver, and Neil Patrick Harris—yes, Doogie Howser, M.D. The humor is all over the map, and it would be nice if there were one female character who wasn't a caricature, but Harold and Kumar Go to White Castle has a loose, gregarious charm, and the movie's canniness about the cliches of the buddy-movie genre give it a sneaky subversive feel—just the fact that neither of the heroes is white puts a different spin on just about every circumstance. Surprisingly clever, cheerfully stupid. —Bret Fetzer

Christopher Leitch, Rod Daniel Teen Wolf is a flip-flop of the horrorific I Was a Teenage Werewolf story: this time, lycanthropy makes the afflicted high-schooler a big man on campus. An otherwise routine teen comedy, this one works because of the customary bounce of Michael J. Fox, in one of his first leading roles (it was shot before Back to the Future but released in that blockbuster's wake, and cashed in nicely). Although his werewolf makeup makes him look more like Bigfoot than Lon Chaney, Jr., Fox manages to convey his peppy personality even under all that hair. Teen Wolf Too, however, is not even bearable. Here Fox is replaced by Jason Bateman, who finds that his wolfish inclination helps him become the big dog on the college boxing team. The sole bright spot is veteran actor Paul Sand as the boxing coach. The rest is howlingly unfunny. - -Robert Horton

David Leland Studio: Starz/sphe Release Date: 08/26/2008 Run time: 97 minutes Rating: R

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

Scott P. Levy, Richard Styles (II)

Doug Liman Director Doug Liman's follow-up to the winning Swingers is a rollicking adventure that, while lacking in any substantial plot, speeds along with nonstop adrenaline and style to burn. Taking a cue from Pulp Fiction, Liman plays tricks with time and overlapping plots, all of which play out in L.A. and Las Vegas in a 24-hour period sometime between Christmas and New Year's. Slacker grocery-store clerk Ronna (Sarah Polley) is trying to score rent money by selling hits of Ecstasy at a rave party, but winds up inadvertently double-crossing a ruthless dealer (sexy and scary Timothy Olyphant). She's also invading the dealing turf of her coworker Simon (Desmond Askew), a Brit on his first trip to Vegas, which turns nightmarish after a jaunt with pal Marcus (Taye Diggs) to a "gentleman's club" turns violent. And then there's the two soap-opera actors (Jay Mohr and Scott Wolf) who cross paths with Ronna more than once in their attempts to divest themselves of a drug-related charge by participating in a sting.

The way Liman and writer John August layer these stories owes a huge debt to Quentin Tarantino, but the comedy and action sequences rocket like a bat out of hell with energy, humor, and genuine surprise. In addition to some hilarious dialogue exchanges—including a classic scene between Ronna's stoned friend (Nathan Bexton) and a Zen cat—Liman works wonders with one the most winning ensembles in recent memory, a cast that includes both established actors and TV cuties. Mohr, Diggs, and especially Polley (doing a 180 from her turn in The Sweet Hereafter) are as excellent as you'd expect, but it's Wolf (of Party of Five) and Dawson's Creek's Katie Holmes (as Polley's best bud) who turn in revelatory work; Holmes especially seems poised to be a breakout star. An amazing cinematic ride—like a roller coaster, you'll want to go back again and again. —Mark Englehart

Doug Liman Released amidst rumors of romance between costars Angelina Jolie and soon-to-be-divorced Brad Pitt, Mr. and Mrs. Smith offers automatic weapons and high explosives as the cure for marital boredom. The premise of this exhausting action-comedy (no relation to the 1941 Alfred Hitchcock comedy starring Carole Lombard and Robert Montgomery) is that the unhappily married Smiths (Pitt and Jolie) will improve their relationship once they discover their mutually-hidden identities as world-class assassins, but things get complicated when their secret-agency bosses order them to rub each other out. There's plenty of amusing banter in the otherwise disposable screenplay by Simon Kinberg (xXx: State of the Union, Fantastic Four), and director Doug Liman (The Bourne Identity) gives Pitt and Jolie a slick, glossy superstar showcase that's innocuous but certainly never boring. It could've been better, but as an action-packed summer confection, Mr. and Mrs. Smith kills two hours in high style. —Jeff Shannon

Richard Linklater You remember high school? Really remember? If you think you do, watch this film: it'll all really come racing back. After changing the world with the generation-defining Slacker, director Richard Linklater turned his free-range vérité sensibility on the 1970s. As before, his all-seeing camera meanders across a landscape studded with goofy pop culture references and poignant glimpses of human nature. Only this time around, he's spreading a thick layer of nostalgia over the lens (and across the soundtrack). It's as if Fast Times at Ridgemont High was directed by Jean-Luc Godard. The story deals with a group of friends on the last day of high school, 1976. Good-natured football star Randall "Pink" Floyd navigates effortlessly between the warring worlds of jocks, stoners, wannabes, and rockers with girlfriend and new-freshman buddy in tow. Surprisingly, it's not a coming-of-age movie, but a film that dares ask the eternal, overwhelming, adolescent question, "What happens next?" It's a little too honest to be a light comedy (representative quote: "If I ever say these were the best years of my life, remind me to kill myself."). But it's also way too much fun (remember souped-up Corvettes and bicentennial madness?) to be just another existential-essay-on-celluloid. —Grant Balfour

On the DVD
With a perfect combination of awesome '70s-era packaging and a totally rockin' selection of bonus features, the Criterion Collection's director-approved special edition two-disc release of Dazed and Confused instantly qualifies as one of the very best DVDs of 2006—the 30th anniversary of the Bicentennial, man! That's what I'm talkin' about! As a sublime companion piece to Criterion's release of Richard Linklater's previous film Slacker, the set comes in a slipcase (complete with "Physical Graffiti"-like picture-windows) festooned with Flair-pen high-school "doodling" (just like you'd scribble on your Pee Chee folders, back in the day), and the features get off on a high note (kinda like Slater, y'know?) with writer-director Linklater's feature-length commentary, which offers all aspiring filmmakers an important lesson protecting your vision and knowing when not to compromise. In recalling the many struggles he endured during production, Linklater covers a lot of territory (notes from the studio, the fantasy abundance of muscle cars, selection of music, and his acute disappointment when Robert Plant—but not Jimmy Page—refused to allow Led Zeppelin songs to be used in the film), and his engaging, good-humored perspective (and appropriate sense of vindication) clearly arises from his film's eventual acceptance as a classic. (For all you film buffs out there, Linklater quite rightly recommends Tim Hunter's Over the Edge and Lindsay Anderson's If... as "great teenage films" that defined the genre before Dazed.) The film itself never looked or sounded better (Linklater and cinematographer Lee Daniel supervised the high-def digital transfer), and a generous selection of deleted scenes will be welcomed by the film's legion of loyal fans.

The Disc 2 supplements are highlighted by Making "Dazed", filmmaker Kahane Corn's decade-in-the-making 50-minute documentary, chronicling all aspects of the production from casting to the Dazed tenth-anniversary celebration in Austin, Texas, in 2003. "Beer Bust at the Moon Tower" allows random viewing of a 118-minute compilation of behind-the-scenes footage, on-set interviews (with cast members both in and out of character), audition footage, and recollections from the anniversary bash. The accompanying 72-page booklet is a Criterion master-stroke: Designed like a small-scale high-school yearbook, it's filled with more "doodling" artwork, lots of photos, three appreciative mini-essays (the best being by journalist/author Chuck Klosterman), recollections by cast and crew, and humorous "Profiles in Confusion" portraits of the characters in Dazed, reprinted from the film's similarly designed companion book. It's all topped off by a miniature reproduction of the film's original poster, designed by Frank Kozik. In terms of capturing "The Spirit of '76" and the film's celebratory sense of anti-nostalgia, this is surely one of Criterion's finest releases to date. —Jeff Shannon

Steven Lisberger The surprising truth about Disney's 1982 computer-game fantasy is that it's still visually impressive (though technologically quaint by later high-definition standards) and a lot of fun. It's about a computer wizard named Flynn (Jeff Bridges) who is digitally broken down into a data stream by a villainous software pirate (David Warner) and reconstituted into the internal, 3-D graphical world of computers. It is there, in the blazingly colorful, geometrically intense landscapes of cyberspace, that Flynn joins forces with Tron (Bruce Boxleitner) to outmaneuver the Master Control program that holds them captive in the equivalent of a gigantic, infinitely challenging computer game. Disney's wizards used a variety of cinematic techniques and early-'80s state-of-the-art computer-generated graphics to accomplish their dynamic visual goals, and the result was a milestone in cyberentertainment, catering to technogeeks while providing a dazzling adventure for hackers and nonhackers alike. Appearing just in time to celebrate the nascent cyberpunk movement in science fiction, Tron received a decidedly mixed reaction when originally released, but has since become a high-tech favorite and a landmark in special effects, with a loyal following of fans. DVD is a perfect format for the movie's neon-glow color scheme, and the musical score by synthesizer pioneer Wendy Carlos is faithfully preserved on the digitally remastered soundtrack. —Jeff Shannon

Moctezuma Lobato

Frank Longo

George Lucas The 2006 limited-edition two-disc release of George Lucas's epic space fantasy Star Wars is not only the first time the movie has been officially available by itself on DVD. It marks the first-ever DVD release of Star Wars as it originally played in theaters in 1977. What does that mean exactly? Well, for starters, the initial title crawl proclaims that this is just Star Wars, not Episode IV, A New Hope. Second, the film is without the various "improvements" and enhancements Lucas added for the theatrical rerelease in 1997 as well as the DVD premiere in 2004. So no more critters and droids scurrying around the port of Mos Eisley when Luke and Obi-Wan Kenobi first arrive, no meetings between Han Solo and Jabba the Hut and between Luke and Biggs (extraneous scenes that were cut in 1977), no enhanced explosions during the final reel, and—most importantly to some fans—no more of Greedo shooting first in the bar. Instead Han is free to be the scoundrel and not even let Greedo squeeze off a shot.

What do you lose by watching the 1977 version? Dolby Digital 5.1 EX sound, for one thing (only 2.0 Surround here). Digital cleanup for another—Tatooine looks like it's been coated with an additional layer of sand cloud. But for home-theater owners, the biggest frustration will be from the non-anamorphic picture. On a widescreen TV, an anamorphically enhanced (16x9) picture at a 2.35:1 aspect ratio will fill the screen with the exception of small black bars on the top and bottom. The original edition of Star Wars, however, is not anamorphically enhanced (sometimes referred to as "4:3 letterbox"), so on a widescreen TV it will have large black bars on the top, the bottom, and the sides unless you stretch the picture (and distort it in the process, especially considering the substandard picture quality). If you're watching on a standard square-shaped (4:3) TV, though, you won't notice a difference.

Yes, it's true that serious home-theater lovers who want spectacular sound and anamorphically enhanced picture can always watch the 2004 version of the movie also included in this set. But chances are good that they already picked up the trilogy edition of all three films, so their decision to buy the 2006 two-disc edition depends on how much they want the original film. The official LucasFilm stance is that this is an individual release of the 2004 version of Star Wars: Episode IV, A New Hope, and the 1977 version of the film is merely a "bonus feature." Common speculation is that the only reason the original versions are seeing the official light of day at all is to undercut the booming black market for the laserdisc version. Star Wars fans will have to decide for themselves if that's worth the purchase. —David Horiuchi

Baz Luhrmann A dazzling and yet frequently maddening bid to bring the movie musical kicking and screaming into the 21st century, Baz Luhrmann's Moulin Rouge bears no relation to the many previous films set in the famous Parisian nightclub. This may appear to be Paris in the 1890s, with can-can dancers, bohemian denizens like Toulouse-Lautrec (John Leguizamo), and ribaldry at every turn, but it's really Luhrmann's pop-cultural wonderland. Everyone and everything is encouraged to shatter boundaries of time and texture, colliding and careening in a fast-cutting frenzy that thinks nothing of casting Elton John's "Your Song" 80 years before its time. Nothing is original in this kaleidoscopic, absinthe-inspired love tragedy—the words, the music, it's all been heard before. But when filtered through Luhrmann's love for pop songs and timeless showmanship, you're reminded of the cinema's power to renew itself while paying homage to its past.

Luhrmann's overall success with his third "red-curtain" extravaganza (following Strictly Ballroom and William Shakespeare's Romeo & Juliet) is wildly debatable: the scenario is simple to the point of silliness, and how can you appreciate choreography when it's been diced into hash by attention-deficit editing? Still, there's something genuine brewing between costars Ewan McGregor and Nicole Kidman (as, respectively, a poor writer and his unobtainable object of desire), and their vocal talents are impressive enough to match Luhrmann's orgy of extraordinary sets, costumes, and digital wizardry. The movie's novelty may wear thin, along with its shallow indulgence of a marketable soundtrack, but Luhrmann's inventiveness yields moments that border on ecstasy, when sound and vision point the way to a moribund genre's joyously welcomed revival. —Jeff Shannon

David Lynch David Lynch peeks behind the picket fences of small-town America to reveal a corrupt shadow world of malevolence, sadism, and madness. From the opening shots Lynch turns the Technicolor picture postcard images of middle class homes and tree-lined lanes into a dreamy vision on the edge of nightmare. After his father collapses in a preternaturally eerie sequence, college boy Kyle MacLachlan returns home and stumbles across a severed human ear in a vacant lot. With the help of sweetly innocent high school girl (Laura Dern), he turns junior detective and uncovers a frightening yet darkly compelling world of voyeurism and sex. Drawn deeper into the brutal world of drug dealer and blackmailer Frank, played with raving mania by an obscenity-shouting Dennis Hopper in a career-reviving performance, he loses his innocence and his moral bearings when confronted with pure, unexplainable evil. Isabella Rossellini is terrifyingly desperate as Hopper's sexual slave who becomes MacLachlan's illicit lover, and Dean Stockwell purrs through his role as Hopper's oh-so-suave buddy. Lynch strips his surreally mundane sets to a ghostly austerity, which composer Angelo Badalamenti encourages with the smooth, spooky strains of a lush score. Blue Velvet is a disturbing film that delves into the darkest reaches of psycho-sexual brutality and simply isn't for everyone. But for a viewer who wants to see the cinematic world rocked off its foundations, David Lynch delivers a nightmarish masterpiece. —Sean Axmaker

Adrian Lyne If you ever need dramatic proof that adultery is inevitably destructive, look no further than Adrian Lyne's Unfaithful. Drawing inspiration from Claude Chabrol's 1969 film La Femme Infidèle, the director of Fatal Attraction is mining similar territory here, but this grownup thriller is more intimate than Lyne's dead-bunny potboiler, probing more deeply into the rush of conflicting emotions provoked by infidelity. In what many critics praised as the role of her career, Diane Lane plays the instigator of emotional turmoil, a seemingly happy housewife and fundraiser who cheats on her devoted husband (Richard Gere, in a welcomed change of pace) when she casually encounters a seductive Frenchman (cliché alert!) played by Olivier Martinez. Allowing his actors to speak volumes without words, Lyne emphasizes silent tension over explicit thrills, creating a sexually charged thriller that remains riveting even as it turns partially predictable. "Someone always gets hurt," says one character in a pivotal scene, and Unfaithful fulfills that prophesy in a timeless tale of passion. —Jeff Shannon

Jonathan Lynn When two Italian-American boys from New York are falsely accused of murder in a small Alabama town, they call for a lawyer—but the only lawyer they know is their cousin Vinny (Joe Pesci), who made six attempts before he passed his bar exam. My Cousin Vinny is a classic fish-out-of-water comedy; the flimsy plot about clearing the two boys and solving the murder is just a hook to support a lot of culture-clash humor. Thanks to the strong cast of character actors like Fred Gwynne, Austin Pendleton, and Lane Smith, it's pretty funny—even old-hat jokes about Brooklyn versus Southern accents come to life. Pesci has played a few too many schticky characters, but this time it works. There's just enough humanity in his caricature to make Vinny likable and entertaining. When the movie was released, there was controversy about whether Marisa Tomei, playing Vinny's big-haired and black-leather-wearing fiancée, deserved to win the best supporting actress Oscar (she beat out Judy Davis, Joan Plowright, Miranda Richardson, and Vanessa Redgrave); but seeing her performance on its own, it's a comic marvel and worthy of honor. —Bret Fetzer

Albert Magnoli When Prince's dazzling and dynamic Purple Rain (movie and soundtrack album) and the hypnotic hit single "When Doves Cry" exploded onto the pop-culture scene in 1984, it seemed there was nothing the purple one couldn't do. The film is basically a feature-length music video, but no musician has ever had a better big-screen showcase for his many talents. The plot is really just a theme (about the son of an abusive father struggling not to continue the pattern) upon which to hang some of Prince's most dazzling songs (including "Let's Go Crazy" and the title tune), and some sizzling live-concert numbers. Apollonia Kotero is ravishing as the romantic interest, and Morris Day and the Time provide some terrific musical competition. Purple Rain is an essential artifact of the mid-'80s pop Zeitgeist. Prince took home an Oscar for the song score. —Jim Emerson

David Mallet Billed as an updating and retelling of Irish folk legend, Lord of the Dance is less Erin Go Bragh than Hooray for Hollywood. Michael Flatley, late of Riverdance, gives us the old razzle-dazzle, fashioning a Celtic-influenced spectacular that wanders far away from its Riverdance roots. The light-show presentation is closer kin to another contemporary Irish musical group, U2. Flatley himself has gone designer chic. With close-cropped haircut, earring, buffed abs, and tight black pants he bears more than a passing resemblance to Bono. But you have to hand it to the guy—he works hard for the money, as does his attractive corps. The one maddening aspect of this glitzy, entertaining 90-minute festival is the overzealous editing. No image remains on screen for more than a few seconds. Neither Flatley nor his talented troupe deserves to have such craftsmanship sliced and diced like an MTV music video. —Richard Natale

Emmett Malloy, Brendan Malloy Out Cold, which looks like it would be nothing more than a spectacular series of snowboarding stunts, is actually a homage to Casablanca set on a rustic Alaskan ski slope called Bull Mountain. Rick (Jason London from Dazed and Confused), who hopes to run Bull Mountain, can't forget about Anna, the French girl he romanced while vacationing in Mexico. When a ruthless developer (Lee Majors, star of The Six Million Dollar Man) wants to turn the rough-and-tumble site into a sleek, tourist-friendly resort named Snownook, Rick discovers that Anna is the developer's daughter. Will he be seduced to the dark side by love and ambition? Alongside scenes "borrowed" from Casablanca, there's an abundance of high jinks with Rick's slacker snow buddies, cute girls (including Playmate of the Year Victoria Silvstedt), and some pretty amazing snowboarding sequences. Dumb but good-natured fun, and Majors clearly enjoys himself as the bad guy. —Bret Fetzer

James Mangold With an ace up its sleeve, Identity does for schizophrenia what The Silence of the Lambs did for fava beans and a nice chianti. On the proverbial dark and stormy night, this anxiety-laced thriller offers a tasty blend of And Then There Were None and Psycho, with a dash of Sybil for extra spice and psychosis. Things go from bad to worse when 10 unrelated travelers converge at an isolated motel and proceed to die, one by one, with no apparent connection... until they discover the common detail that's drawn them into this nightmare of relentless trauma. Even as it flunks Abnormal Psychology 101, Michael Cooney's screenplay offers meaty material for a superior ensemble cast including John Cusack and Rebecca DeMornay (who wins the Janet Leigh prize in a bitchy comeback role). Director James Mangold pivots the action around one character (played by his Heavy star, Pruitt Taylor Vince, in eye-twitching cuckoo mode), and half the fun of Identity comes from deciphering who's who, what's what, and who'll be the next to die. —Jeff Shannon

James Mangold In Arizona in the late 1800s infamous outlaw Ben Wade (Crowe) and his vicious gang of thieves and murderers have plagued the Southern Railroad. When Wade is captured Civil War veteran Dan Evans (Bale) struggling to survive on his drought-plagued ranch volunteers to deliver him alive to the "3:10 to Yuma" a train that will take the killer to trial. On the trail Evans and Wade each from very different worlds begin to earn each other's respect. But with Wade's outfit on their trail - and dangers at every turn - the mission soon becomes a violent impossible journey toward each man's destiny.Cast: Russell Crowe Christian Bale Peter Fonda Gretchen Mol Ben FosterDirector: James MangoldSpecial Features: Audio Commentary with Director James Mangold "Destination Yuma" - Making-of Documentary "An Epic Explored" Featurette "Outlaws Gangs and Posses" Featurette Deleted ScenesSystem Requirements:Run Time: 122 Mins.Format: DVD MOVIE Genre: WESTERN/HEROES Rating: R UPC: 031398221852 Manufacturer No: 22185

Michael Mann Though it will always be remembered as the movie featuring the "other" Hannibal Lecter, Michael Mann's 1986 thriller Manhunter is nearly as good as The Silence of the Lambs, and in some respects it's arguably even better. Based on Thomas Harris's novel Red Dragon, which introduced the world to the nefarious killer Hannibal "the Cannibal" Lecter, the film stars William Petersen (giving a suitably brooding performance) as ex-FBI agent Will Graham, who is coaxed out of semiretirement to track down a serial killer who has thwarted the authorities at every turn.

Graham's approach to the case is a perilous one. First he seeks counsel with Lecter (Brian Cox) in the latter's high-security prison cell—an encounter that is utterly horrifying in its psychological effect—and then he begins to mold his own psyche to that of the killer, with potentially devastating results. As directed by Mann (who was at the acme of his success with TV's Miami Vice), this sophisticated cat-and-mouse game never resorts to the compromise of cheap thrills. Predating Anthony Hopkins's portrayal of Lecter by four years, Cox plays the character closer to Harris's original, lower-key conception, and he's no less compelling in the role. Petersen is equally well cast, and as always Mann employs rock music to astonishing effect, using nearly all of Iron Butterfly's heavy-metal epic "In-A-Gadda-Da-Vida" to accompany the film's heart-stopping climactic sequence. All of this makes Manhunter one of the finest films of its kind, as well as further proof that Harris's fiction is a blessing to any filmmaker brave enough to adapt it. —Jeff Shannon

Michael Mann Bearing absolutely no resemblance to the 1980s TV series that helped to propel Michael Mann into big-time filmmaking, Miami Vice is the kind of serious, and seriously stylish, crime drama that Mann does better than anyone else. As written by Mann himself, this undercover sting thriller doesn't reach the peak intensity of Mann's 1995 classic Heat, and it lacks the tight, nail-biting suspense of Collateral, but that doesn't mean it doesn't occasionally pack a wallop. As Miami detectives Sonny Crockett and Ricardo Tubbs (respectively), Colin Farrell and Jamie Foxx don't have to do much but mumble their plot-thickening dialogue and look ultra-cool in the casual cop attire, and their partnership is rather lifeless on screen (perhaps owing to the fact that this was a troubled production, with an actual shooting that occurred during filming, and Foxx's refusal to risk his life on dangerous locations in South America). But once Mann shifts into high gear with a plot to foil a powerful drug kingpin (Luis Tosar) and his ruthless middle-man (John Ortiz), Vice pays off with the kind of smart, realistic action that Mann's fans have come to expect. With Chinese superstar Gong Li as Crockett's love interest on the wrong side of the law, Miami Vice covers territory that's a little too familiar, and one suspects Mann's screenplay might've been punched up with a polish or two. Still, this is an above-average crime thriller that demands and rewards close attention, with a climactic shoot-out that's pure Mann, worthy of the brooding drama that precedes it. —Jeff Shannon

Michael Mann From award-winning director Michael Mann (Heat, Collateral) comes the film inspired by one of the country’s most captivating and infamous outlaws — John Dillinger. Johnny Depp (Pirates of the Caribbean series) stars as the charismatic and elusive bank robber marked by the FBI as America’s first “Public Enemy Number One.” Academy Award® winner Marion Cotillard (La Vie en Rose) plays Billie Frechette, the only woman capable of capturing his heart. Hunted relentlessly by top FBI agent Melvin Purvis (Christian Bale, The Dark Knight), Dillinger engages in an escalating game of outrunning and outgunning the FBI, culminating in an explosive, legendary showdown. “It’s a landmark crime saga” (Peter Travers, Rolling Stone).

Greg Marcks How is it possible that 11:14 went virtually unreleased in theaters? After modest film-festival exposure, it played briefly in San Francisco in August 2005 (over two years after it was completed), but that's a cruel twist of fate for such a cleverly twisted movie about cruel twists of fate. Destined for sleeper status on DVD (and given a slightly higher profile by Hilary Swank's subsequent Oscar-winning performance in Million Dollar Baby), the audacious debut of writer-director Greg Marcks boasts a fantastic cast in a smartly constructed comedy/thriller, partly inspired by Blood Simple, in which a fatal traffic accident is examined and re-examined from multiple perspectives. The flashback structure involves all of the characters and events that lead up to the accident's deadly occurrence at 11:14 on an otherwise pleasant evening in Middleton, a typical suburb of Anytown, USA (filmed in the vicinity of Los Angeles). Marcks's screenplay attracted an impressive ensemble cast (costar Swank also signed on as an executive producer), and they're all given equal time as the intertwined plots are revealed. They include Rachael Leigh Cook (whose bad-girl behavior sets the chain of events in motion); Patrick Swayze and Barbara Hershey as her worried parents; Swank and Shawn Hatosy as would-be criminals with a dimwit plan; Henry Thomas as a drunk driver whose involvement is deeper than we realize; and Colin Hanks as one of three teenage vandals on a fast track to trouble. With falling corpses, graveyard sex, reckless gunplay, and a severed penis, it's all in good, grisly fun (apart from intricate plotting, Marcks has no lofty agenda up his sleeve), and there's ultimately not much point to its random misfortune, but 11:14 is clearly the work of a promising filmmaker, worthy of rediscovery on DVD. Bonus features include Marcks's intelligent commentary, a standard behind-the-scenes featurette, and a useful "character jump" feature allowing viewers to choose a plot trajectory whenever one character encounters another. —Jeff Shannon

Sid Marcus, Ralph Bakshi, Gray Morrow, Grant Simmons, Clyde Geronimi, Chuck Harriton, Cosmo Anzilotti Eight years before Tobey Maguire was born, the animated Spider-Man spun his first web across America's television screens. The program ran from 1967 through 1970 on ABC, and imprinted its theme song, "Spider-Man, Spider-Man/ Does whatever a spider can / Spins a web, any size / Catches thieves—just like flies" on a generation of viewers.

The comic book Spider-Man, who debuted in Marvel's Amazing Fantasy in 1962, epitomized the superhero as antihero. During his battles with bizarre villains, Peter Parker was beset by self-doubts and personal problems. The animated Spider-Man was a straightforward action superhero who was too busy performing weird stunts like fashioning a boat and motor out of spider webs to worry or agonize.

From the opening titles that announce the program is "in COLOR,"Spider-Man feels dated. When he fights Electro, Spidey can fend off blasts of electricity because he's added "just a little asbestos to my web liquid"; when he discovers the extent of his new powers, Peter dreams of a spot on The Ed Sullivan Show. Although the directors include Ralph Bakshi and former Disney artist Clyde Geronimi, the animation is extremely limited. The same shots of Spiderman swinging over New York appear again and again. But these limits probably won't trouble nostalgic adults who grew up watching Spider-Man on Saturday mornings: "Wherever there's a hang-up / You'll find the Spider-Man!" (Unrated, suitable for ages 7 and older: cartoon violence, tobacco use) —Charles Solomon

Jean-Pierre Marois The original title of this French-produced English language production was Live Virgin, but after costar Mena Suvari rose to fame in American Pie and American Beauty (a kind of before and after snapshot of the American dream), a name change was inevitable. Suvari is the daughter of silver-haired pornographic film producer Robert Loggia. She rebels against her estranged father by signing on to an interactive pay-per-view sex event with kinky cable porn king Bob Hoskins. She agrees to lose her virginity live on TV while thousands of men across the nation, uh, experience the event via a cybernetic suit wired to the deflowering stud. Despite its salacious material, this screeching sex farce earns its R rating for language—there—there's little nudity but plenty of four letter screaming between the competitors. Not so much plotted as simply let loose, it's a frantic, sloppy mess with characters rushing every which way and clashing loudly while Suvari's boyfriend (Gabriel Mann) frenetically tries to put a stop to the whole sleazy affair. Sally Kellerman costars as a hypocritical tabloid talk show host who rails against the event while feeding its publicity with continuing coverage, and X-rated star Ron Jeremy has a bit part as a cop. —Sean Axmaker

Rob Marshall Chicago director Rob Marshall's pretty but empty (or pretty empty) film has all the elements of an Oscar® contender: solid adaptation (from Arthur Golden's bestseller), beautiful locale, good acting, lush cinematography. But there's something missing at the heart, which leaves the viewer sucked in, then left completely detached from what's going on.

It's hard to find fault with the fascinating story, which traces a young girl's determination to free herself from the imprisonment of scullery maid to geisha, then from the imprisonment of geisha to a woman allowed to love. Chiyo (Suzuka Ohgo), a young girl with curious blue eyes, is sold to a geisha house and doomed to pay off her debt as a cleaning girl until a stranger named The Chairman (Ken Watanabe) shows her kindness. She is inspired to work hard and become a geisha in order to be near the Chairman, with whom she has fallen in love. An experienced geisha (Michelle Yeoh) chooses to adopt her as an apprentice and to use as a pawn against her rival, the wicked, legendary Hatsumomo (Gong Li). Chiyo (played as an older woman by Ziyi Zhang), now renamed Sayuri, becomes the talk of the town, but as her path crosses again and again with the Chairman's, she finds the closer she gets to him the further away he seems. Her newfound "freedom" turns out to be trapping, as men are allowed to bid on everything from her time to her virginity.

Some controversy swirled around casting Chinese actresses in the three main Japanese roles, but Zhang, Yeoh and Gong in particular ably prove they're the best for the part. It's admirable that all the actors attempted to speak Japanese-accented English, but some of the dialogue will still prove difficult to understand; perhaps it contributes to some of the emotion feeling stilted. Geisha has all the ingredients of a sweeping, heartbreaking epic and follows the recipe to a T, but in the end it's all dressed up with no place to go.—Ellen A. Kim

Lionel C. Martin

Leslie H. Martinson Holy camp site, Batman! After a fabulously successful season on TV, the campy comic book adventure hit the big screen, complete with painful puns, outrageous supervillains, and fights punctuated with word balloons sporting such onomatopoeic syllables as "Pow!,""Thud!," and "Blammo!" Adam West's wooden Batman is the cowled vigilante alter ego of straight-arrow millionaire Bruce Wayne and Bruce Ward's Robin (a.k.a. Dick Grayson, Bruce's young collegiate protégé) his overeager sidekick in hot pants. Together they battle an unholy alliance of Gotham City's greatest criminals: the Joker (Cesar Romero, whooping up a storm), the Riddler (giggling Frank Gorshin), the Penguin (cackling Burgess Meredith), and the purr-fectly sexy Catwoman (Lee Meriwether slinking in a skin-tight black bodysuit). The criminals are, naturally, out to conquer the world, but with a little help from their unending supply of utility belt devices (bat shark repellent, anyone?), our dynamic duo thwarts their nefarious plans at every turn. Since the TV show ran under 30 minutes an episode (with commercials), the 105-minute film runs a little thin—a little camp goes a long way—but fans of the small-screen show will enjoy the spoofing tone throughout. Leslie H. Martinson directs Lorenzo Semple's screenplay like a big-budget TV episode minus the cliffhanger endings. —Sean Axmaker

Mike Marvin The "Maui Heat" is turned on full blast as five world-famous beauties seek sun, surf and steamy sex, playing with water toys and powerful men with equal abandon, in fulfilling their own erotic fantasies. Filmed entirely on the island of Maui, Hawaii.

Jim McBride Dennis Quaid's delightfully over-the-top performance dominates this 1989 biopic about the life, times, and music of rocker Jerry Lee "the Killer" Lewis. It's all here: his snazzy threads, his devil-may-care Southern charm, his mane of golden hair, his underage girlfriends (Lewis's infamous marriage to his 13-year-old cousin, played here by Winona Ryder, and its effect on his career is a big part of the story), his fascination with "the devil's music" (much to the chagrin of cousin Jimmy Swaggart, portrayed by Alec Baldwin), and of course the classic tunes like "Great Balls of Fire" and "Whole Lotta Shakin' Goin' On." Director Jim McBride plays the whole thing broadly, for laughs, much like Quaid plays Lewis. The result is tongue-in-cheek entertainment with a strong musical component, made all the more so by the fact that all the singing and playing on the soundtrack is done by Lewis himself. —Sam Graham

Michael McCullers A successful single businesswoman who dreams of having a baby discovers she is infertile and hires a working class woman to be her unlikely surrogate. Studio: Uni Dist Corp. (mca) Release Date: 09/09/2008 Starring: Tina Fey Amy Poehler Run time: 99 minutes Rating: Pg13

Francine McDougall "Their cheer blew like a bulimic after Christmas dinner," sneers Lisa (Marla Sokoloff from Dude, Where's My Car?), a bitter B-squad cheerleader who has it in for the A squad. She's come to the police to solve the mystery of a local bank robbery—a story that begins when head cheerleader Diane (Marley Shelton, Pleasantville, The Bachelor) and star quarterback Jack (James Marsden, X-Men, Disturbing Behavior) fell in love. Before you know it, Diane's knocked up—but she and Jack are delighted and decide to get married. Their parents disown them immediately, so the young couple ends up in a crappy apartment, working low-wage jobs. They're both so unrelentingly earnest and cheerful that they won't lose heart, but Diane soon realizes that their incomes won't support their impending twins. Then, one night as she and her squad (including Mena Suvari of American Beauty) are watching Point Break, they get the idea to rob a bank... Sugar & Spice, a broad satire of high school hierarchy, is set to a sparkling pop soundtrack and features many, many shots of cute cheerleaders in tight sweaters and short skirts. The cast is enthusiastic; Sokoloff in particular seems to savor her atypically nasty role. Also featuring cameos by Jerry Springer, Kurt Loder, and an almost unrecognizable Sean Young (Blade Runner, Ace Ventura: Pet Detective). —Bret Fetzer

Joe McFadden, Rick Jacobson A modern throwback to the "B" movie exploitation films of the 50's-70's, mixing beautiful women, fast cars, big guns, nasty tongues, outrageous action, and jaw-dropping eye candy. The movie follows three bad girls, a down-and-out stripper, a drug running killer, and a corporate power broker as they arrive at a remote desert hideaway to extort massive booty from an underworld kingpin.

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

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

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

John McNaughton Wild Things is the kind of lurid, trashy thriller that you'll either dive into with unabashed pleasure or turn away from in prudish disgust; it's entirely your choice, but we suggest the former option since it's obviously much more fun. The plot's so convoluted it's hardly worth describing, except to say that it's set in humid Florida and involves a respected high school teacher (Matt Dillon—yes, Matt Dillon as a teacher!) who is faced with accusations of rape by a student (Denise Richards, from Starship Troopers) who had been giving him the kind of attention most people would consider improper for such a "nice" young lady. Another student (Neve Campbell) raises a similar charge against the teacher, and that's when a police officer (Kevin Bacon) begins to investigate the allegations. Just when you think the movie's gone overboard with its shameless sex and absurdly twisted plot, in drops Bill Murray as an unscrupulous lawyer (of course) to spice things up with insurance scams and welcomed comic relief. As directed by John McNaughton (who has a way of making just the right moves with this kind of film noir melodrama), Wild Things is a bona fide guilty pleasure—the kind of movie you may be ashamed to enjoy, but what the heck, you'll enjoy it anyway. —Jeff Shannon

John McNaughton Wild Things is the kind of lurid, trashy thriller that you'll either dive into with unabashed pleasure or turn away from in prudish disgust; it's entirely your choice, but we suggest the former option since it's obviously much more fun. The plot's so convoluted it's hardly worth describing, except to say that it's set in humid Florida and involves a respected high school teacher (Matt Dillon—yes, Matt Dillon as a teacher!) who is faced with accusations of rape by a student (Denise Richards, from Starship Troopers) who had been giving him the kind of attention most people would consider improper for such a "nice" young lady. Another student (Neve Campbell) raises a similar charge against the teacher, and that's when a police officer (Kevin Bacon) begins to investigate the allegations. Just when you think the movie's gone overboard with its shameless sex and absurdly twisted plot, in drops Bill Murray as an unscrupulous lawyer (of course) to spice things up with insurance scams and welcomed comic relief. As directed by John McNaughton (who has a way of making just the right moves with this kind of film noir melodrama), Wild Things is a bona fide guilty pleasure—the kind of movie you may be ashamed to enjoy, but what the heck, you'll enjoy it anyway. —Jeff Shannon

James McTeigue "Remember, remember the fifth of November," for on this day, in 2020, the minds of the masses shall be set free. So says code-name V (Hugo Weaving), a man on a mission to shake society out of its blank complacent stares in the film V for Vendetta. His tactics, however, are a bit revolutionary, to say the least. The world in which V lives is very similar to Orwell's totalitarian dystopia in 1984: after years of various wars, England is now under "big brother" Chancellor Adam Sutler (played by John Hurt, who played Winston Smith in the movie 1984), whose party uses force and fear to run the nation. After they gained power, minorities and political dissenters were rounded up and removed; artistic and unacceptable religious works were confiscated. Cameras and microphones are littered throughout the land, and the people are perpetually sedated through the governmentally controlled media. Taking inspiration from Guy Fawkes, the 17th century co-conspirator of a failed attempt to blow up Parliament on November 5, 1605, V dons a Fawkes mask and costume and sets off to wake the masses by destroying the symbols of their oppressors, literally and figuratively. At the beginning of his vendetta, V rescues Evey (Natalie Portman) from a group of police officers and has her live with him in his underworld lair. It is through their relationship where we learn how V became V, the extremities of the party's corruption, the problems of an oppressive government, V's revenge plot, and his philosophy on how to induce change.

Based on the popular graphic novel by Alan Moore, V for Vendetta's screenplay was written by the Wachowski Brothers (of The Matrix fame) and directed by their protégé, James McTeigue. Controversy and criticism followed the film since its inception, from the hyper-stylized use of anarchistic terrorism to overthrow a corrupt government and the blatant jabs at the current U.S. political arena, to graphic novel fans complaining about the reconstruction of Alan Moore's original vision (Moore himself has dismissed the film). Many are valid critiques and opinions, but there's no hiding the message the film is trying to express: Radical and drastic events often need to occur in order to shake people out of their state of indifference in order to bring about real change. Unfortunately, the movie only offers a means with no ends, and those looking for answers may find the film stylish, but a bit empty. —Rob Bracco

On the DVDs
On disc 1 is a 16-minute documentary "Freedom! Forever!: Making V for Vendetta" with discussions on the movie's origin and themes by the principal cast and crew (no Alan Moore or Wachowskis, to no one's surprise, but the graphic novel's illustrator David Lloyd is on hand to call the movie "a very good version"). On disc 2 is a 17-minute production featurette, a 10-minute history of Guy Fawkes, and the 15-minute "England Prevails: V for Vendetta and the New Wave in Comics." Lloyd and others from the comics industry such as Paul Levitz and Bill Sienkiwicz talk about the graphic novel and how it appealed to a different, older audience. The second menu of the second disc also has an easy-to-find Easter egg of a rapping and swearing Natalie Portman on Saturday Night Live. —David Horiuchi

Beyond the Film

The graphic novel by Alan Moore and David Lloyd

More by Alan Moore

From Graphic Novel to Big Screen

More by Natalie Portman

More by Hugo Weaving

More by the Wachowski Brothers

Sam Mendes Based on Anthony Swofford’s excellent memoir about his experiences as a Marine Sniper in Gulf War I, Jarhead is a war movie in which the waiting is a far greater factor upon the characters than the war itself, and the build up to combat is more drama than what combat is depicted. To some viewers hoping for typical movie action, this will seem like a cruel joke. But it’s not. It’s just the story as it was written, and if you liked the book, you will probably like the movie. If you didn’t, then the movie won’t change your mind.

The movie follows the trajectory of Swofford (played with thoughtful intensity by Jake Gyllenhaal) from wayward Marine recruit (he joined because he "got lost on the way to college") to skilled Marine sniper, and on into the desert in preparation for the attack on Iraq. No-nonsense, Marine-for-life Staff Sgt. Sykes (Jamie Foxx), the man who recruited Swofford and his spotter Troy (Peter Sarsgaard) into the sniper team, leads them in training, and in waiting where their lives are dominated by endless tension, pointless exercises in absurdity (like playing football in the scorching heat of the desert in their gas masks so it will look better for the media’s TV cameras), more training, and constant anticipation of the moment to come when they’ll finally get to kill. When the war does come, it moves too fast for Swofford’s sniper team, and the one chance they get at a kill—to do the one thing they’ve trained so hard and waited so long for—eludes them, leaving them to wonder what was the point of all they had endured.

As directed by Sam Mendes (American Beauty), the movie remains very loyal to the language and vision of the book, but it doesn’t entirely work as the film needs something more than a literal translation to bring out its full potential. Mendes’s stark and, at times, apocalyptic visuals add a lot and strike the right tone: wide shots of inky-black oil raining down on the vast, empty desert from flaming oil wells contrasted with close-ups of crude-soaked faces struggling through the mire vividly bring to life the meaning of the tagline "welcome to the suck." But much of the second half of the movie will probably leave some viewers feeling disappointed in the cinematic experience, while others might appreciate its microcosmic depiction of modern chaos and aimlessness. Jarhead is one of those examples where the book is better than the movie, but not for lack of trying. —Dan Vancini

William Cameron Menzies Based on H.G. Wells's speculative meditation on the price of progress, this 1936 English science-fiction epic shows the painterly touch of director William Cameron Menzies, an American whose career in art direction and production design, as well as uncredited directorial work, attached him to such visual triumphs as Gone with the Wind, Alexander Korda's sumptuous 1940 Thief of Baghdad, and Menzies's better-known SF achievement as director, the original Invaders from Mars. Things to Come traces a generational saga that begins, presciently, with a global war that outlives its own political purpose, unraveling society to a Balkanized world of isolated communities. In the wake of a subsequent, devastating plague, a new technocracy arises, evolving toward Menzies's striking vision of vast, subterranean cities, rendered in matte paintings building on then-contemporaneous art-deco "streamlined" aesthetics. Driven more by theme than plot, Things to Come lacks the sheer momentum of other Wells classics brought to film (The Invisible Man, War of the Worlds, and The Time Machine, among them); but Menzies's bold look and a strong cast including Raymond Massey, Ralph Richardson, Cedric Hardwicke and a young Ann Todd explain the film's enduring appeal. —Sam Sutherland

Tim Metcalfe James Woods gives one of his finest performances in this flawed but fascinating film about imprisoned serial killer Carl Panzram, who was hanged in 1930 after he beat a prison worker to death—the last of a reported 21 killings. The film centers on the tentative trust and friendship between Panzram and prison guard Henry Lesser (Robert Sean Leonard), whose attempt to understand Panzram's violent life leads him to believe that Panzram could redeem himself from a life of crime. Told primarily in flashbacks, Panzram's story unfolds as Lesser reflects upon its significance. In reality Panzram's life was a constant succession of unspeakable acts and violent crimes; for the purposes of the film, writer-director Tim Metcalfe attempts to humanize Panzram's story, leaving the viewer to decide if Panzram was deservedly executed, or the victim of his own miserable past. The film's ambivalence—and its tendency to leave crucial questions unanswered—lessens its impact as a biographical drama, but Woods and Leonard work superbly together, and Metcalfe's script paints a vivid portrait of the criminal mind. The DVD includes a full-length director's commentary that fills in some of the factual details that the film leaves out. —Jeff Shannon

Frank Miller (II), Robert Rodriguez The two-disc edition of Sin City easily makes the earlier single-disc theatrical-cut release obsolete by including the regular theatrical cut on the first disc, recutting the movie into four extended segments on the second disc (separated by story line), then piling on an impressive load of bonus features. But there's a catch. Billed as "Recut, Extended, Unrated," with "over 20 minutes" of new footage, the new set's four separate stories are extended by only about 6.5 total minutes of movie action (see details below in "What's New"); the rest of the added running time is the splashy new title shots (named by the title of the story or book) and the four minutes of credits that run at the end of each segment. Each addition makes the movie even closer to the comic books, and these extended segments are generally preferable to the theatrical equivalents (unfortunately, there's no Play All option), but don't expect the same impact as Peter Jackson's Lord of the Rings extended editions. And although this version is unrated, the only risqué addition is a bit of violence from Miho that's no worse than the rest of the crazy violence in the film.

How Are the Bonus Features?
Robert Rodriguez has always loved DVDs, so the bonus features are extensive. On the first disc, there is somehow room for the theatrical cut of the film with its DTS track (the extended versions have only Dolby 5.1), two commentary tracks, an alternate audio track with a live audience in Austin, Texas, an interactive map of characters and locations, and 47 minutes of featurettes covering Frank Miller, Quentin Tarantino, cars, costumes, props, and special effects. The first commentary is Rodriguez and Miller discussing the concepts and the cast. The second commentary is mostly by Rodriguez, but Tarantino drops in briefly for the scene he directed (with Clive Owen and Benicio Del Toro in the car), as does an enthusiastic Bruce Willis for his segment.

The Tarantino scene gets a lot of attention on the second disc as well, in a 14-minute take in which he can be heard coaching the actors. Also on the disc are Rodriguez's usual "flic school" (among the topics is how scenes were created by merging footage of actors who never actually met), footage of Bruce Willis's band performing in Austin at the time of the shooting, and another Rodriguez cooking school (this time it's breakfast tacos). But the most interesting feature is the "green screen version" of the film: the entire film as it was shot in front of the green screen, sped up to play in only 12 minutes. You can see the actors (in color!) interacting only with the props and each other. Last, there's a DVD-sized complete comic book of The Hard Goodbye.

What's New in the Extended Version?
"The Customer Is Always Right" (the opening sequence with Josh Hartnett and Marley Shelton) has no new footage, but now goes straight into the one-minute epilogue with Hartnett and Alexis Bledel that closed the theatrical cut. "The Hard Goodbye" (with Mickey Rourke as "Marv" ) has two new sequences totaling about two minutes: Marv encounters his mother and finds his gun, and talks to Weevil in the club. In "The Big Fat Kill" (with Clive Owen and Benicio Del Toro), some short dialogue is restored, along with another wicked slice by Miho (Devon Aoki)—about a minute total. "That Yellow Bastard" (with Bruce Willis and Jessica Alba) has about 3.5 new minutes: there are more visitors to Hartigan's hospital bed, including his wife and a nurse; Carla Gugino's Lucille character comes to assist Hartigan when he wants to get out of jail (probably the best addition); and Mr. Shlubb and Mr. Klump have some more lines. —David Horiuchi

More Sin City at Amazon.com

The Graphic Novels and Books

Films by Robert Rodriguez

Our interview with Frank Miller

The Soundtrack

From Graphic Novel to Big Screen

Films by guest director Quentin Tarantino

Bennett Miller Bolstered by an Oscar®-caliber performance by Philip Seymour Hoffman in the title role, Capote ranked highly among the best films of 2005. Written by actor/screenwriter Dan Futterman and based on selected chapters from the biography by Gerald Clarke, this mercilessly perceptive drama shows how Truman Capote brought about his own self-destruction in the course of writing In Cold Blood, the "nonfiction novel" that was immediately acclaimed as a literary milestone. After learning of brutal killings in rural Holcomb, Kansas, in November 1959, Capote gained the confidence of captured killers Perry Smith (Clifton Collins, Jr.) and Dick Hickock (Mark Pellegrino) in an effort to tell their story, but he ultimately sacrificed his soul in the process of writing his greatest book. Hoffman transcends mere mimicry to create an utterly authentic, psychologically tormented portrait of an insincere artist who was not above lying and manipulation to get what he needed. Bennett Miller's intimate direction focuses on the consequences of Capote's literary ambition, tempered by an equally fine performance by Catherine Keener as Harper Lee, Capote's friend and the author of To Kill a Mockingbird, who served as Capote's quiet voice of conscience. Spanning the seven-year period between the Kansas murders and the publication of In Cold Blood in 1966, Capote reveals the many faces of a writer who grew too close to his subjects, losing his moral compass as they were fitted with a hangman's noose. —Jeff Shannon

Rebecca Miller Personal Velocity is actually three short digital films, a trio of superb character portraits: Delia (Kyra Sedgwick, Something to Talk About, Singles), a former bad girl who musters the will to leave her abusive husband; Greta (Parker Posey, Party Girl, Best in Show), a book editor who finds that success in her career leaves her dissatisfied with her unambitious husband; and Paula (Fairuza Balk, The Craft, Gas Food Lodging), a young woman whose narrow escape from a car accident makes her question her life. With small, deft touches, writer-director Rebecca Miller (Angela) reveals a lot of about who these women are and how they live. Miller's gift for compression turns these short stories into rich examinations of contemporary culture, finding humor as well as pathos in the choices these women face. All three actresses turn in outstanding performances, clearly delighted to embody such well-drawn characters. —Bret Fetzer

Troy Miller Americas 1 comedian Katt Williams brings to stage his raw & uncut comedy from his highly successful 100 city its pimpin pimpin tour. Studio: Uni Dist Corp (music) Release Date: 11/11/2008 Run time: 77 minutes

Steve Miner If you want to see James Van Der Beek and Ashton Kutcher decked out in cowboy hats and leather chaps, Texas Rangers is the movie for you. Van Der Beek is a young recruit out to avenge his family, who were shot down by bandits; Dylan McDermott is the loose cannon commander of the Texas Rangers unit that's out to track those bandits down. Along for the ride are Kutcher, Usher Raymond, Robert Patrick, Randy Travis, and a host of other good-looking young actors. Rachael Leigh Cook provides some assurance that everything is appropriately heterosexual, though a scene in which Kutcher jumps into a washtub with Van Der Beek may raise some eyebrows. Head bandit Alfred Molina grins with nonchalance as his men gun down innocent bystanders. No one in the cast even attempts to speak with a credible Texas accent, but everyone's hair is exquisitely mussed. —Bret Fetzer

Mike Mitchell (VI) The idea of a high school for superheroes will appeal to teens and preteens, who struggle powerlessly with petty authoritarians, bullying peers, and their own rampant hormones, and Sky High spotlights young Will Stronghold (Michael Angarano, Lords of Dogtown), the son of top-of-the-heap superheroic couple the Commander (Kurt Russell, Tango & Cash) and Josie Jetstream (Kelly Preston, View from the Top). Unfortunately, though he's about to be dropped into the midst of kids who can stretch, turn to living stone, or shoot fire, Will has yet to develop any powers at all—and may never develop them. His development anxieties (and some entertaining metaphors for high school social hierarchies) contrast with a bubbling plot by an old foe of the Commander's to destroy Sky High and all of superhero-dom. Sky High has a great supporting cast (including Bruce Campbell, Army of Darkness; Dave Foley, NewsRadio; Lynda Carter, Wonder Woman; and Cloris Leachman, Young Frankenstein) and a handful of funny, offhand bits, but the bulk of the movie is bland and obvious. Younger kids may not mind the clumsy action scenes, generic dialogue, and tacky production design, but even comic-book-loving teenagers will label Sky High bargain-basement. —Bret Fetzer

John Cameron Mitchell In his aim to make an honest film about sex, John Cameron Mitchell (Hedwig and the Angry Inch) has taken a somewhat documentary approach to Shortbus, a film describing various New Yorkers' sexual pathos. Framed by shots roving a homemade diorama of the city, Shortbus is comprised of vignettes featuring actors who helped craft this story of people's disconnect in sexual endeavors. Jamie (PJ DeBoy) and James (Paul Dawson), a gay couple experiencing a lull in their relationship, visit Sophia (Sook-Yin Lee), a sex therapist whose inability to orgasm results in her clients inviting her to a sex club after which the film is titled. Sophia's husband, Rob (Raphael Barker), is also willing to experiment, so the two independently embark on adventures in self-pleasure. Dominatrix Severin (Lindsay Beamish) plays a crucial role in Sophia and Rob's lives, as her search for real humanity overlaps with their desire for passion. As each character's plot complicates, the viewer sees a similar melancholy bulldozing its way into these seemingly disparate lives. The depression is repeatedly used in comedic scenes, such as when James is asked on a date while still hospitalized for his attempted suicide. Yo La Tengo's score, which includes Animal Collective among others, lends this film a graceful ambience. Unlike porn, Shortbus has a resonance that encourages the viewer to consider one's own sex life as an important aspect of happiness. —Trinie Dalton

Hayao Miyazaki

Michael Moore Following on the heels of his Palm d'Or winning Fahrenheit 9/11 and his Oscar winning film Bowling for Columbine acclaimed filmmaker Michael Moore's new documentary sets out to investigate the American healthcare system. Sticking to his tried-and-true one-man approach Moore sheds light on the complicated medical affairs of individuals and local communities. System Requirements:Run Time: 123 minutesFormat: DVD MOVIE Genre: DOCUMENTARIES/POLITICS Rating: PG-13 UPC: 796019807500 Manufacturer No: 80750

Greg Mottola Striking a balance between raunch and sweetness is a tall order for any film, but the Judd Apatow-produced Superbad manages to serve up both in equal and satisfying portions without undercutting a consistent stream of laugh-out-loud performances and gags. Michael Cera (the sublime George Michael Bluth from Arrested Development) and unstoppable scene-stealer Jonah Hill (Apatow's Knocked Up) are lifelong pals who attempt to make up for years of obscurity by getting into one blowout party before parting ways for college; an opportunity presents itself in the form of Hill's crush, the lovely Jules (Emma Stone), who wants the boys to bring liquor to her shindig. What follows is a combination road adventure and coming of age story as Cera and Hill tackle crazed partygoers, a pair of overeager cops (played by co-scripter and producer Seth Rogen and Saturday Night Live's Bill Hader), and the hard truth about girls and their own emotional bond. The humor is crass and occasionally gross but never mean-spirited, and Cera and Hill offer believable performances as guys wholly unaware of their own potential, yet ready to risk humiliation in order to find out. They're well supported by a cast of Apatow regulars, including Kevin Corrigan, Martin Starr, David Krumholtz, and Carla Gallo (and Stone and Martha MacIsaac are terrific as their love interests), but the film is completely shoplifted by newcomer Christopher Mintz-Plasse as their uber-nerdy pal Fogell, whose fake ID handle is among the movie's funniest gags. Classic funk fans should also keep an ear out for the score by Lyle Workman, which features such James Brown and P-Funk veterans as Bootsy Collins, Bernie Worrell, and Clyde Stubblefield. —Paul Gaita

Stills from Superbad (click for larger image)

Greg Mottola Studio: Buena Vista Home Video Release Date: 08/25/2009 Run time: 107 minutes Rating: R

Russell Mulcahy 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

Geoff Murphy This time around, the Brat Packers (Emilio Estevez, Christian Slater, Lou Diamond Phillips, Kiefer Sutherland) are on the run from the law and making a break for the border. Sutherland is yanked from his school-teaching job back East and extradited for trial, until he's liberated by the other members of the gang. There's a memorable scrap between Phillips and Slater, and a couple of pretty decent firefights, but all in all this is rather forgettable fare. It taps into the futility and camaraderie of classics like The Wild Bunch and Butch Cassidy and the Sundance Kid, but Sam Peckinpah or George Roy Hill it ain't. Jon Bon Jovi adds to the Rock-Stars-in-the-Old-West feel of this one, rife as it is with non-period dialogue and long, blowy hair. Still, fans of the original movie may find plenty to like in this sequel, even if it comes across as being a bit tired and turgid (notice there never was a Young Guns III). —Jerry Renshaw

John Musker, Ron Clements All the music, fun, and excitement under the sea resurface in this magical, special edition of Disney's 28th animated masterpiece. Awash with breathtaking animation, unforgettably colorful characters, and two Academy Awards(R) for score and song, "Under The Sea," THE LITTLE MERMAID is one of Disney's most cherished films. Ariel, the fun-loving and mischievous mermaid, is enchanted with all things human. Disregarding her father's order to stay away from the world above the sea, she swims to the surface and, in a raging storm, rescues the prince of her dreams. Determined to be human, she strikes a bargain with the devious seawitch, Ursula, and trades her fins and beautiful voice for legs. With her best friend, the adorable and chatty Flounder, and her reluctant chaperone Sebastian, the hilarious, reggae-singing Caribbean crab, at her side, Ariel must win the prince's love and save her father's kingdom — all in a heart-pounding race against time!

Mira Nair If you're looking for a deep, intelligently romantic movie with complex characters and a richly rewarding plot, don't bother with Kama Sutra: A Tale of Love. On the other hand, if you're feeling sexy and in the mood for a lush, seductive, and visually stunning film set in 16th-century India, this one will please you like the best foreplay you've ever experienced. Or it will relax you like a full treatment at a pampering spa—either way, you're gonna feel pretty fantastic. Okay, okay... maybe we're getting a little carried away, but there's no denying that director Mira Nair (best known for her acclaimed film Salaam Bombay!) has crafted a sumptuous film for the eyes if not the head. Its melodramatic plot is involving enough to elevate the movie high above soft-core adult fare, so you won't feel guilty after watching it.

Kama Sutra is the story of a young woman named Maya (the stunning Indira Varma) who has always been lower on the social scale than her well-born friend Tara (Sarita Choudhury), and has always lived in Tara's shadow, wearing her used clothes and being made to feel inferior. When Tara is betrothed to the handsome King Raj Singh (Naveen Andrews, from The English Patient), Tara sneaks into the king's tent on the eve of the wedding and seduces him. Later, after being trained to master the Kama Sutra's many "lessons of love," Maya will be the king's courtesan, and emotions will run high between the former best friends. But the plot is of secondary importance here (a fact that resulted in many mixed reviews), and so Kama Sutra works best as a colorful and irresistibly sexy story that is worth seeing just for the startling beauty of the film and its cast. —Jeff Shannon

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

Mike Newell The fourth entry in the Harry Potter saga could be retitled Fast Times at Hogwarts, where finding a date to the winter ball is nearly as terrifying as worrying about Lord Voldemort's return. Thus, the young wizards' entry into puberty (and discovery of the opposite sex) opens up a rich mining field to balance out the dark content in the fourth movie (and the stories are only going to get darker). Mike Newell (Four Weddings and a Funeral) handily takes the directing reins and eases his young cast through awkward growth spurts into true young actors. Harry (Daniel Radcliffe, more sure of himself) has his first girl crush on fellow student Cho Chang (Katie Leung), and has his first big fight with best bud Ron (Rupert Grint). Meanwhile, Ron's underlying romantic tension with Hermione (Emma Watson) comes to a head over the winter ball, and when she makes one of those girl-into-woman Cinderella entrances, the boys' reactions indicate they've all crossed a threshold.

But don't worry, there's plenty of wizardry and action in Goblet of Fire. When the deadly Triwizard Tournament is hosted by Hogwarts, Harry finds his name mysteriously submitted (and chosen) to compete against wizards from two neighboring academies, as well as another Hogwarts student. The competition scenes are magnificently shot, with much-improved CGI effects (particularly the underwater challenge). And the climactic confrontation with Lord Voldemort (Ralph Fiennes, in a brilliant bit of casting) is the most thrilling yet. Goblet, the first installment to get a PG-13 rating, contains some violence as well as disturbing images for kids and some barely shrouded references at sexual awakening (Harry's bath scene in particular). The 2 1/2-hour film, lean considering it came from a 734-page book, trims out subplots about house-elves (they're not missed) and gives little screen time to the standard crew of the other Potter films, but adds in more of Britain's finest actors to the cast, such as Brendan Gleeson as Mad-Eye Moody and Miranda Richardson as Rita Skeeter. Michael Gambon, in his second round as Professor Dumbledore, still hasn't brought audiences around to his interpretation of the role he took over after Richard Harris died, but it's a small smudge in an otherwise spotless adaptation. —Ellen A. Kim

On the DVD
The highlight of the two-disc set is a half-hour conversation with actors Daniel Radcliffe, Emma Watson, and Rupert Grint. They discuss their reactions to the film and other topics with British writer Richard Curtis . Then they answer questions from contest-winning fans, such as what are their favorite kids' books (Watson bypasses the obvious answer in favor of Roald Dahl and Philip Pullman) and what scenes are they looking forward to in upcoming films. More routine extras include the "Reflections on the Fourth Film" featurette (14 min.), though it has comments from some of the other young cast members, and "Preparing for the Yule Ball" (9 min.). The 10 minutes of additional scenes are mostly skulking and skullduggery, plus a long musical number from the ball. The remaining material is grouped along the lines of the Triwizard Tournament, with behind-the-scenes looks at each of the competitions (about 22 min. total), two longer featurettes on He Who Must Not Be Named (11 min.) and the workday of the other contestants (Robert Pattinson, Stanislav Ianevski, and Clémence Poésy, 13 min.), and four games, playable with the directional arrows on the remote control, that can be frustrating to figure out. —David Horiuchi

Kyle Newman Get ready for the comedy adventure that’s “smart, funny, and tailor-made for the inner-Jedi in all of us” (Pete Hammond, Hollywood.com). In 1998, four childhood buddies with a shared love of all things Star Wars reunite for one final, hilarious odyssey. Their insane plan: a cross-country road trip to storm George Lucas’ Skywalker Ranch and steal a copy of Episode I before it’s released. With the police, a crew of angry Trekkies, and a crazy pimp hot on their trail, what could possibly go wrong? Featuring Dan Fogler (Balls of Fury), Jay Baruchel (Tropic Thunder), and Kristen Bell (Forgetting Sarah Marshall), plus a slew of hysterical surprise cameos, “the Force IS strong with this one!” (Brian Gallagher, MovieWeb)

Stills from Fanboys (Click for larger image)

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

Andrew Niccol What do you do when you've discovered a new superstar... and she doesn't really exist? That's the delightful premise of Simone, another smart, provocative what-if scenario from writer-director Andrew Niccol (Gattaca), whose script for The Truman Show offered a similarly skewed example of manipulated perceptions. Combining equal parts screwball comedy, Hollywood satire, and technological extrapolation, Simone grapples with the inevitable use of digital "synthespians," existing only as malleable computer code, and "performing" to the whims of the programmer. In this case it's a has-been movie director (Al Pacino, in a terrific comedic role) who inherits the Sim-One technology, secretly using the instantly popular Simone (played by unbilled actress Rachel Roberts with digital enhancements) to replace the "supermodel with a SAG card" (Winona Ryder) who walked off his latest ill-fated picture. Filled with clever ideas and a splendid supporting cast, Simone is occasionally uneven and illogical, but consistently brilliant... and be sure to watch beyond the closing credits! —Jeff Shannon

Mike Nichols Four extremely beautiful people do extremely horrible things to one another in Closer, Mike Nichols' pungent adaptation of Patrick Marber's play that easily marks the Oscar-winning director's best work in years. Anna (Julia Roberts) is a photographer who specializes in portraits of strangers; Dan (Jude Law) is an obituary writer struggling to become a novelist; Alice (Natalie Portman) is an American stripper freshly arrived in London after a bad relationship; and Larry (Clive Owen) is a dermatologist who finds love under the most unlikely of circumstances. When their paths cross it's a dizzying supernova of emotions, as Nichols and Marber adroitly construct various scenes out of their lives that pair them again and again in various permutations of passion, heartbreak, anger, sadness, vengeance, pleading, deception, and most importantly, brutal honesty. It's only until you're more than halfway through the movie that you'll have to ask yourself exactly why you are watching such a beautifully tragic tale, as Closer is basically the ickiest, grossest, most dysfunctional parts of all your past relationships strung together into one movie. Ultimately, it falls to the four actors to draw you deeper into the story; all succeed relatively, but it's Law and Owen whose characters will cut you to the quick. Law proves that yet again he's most adept at playing charming, amoral bastards with manipulative streaks, and Owen is nothing short of brilliant as the character most turned on by the energy inherent in destructive relationships—whether he's on the giving or receiving end. —Mark Englehart

J.P. Nickel

Stephen Norrington The heroes of 1899 are brought to life with the help of some expensive special effects in The League of Extraordinary Gentlemen. From the pages of Victorian literature come Captain Nemo, Dr. Jekyll (and his alter ego Mr. Hyde), Dorian Gray, Tom Sawyer, an Invisible Man, Mina Harker (from Dracula), and the hunter Allan Quatermain (Sean Connery), all brought together to combat an evil megalomaniac out to conquer the world. Hardly an original plot, but perhaps that's fitting for a movie sewn together like Frankenstein's monster. The movie rushes from one frenetic battle to another, replacing sense with spectacle—Nemo—Nemo's submarine rising from the water, a warehouse full of zeppelins bursting into flame, Venice collapsing into its own canals; flashy, dumb, and completely incoherent. Fans of the original comic book will be disappointed. Also featuring Peta Wilson, Shane West, Stuart Townsend, Richard Roxburgh, and Jason Flemyng. —Bret Fetzer

Phillip Noyce Lightly enjoyable but a disappointment in the context of author Leslie Charteris's popular character, the Saint—who has been played by several actors, most notably George Sanders—this 1997 film is more in keeping with the requirements of high-octane contemporary action than it is the requirements of a particular legacy. Val Kilmer plays Simon Templar, the mercenary spy, who is hired to steal a fusion formula but falls in love with the scientist (Elisabeth Shue) who cooked it up. Kilmer's portrayal bears little resemblance to Charteris's rakish hero, and the film itself becomes increasingly improbable and ponderous the longer it goes on. —Tom Keogh

Joe Nussbaum

Joe Nussbaum

Wilson, Owen Charge your micro-mini cell phones and whip up some orange mocha Frappuccino, 'cuz Zoolander is on the runway, and you're gonna laugh your booty off! Based on a sketch created by writer-director Ben Stiller and cowriter Drake Sather for the 1996 VH1/Vogue Fashion Awards, Zoolander is a delirious send-up of New York's fashion scene as epitomized by male model Derek Zoolander (Stiller), a dimwitted preener who's oblivious to a Manchurian Candidate-like plot to turn him into a brainwashed assassin. Tipped off by a reporter (Christina Taylor), Zoolander teams with rival model Hansel (Owen Wilson) to foil the poodle-haired fashion designer (Will Ferrell) who's behind the nefarious scheme. The goofy plot's only half the fun; with roles for Stiller's parents (Jerry Stiller and Anne Meara), dozens of celebrity cameos, endlessly quotable dialogue, and improvisational energy to spare, Zoolander is very smart about being very stupid, easily matching the Austin Powers franchise for inspired comedic lunacy. —Jeff Shannon

Master P Studio: Uni Dist Corp (music) Release Date: 12/30/2008

Brian De Palma As noted critic Pauline Kael wrote, the 1987 box-office hit The Untouchables is "like an attempt to visualize the public's collective dream of Chicago gangsters." In other words, this lavish reworking of the vintage TV series is a rousing potboiler from a bygone era, so beautifully designed and photographed—and so craftily directed by Brian De Palma—that the historical reality of Prohibition-era Chicago could only pale in comparison. From a script by David Mamet, the movie pits four underdog heroes (the maverick lawmen known as the Untouchables) against a singular villain in Al Capone, played by Robert De Niro as a dapper caesar holding court (and a baseball bat) against any and all challengers. Kevin Costner is the naive federal agent Eliot Ness, whose lack of experience is tempered by the streetwise alliance of a seasoned Chicago cop (Sean Connery, in an Oscar-winning performance), a rookie marksman (Andy Garcia), and an accountant (Charles Martin Smith) who holds the key to Capone's potential downfall. The movie approaches greatness on the strength of its set pieces, such as the siege near the Canadian border, the venal ambush at Connery's apartment, and the train-station shootout partially modeled after the "Odessa steps" sequences of the Russian classic Battleship Potemkin. It's thrilling stuff, fueled by Ennio Morricone's dynamic score, but it's also manipulative and obvious. If you're inclined to be critical, the movie gives you reason to complain. If you'd rather sit back and enjoy a first-rate production with an all-star cast, The Untouchables may very well strike you as a classic. —Jeff Shannon

Brian De Palma

Dean Parisot You don't have to be a Star Trek fan to enjoy Galaxy Quest, but it certainly helps. A knowingly affectionate tribute to Trek and any other science fiction TV series of the 1960s and beyond, this crowd-pleasing comedy offers in-jokes at warp speed, hitting the bull's-eye for anyone who knows that (1) the starship captain always removes his shirt to display his manly physique; (2) any crew member not in the regular cast is dead meat; and (3) the heroes always stop the doomsday clock with one second to spare. So it is with Commander Taggart (Tim Allen) and the stalwart crew of the NSEA Protector, whose intergalactic exploits on TV have now been reduced to a dreary cycle of fan conventions and promotional appearances. That's when the Thermians arrive, begging to be saved from Sarris, the reptilian villain who threatens to destroy their home planet.

Can actors rise to the challenge and play their roles for real? The Thermians are counting on it, having studied the "historical documents" of the Galaxy Quest TV show, and their hero worship (not to mention their taste for Monte Cristo sandwiches) is ultimately proven worthy, with the help of some Galaxy geeks on planet Earth. And while Galaxy Quest serves up great special effects and impressive Stan Winston creatures, director Dean Parisot (Home Fries) is never condescending, lending warm acceptance to this gentle send-up of sci-fi TV and the phenomenon of fandom. Best of all is the splendid cast, including Sigourney Weaver as buxom blonde Gwen DeMarco; Alan Rickman as frustrated thespian Alexander Dane; Tony Shalhoub as dimwit Fred Kwan; Daryl Mitchell as former child-star Tommy Webber; and Enrico Colantoni as Thermian leader Mathesar, whose sing-song voice is a comedic coup de grâce. —Jeff Shannon

Trey Parker OK, let's get all the disclaimers out of the way first. Despite its colorful (if crude) animation, South Park: Bigger, Longer & Uncut is in no way meant for kids. It is chock full of profanity that might even make Quentin Tarantino blanch and has blasphemous references to God, Satan, Saddam Hussein (who's sleeping with Satan, literally), and Canada. It's rife with scatological humor, suggestive sexual situations, political incorrectness, and gleeful, rampant vulgarity. And it's probably one of the most brilliant satires ever made. The plot: flatulent Canadian gross meisters Terrance and Philip hit the big screen, and the South Park quartet of third graders—Stan, Kyle, Kenny, and Cartman—begin repeating their profane one-liners ad infinitum. The parents of South Park, led by Kyle's overbearing mom, form "Mothers Against Canada," blaming their neighbors to the north for their children's corruption and taking Terrance and Philip as war prisoners. It's up to the kids then to rescue their heroes from execution, not mention a brooding Satan, who's planning to take over the world.

To give away any more of the plot would destroy the fun, but this feature-length version of Trey Parker and Matt Stone's Comedy Central hit is a dead-on and hilarious send-up of pop culture. And did we mention it's a musical? From the opening production number "Mountain Town" to the cheerful antiprofanity sing-along "It's Easy, MMMKay" to Satan's faux-Disney ballad "Up There," Parker (who wrote or cowrote all the songs) brilliantly shoots down every earnest musical from Beauty and the Beast to Les Misérables. And in advocating free speech and satirizing well-meaning but misguided parental censorship groups (with a special nod to the MPAA), Bigger, Longer & Uncut hits home against adult paranoia and hypocrisy with a vengeance. And the jokes, while indeed vulgar and gross, are hysterical; we can't repeat them here, especially the lyrics to Terrance and Philip's hit song, but you'll be rolling on the floor. Don't worry, though—to paraphrase Cartman, this movie won't warp your fragile little mind. Unless you have something against the First Amendment. —Mark Englehart

Alexander Payne With Sideways, Paul Giamatti (American Splendor, Storytelling) has become an unlikely but engaging romantic lead. Struggling novelist and wine connoisseur Miles (Giamatti) takes his best friend Jack (Thomas Haden Church, Wings) on a wine-tasting tour of California vineyards for a kind of extended bachelor party. Almost immediately, Jack's insatiable need to sow some wild oats before his marriage leads them into double-dates with a rambunctious wine pourer (Sandra Oh, Under the Tuscan Sun) and a recently divorced waitress (Virginia Madsen, The Hot Spot)—and Miles discovers a little hope that he hasn't let himself feel in a long time. Sideways is a modest but finely tuned film; with gentle compassion, it explores the failures, struggles, and lowered expectations of mid-life. Giamatti makes regret and self-loathing sympathetic, almost sweet. From the director of Election and About Schmidt. —Bret Fetzer

P.J. Pesce

Wolfgang Petersen Setting out for the one last catch that will make up for a lackluster fishing season, Captain Billy Tyne (George Clooney) pushes his boat the Andrea Gail out to the waters of the Flemish Cap off Nova Scotia for what will be a huge swordfish haul. While his crew is gathering fish, three storm fronts (including a hurricane) collide to create a "perfect storm" of colossal force, and Billy's path back to Gloucester, Massachusetts, takes them right smack into the middle of it. Wolfgang Petersen's adaptation of Sebastian Junger's seafaring bestseller is a faithful if by-the-numbers true-story account of a monster storm that rocked New England in 1991, specifically Tyne's commercial fishing boat and its crew. Junger's tale fashioned a compelling if staid narrative out of seemingly disparate events, but this film adaptation tends to flatten out the story into a conventional if absorbing story of man vs. nature, as the crew fights for survival against the awesome waves the storm kicks up. The central part of the film, which cuts between the Andrea Gail's fight to stay afloat and the attempts of the Coast Guard to rescue a yacht in peril, is suspenseful action of the first degree, aided by some awesome computer-generated waves.

Still, it's a long way to that action, with an extended first act that consists mainly of stoic men, crying women, and a fair amount of "don't go out into the sea" dialogue—in other words, a compelling story has been shoehorned into standard summer movie fare. It's too bad, as Peterson assembled an excellent cast—including Mark Wahlberg, Diane Lane, John C. Reilly, and William Fichtner among them—but seems to opt for only a surface exploration of these characters, though Clooney seems to have a touch of Captain Ahab in him. You may still be won over by the movie, but for a more in-depth portrait, go to Junger's book for the missing details. —Mark Englehart

Todd Phillips When three thirtysomething friends with woman troubles (Luke Wilson, Will Ferrell, and Vince Vaughn) decide to form a fraternity, it's supposedly to save Wilson from losing his house, which the nearby college is trying to claim for academic purposes. But really, Ferrell and Vaughn are desperate to return to the reckless, feckless days of beer bongs and hot chicks, and they drag Wilson along with them as they throw themselves into gathering frat pledges of all ages. Old School could have been just another string of bad jokes hanging on a flimsy plot, but the script and the cast have a jovial energy and just enough grounding in reality—at least, up until the obligatory beat-the-system ending, but by that point you'll forgive the excesses of this silly, cheerful, and frequently funny movie. Featuring Jeremy Piven and Juliette Lewis, with cameos by Snoop Dog, Andy Dick, and others. —Bret Fetzer

Todd Phillips Ben Stiller and Owen Wilson—dark, wiry, and tense meets blond, lanky, and loose—make a solid comic team (and previously appeared together in Zoolander), but the funniest man in Starsky and Hutch is Vince Vaughn. Vaughn dives into his role as a sleazy drug dealer (who nonetheless buys a pony for his daughter's bat mitzvah) with the offhand zest that he brings to almost every role (from Swingers to Old School) and effortlessly steals every scene he's in. Vaughn has concocted a new and undetectable kind of cocaine, and only two cops who aren't afraid to break the rules—our titular pair—can catch him. But the plot isn't the point; mocking-yet-loving jabs at the '70s, including the homoerotic overtones of Starsky and Hutch's partnership, are what this movie is about. The satire is surprisingly mild but entertaining nonetheless, particularly when Vaughn or Snoop Dogg (as informant Huggy Bear) hold the screen. —Bret Fetzer

Steve Pink Justin Long has been hovering on the edges of movies like The Break-Up and Dodgeball, providing little comic bursts that are often funnier than the rest of the movie. In Accepted, Long plays Bartleby Gaines, a fast-talking slacker who, when he gets rejected by every college he applied to, invents a phony college to get his parents off his back. Unfortunately, the website his best friend creates is too effective—hundreds of other rejects apply and are accepted. Instead of revealing the hoax, Gaines decides to forge ahead and let the students create their own curriculum, little suspecting that their school is obstructing the expansion plans of the nearby snobbish college. Accepted is much better than you might expect, given the low bar set by most campus comedies; it aims for, and sometimes achieves, the blend of slapstick and social satire that Animal House embodied. Long proves to be a charming leading man without losing his quirky comic sense and the supporting cast is consistently entertaining, particularly stand-up comedian Lewis Black, who delivers a variety of sardonic rants about society. Accepted's critique of conformism is glib—you wish they'd given it a little more bite—but it's still valid and a pleasant sliver of substance in an otherwise vapid genre. —Bret Fetzer

Gregory Poirier One might reasonably expect Tomcats to be the Porky's of 2001: after all, it concerns a group of young, sexist morons and their fears and fantasies about young women. But Tomcats isn't quite as brain-dead as that, though it is phenomenally more neurotic. Jerry O'Connell plays one of two remaining bachelors within a group of wealthy pals who set aside a cash reward, years before, earmarked for the last among them to get married. O'Connell needs the money to pay off a gambling debt, but his problem is that the other bachelor is a horrendous pig (Jake Busey) unlikely ever to land a gal. A general mean-spiritedness flows through this wearying comedy, manifest in such ugly moments as watching someone's girlfriend run over by a golf cart and an excised, cancerous testicle kicked around hospital hallways. If you're looking for female flesh, however, forget it: Tomcats is far more driven to explore male nudity, while making equally naked today's masculine fears of impotence, mothers, and lesbians. —Tom Keogh

Roman Polanski Winner of the prestigious Golden Palm award at the 2002 Cannes film festival, The Pianist is the film that Roman Polanski was born to direct. A childhood survivor of Nazi-occupied Poland, Polanski was uniquely suited to tell the story of Wladyslaw Szpilman, a Polish Jew and concert pianist (played by Adrien Brody) who witnessed the Nazi invasion of Warsaw, miraculously eluded the Nazi death camps, and survived throughout World War II by hiding among the ruins of the Warsaw ghetto. Unlike any previous dramatization of the Nazi holocaust, The Pianist steadfastly maintains its protagonist's singular point of view, allowing Polanski to create an intimate odyssey on an epic wartime scale, drawing a direct parallel between Szpilman's tenacious, primitive existence and the wholesale destruction of the city he refuses to abandon. Uncompromising in its physical and emotional authenticity, The Pianist strikes an ultimate note of hope and soulful purity. As with Schindler's List, it's one of the greatest films ever made about humanity's darkest chapter. —Jeff Shannon

Roman Polanski Johnny Depp unlocks the gates to hell in Roman Polanski's newest thriller. Depp stars as Dean Corso, an unscrupulous rare-book dealer who is hired to locate the last remaining copies of "The Nine Gate of the Shadow Kingdom," a demonic manuscript that can summon the Devil. Corso becomes embroiled in a conspiracy involving murder, theft and satanic ritual, and ultimately finds himself confronting the devil incarnate.

William Porter, Steven Kampmann A fading athlete hiding from society, is forced by a tragedy to returnhome where he relives the bittersweet memories of his youth.

Gary Preisler National LampoonÂ(r) brings you a comedy that pushes all the boundaries! Will Friedle ("BoyMeets World"), Chris Owen (American Pie) and Nikki Ziering (American Wedding) star inthis raucously funny film that critics are calling "raunchy" (The Hollywood Reporter), "offensive" (The Washington Post), "tasteless" (Seattle Post-Intelligencer) and "ultra-crass" (The Boston Globe)! Would-be babe magnets Calvin and Leonard (Friedle and Owen) thought that the only way they could ever get girls was by getting rich by getting hitched'to the elderly! And now that they've waltzed down the aisle with two giddy biddies, can these two gold diggers achieve their American Dream? Or have they just dug themselves into a corpulent nightmare?

John Putch When three East Great Falls High buddies accidentally discover the legendary “Book of Love,” penned by some of their school’s alumni, they embark on a hilariously outrageous quest to lose their virginity with the girls of their dreams. Join Jim’s Dad (Eugene Levy) and this lovable and outrageous group of guys in this raucous comedy full of shocking and heartwarming fun!

Marlon Wayans Dennis Quaid

Sam Raimi Take a pinch of psychic phenomenon, add a dash of Southern gothic, stir in a sharp cast of talented actors, and you'll come up with The Gift, director Sam Raimi's ingenious gumbo of a thriller. It doesn't hold together as well as Raimi's earlier A Simple Plan, but the two films are stylistically connected—The Gift was cowritten (with Tom Epperson) by A Simple Plan's costar, Billy Bob Thornton, who in turn draws from the Deep South milieu that informed his own Sling Blade and his earlier collaboration with Epperson, One False Move. A similar sense of mystery permeates The Gift, in which a small-town Georgia psychic (perfectly played by Cate Blanchett) is tormented by tragic loss and visions connected to the murder of a local vamp (Katie Holmes) whose schoolteacher fiancé (Greg Kinnear) is a prime suspect.

Other suspects include a hot-tempered bully (Keanu Reeves) whose battered wife (Hilary Swank) is one of the psychic's regular clients, and a traumatized local (Giovanni Ribisi) who is tenuously stabilized by therapy and antidepressants. While this trio of potential killers keeps the mystery alive, the requisite red herrings don't add much to the film's low-level suspense. Instead, Raimi is far more effective in creating an atmosphere of anxious dread that wells up from each of these finely drawn characters, starting with the widow psychic's extended mourning for her lost husband, the agonized terror of a beaten wife, and the percolating anger of a cuckolded spouse. All of this makes The Gift a worthy showcase for its esteemed cast, even as its plot twists grow increasingly familiar. —Jeff Shannon

Sam Raimi For devoted fans and nonfans alike, Spider-Man offers nothing less—and nothing more—than what you'd expect from a superhero blockbuster. Having proven his comic-book savvy with the original Darkman, director Sam Raimi brings ample energy and enthusiasm to Spidey's origin story, nicely establishing high-school nebbish Peter Parker (Tobey Maguire) as a brainy outcast who reacts with appropriate euphoria—and well-tempered maturity—when a "super-spider" bite transforms him into the amazingly agile, web-shooting Spider-Man. That's all well and good, and so is Kirsten Dunst as Parker's girl-next-door sweetheart. Where Spider-Man falls short is in its hyperactive CGI action sequences, which play like a video game instead of the gravity-defying exploits of a flesh-and-blood superhero. Willem Dafoe is perfectly cast as Spidey's schizoid nemesis, the Green Goblin, and the movie's a lot of fun overall. It's no match for Superman and Batman in bringing a beloved character to the screen, but it places a respectable third. —Jeff Shannon

Sam Raimi More than a few critics hailed Spider-Man 2 as "the best superhero movie ever," and there's no compelling reason to argue—thanks to a bigger budget, better special effects, and a dynamic, character-driven plot, it's a notch above Spider-Man in terms of emotional depth and rich comic-book sensibility. Ordinary People Oscar®-winner Alvin Sargent received screenplay credit, and celebrated author and comic-book expert Michael Chabon worked on the story, but it's director Sam Raimi's affinity for the material that brings Spidey 2 to vivid life. When a fusion experiment goes terribly wrong, a brilliant physicist (Alfred Molina) is turned into Spidey's newest nemesis, the deranged, mechanically tentacled "Doctor Octopus," obsessed with completing his experiment and killing Spider-Man (Tobey Maguire) in the process. Even more compelling is Peter Parker's urgent dilemma: continue his burdensome, lonely life of crime-fighting as Spider-Man, or pursue love and happiness with Mary Jane Watson (Kirsten Dunst)? Molina's outstanding as a tragic villain controlled by his own invention, and the action sequences are nothing less than breathtaking, but the real success of Spider-Man 2 is its sense of priorities. With all of Hollywood's biggest and best toys at his disposal, Raimi and his writers stay true to the Marvel mythology, honoring Spider-Man creators Stan Lee and Steve Ditko, and setting the bar impressively high for the challenge of Spider-Man 3. —Jeff Shannon

Arthur Rankin Jr., Jules Bass Brought to life by the luminary voice talents of Jeff Bridges, Mia Farrow, Angela Lansbury and Rene Auberjonois (STAR TREK: DEEP SPACE NINE, "Boston Legal"), this animated treasure is the story of a lonely unicorn who sets out on an extraordinary quest to find her lost brothers and sisters. Along the way she meets a colorful cast of characters, including a bumbling wizard who magically transforms her into a beautiful damsel. When a handsome prince falls in love with her, he challenges the evil foe who holds her captive. But the task proves harder than imagined, and the unicorn soon discovers that real magic comes from believing in the impossible. Featuring songs performed by America.

Steve Rash It’s Road Trip: Beer Pong! Three college roommates are on the ride oftheir lives when they drop everything to join a bus full of sexy, scantily clad models to compete in the ultimate sport competition: the National Beer Pong Tournament. Along the way, they’ll be stalled by some of the most unusual roadside attractions ever – including a hitchhiking, gun toting beauty, a grandmother-mother-daughter stripper squad, and the lovely ladies of Chastity Until Marriage. With all these detours will they reach the competition and win the ultimate title? Getting Your Pong On has never been this fun!

Brett Ratner The plot line may sound familiar: Two mismatched cops are assigned as reluctant partners to solve a crime. Culturally they are complete opposites, and they quickly realize they can't stand each other. One (Jackie Chan) believes in doing things by the book. He is a man with integrity and nerves of steel. The other (Chris Tucker) is an amiable rebel who can't stand authority figures. He's a man who has to do everything on his own, much to the displeasure of his superior officer, who in turn thinks this cop is a loose cannon but tolerates him because he gets the job done. Directed by Brett Ratner, Rush Hour doesn't break any new ground in terms of story, stunts, or direction. It rehashes just about every "buddy" movie ever made—in fact, it makes films such as Tango and Cash seem utterly original and clever by comparison. So, why did this uninspired movie make over $120 million at the box office? Was the whole world suffering from temporary insanity? Hardly. The explanation for the success of Rush Hour is quite simple: chemistry. The casting of veteran action maestro Jackie Chan with the charming and often hilarious Chris Tucker was a serendipitous stroke of genius. Fans of Jackie Chan may be slightly disappointed by the lack of action set pieces that emphasize his kung-fu craft. On the other hand, those who know the history of this seasoned Hong Kong actor will be able to appreciate that Rush Hour was the mainstream breakthrough that Chan had deserved for years. Coupled with the charismatic scene-stealer Tucker, Chan gets to flex his comic muscles to great effect. From their first scenes together to the trademark Chan outtakes during the end credits, their ability to play off of one another is a joy to behold, and this mischievous interaction is what saves the film from slipping into the depths of pitiful mediocrity. —Jeremy Storey

Brett Ratner X-Men: The Last Stand is the third installment in the popular superhero franchise, and it's an exciting one with a splash of fresh new characters. When a scientist named Warren Worthington II announces a "cure" for mutant powers, it raises an interesting philosophical question: is mutant power a disease that needs a cure, or is it a benefit that homo superior enjoys over "normal" human beings? No surprise that Magneto (Ian McKellen) and his Brotherhood of Evil Mutants resist the idea that they need to be cured, and declare war on the human race. But it's a little tougher for the X-Men, led by Professor X (Patrick Stewart), Cyclops (James Marsden), and Storm (Halle Berry). If you're Rogue (Anna Paquin), for example, your power means you can't even touch your boyfriend, Iceman (Shawn Ashmore). To compound matters, someone previously thought dead has returned, and might be either friend or foe.

With director Bryan Singer having moved on to Superman Returns, the franchise passes to the hands of Brett Ratner (Rush Hour), whose best work is done in the big action sequences such as a showdown between mutant armies. But it's difficult to manage the sheer volume of characters when adding longtime comic-book stalwarts such as Beast (Kelsey Grammer) and Angel (Ben Foster), and one character in particular deserved better than an off-screen dismissal. And fans of the original Dark Phoenix comic book story might be underwhelmed by the movie's resolution. X-Men: The Last Stand is presumably the last film in the series, but the ambiguous ending leaves possibilities open. Look for the two writers most responsible for making the X-Men who they were, Stan Lee and Chris Claremont, in early cameos. —David Horiuchi

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Peyton Reed The combined star power of Vince Vaughn (Wedding Crashers, Swingers) and Jennifer Aniston (Bruce Almighty, The Good Girl) makes The Break-Up a high-profile romantic comedy. Gary (Vaughn) and Brooke (Aniston) find that their brittle relationship may have reached the breaking point—but neither is willing to give up the condo they co-own. As their fighting grows increasingly bitter, neither is sure if they're fighting to get out of the relationship or to save it. The Break-Up is an odd combination of realistic scenes that capture the harsh yet human ways that lovers can hurt each other, and broad comic scenes with a more farcical edge. Both types of scenes are entertaining on their own terms—the movie is never boring—but they don't fully mesh, and as a result it's hard to engage emotionally with either Gary or Brooke. But the sterling supporting cast—including Jon Favreau (Wimbledon), Cole Hauser (The Cave), Joey Lauren Adams (Chasing Amy), John Michael Higgins (A Mighty Wind), Justin Long (Dodgeball), Jason Bateman (Arrested Development), Vincent D'Onofrio (Happy Accidents), and the ever-delirious Judy Davis (Husbands and Wives)—give every scene they're in a boost of comic energy. An uneven but enjoyable movie that may suffer from viewers having overly high expectations due to Vaughn and Aniston's celebrity. —Bret Fetzer

Rob Reiner Two mismatched college students (John Cusack and Daphne Zuniga) find themselves trapped together during a cross-country road trip, trying to make it home for the holidays. She can't stand him, and he just wants to get to L.A., where a sexy "sure thing" is waiting to greet him with open arms. It's not hard to predict where this sweetly old-fashioned romantic comedy is going to end up, but along the way there are many pleasures to be had. Director Rob Reiner, in his second feature (after This Is Spinal Tap), has a nice eye for the kitschy flotsam found along the American highway, and his identification with the college kids doesn't condescend to them one bit. The movie helped make a star of John Cusack, who gives a delightfully spritzy performance—kind of a precursor to his similarly energetic, likable turn in Say Anything. Given the usual crass tenor of Hollywood college movies, The Sure Thing is something to treasure. —Robert Horton

Ivan Reitman The African Queen meets Swept Away in this sometimes labored romantic comedy by director Ivan Reitman. Fortunately, he cast an old pro in Harrison Ford, as Quinn Harris, a South Seas charter pilot who must ferry New York fashion editor Robin Monroe (Anne Heche) from one island to another—a hop that falls flat when they fly into a mammoth storm that causes them to crash on a deserted island. The pair resent and resist each other, until they are forced to team up to escape from the island—and some modern pirates who want their heads. If that part of the story is unconvincing, you can always focus on the smoldering comic chemistry between Heche, who displays strong comic instincts, and the ever-reliable Ford. The script is just an excuse for these two flinty characters to strike increasingly romantic sparks off each other, which is always enjoyable to watch. —Marshall Fine

Ivan Reitman Girl power (or if you prefer, woman power) gets a goofy boost in My Super Ex-Girlfriend, a breezy rom-com that's as fun as it is forgettable. As devised by former Simpsons writer Don Payne and directed by comedy veteran Ivan (Ghostbusters) Reitman, the premise is certainly promising, and much of that promise is gamely fulfilled. When a New York building designer named Matt (Luke Wilson) discovers that his new girlfriend Jenny (Uma Thurman) is actually a crime-fighting, disaster-solving superhero named G-Girl who's also needy, neurotic, and unpredictably volatile, he realizes he's got to dump her as politely as possible or face the potentially deadly consequences. Since he's really in love with a cute colleague (Anna Faris), and since the arch-villain Professor Bedlam (Eddie Izzard) has been in love with G-Girl since they were outcast pals in high school, you can easily figure out where the comedy is going. But getting there is surprisingly enjoyable, given the rather flat execution of a pretty good idea. The shark-tossing scene is a highlight, and other memorable scenes compensate for Reitman's embrace of a bitchy female stereotype that's either insulting or truthful, depending on your own romantic experience as the dumper or dumpee. Rainn Wilson (from the American version of TV's The Office) performs the obligatory sidekick duties, and comedian Wanda Sykes is just plain annoying in a shrill and unnecessary role. Silly? You bet. Go in expecting that, and you won't be disappointed. —Jeff Shannon

Jason Reitman As the saying goes, Aaron Eckhart was born to play Nick Naylor, the 30-something "voice of Big Tobacco" in this brazen satire of corporate profits and what lobbyists will do to protect them. Right from the opening, Eckhart is in spin mode, turning the tables on a popular talk show when he states health officials want a young teen stricken by cancer to die more than big tobacco does, since the boy would be a martyr to them, but only a single lost customer to the industry. Audiences gasp, panelists guffaw, and the kid happily shakes Nick's hand. The Academy of Tobacco Studies has a colorful array of folks surrounding Nick, including his cantankerous boss (J.K. Simmons) and the Colonel (Robert Duvall), tobacco's undisputed leader. His closet friends are lobbyists for guns (David Koechner) and alcohol (Maria Bello) who discuss their odd businesses over regular lunches, but when a cutie-pie reporter (Katie Holmes) swings into Nick's life, things begin to unravel. Based on Christopher Buckley's even more outlandish novel, Thank You for Smoking is a bright light for the filmgoer tired of gutless films formulated by committee, and first-time filmmaker Jason Reitman has expertly cast the film, which includes deft turns by William H. Macy and Sam Elliot. Nick's son, a throwaway in the novel, becomes a major influence here in Nick's development and a key student of Naylorisms such as, "If you argue correctly, then you're never wrong," though a father and son trip to Hollywood to visit an uber agent (Rob Lowe at his most suave) demonstrates how the inclusion of the son both helps and hurts the film. Book fans will miss the wicked plot turn, but the final result is a sharp and smart comedy deserving of a long, savory drag. —Doug Thomas

Cybil Richards Not to put too fine a point on it, but Virtual Encounters is basically a porno film without the penetration shots. It certainly shares the threadbare script and the threadbare costuming of its triple-X relations. The involving, complex plot consists of an all-business woman visiting a virtual reality service and watching young actors and actresses play a game that was never included on those old Atari Pong cartridges. Probably too many lesbian scenes to qualify as a couple's film but all scenes shot with quality and some eroticism. All disrobe-ees are attractive but look too vacuous and dim to properly work a cash register or count change, so they had to pick up work somewhere, which is why they are here. Look to be heartily annoyed by repetition of main businesswoman taking off her headset and pronouncing, "It was like I was right there in the room with them!" We noticed. —Keith Simanton

Cybil Richards In an attempt to understand the experience of human physical pleasure kara has come to earth for some intimate research. Any volunteers? Studio: E1 Entertainment Release Date: 08/27/2002 Starring: Vanesa Talor Run time: 90 minutes Rating: Ur

Cybil Richards

Cybil Richards When kara decides to extend her erotic earth mission without permission two more femaliens are sent to bring her back but they decide to do a little exploring of their own. Studio: E1 Entertainment Release Date: 10/23/2001 Starring: Venesa Taylor Joshua Edwards Run time: 90 minutes Rating: Ur Director: Sybil Richards

Cybil Richards

Jean-François Richet

Guy Ritchie A modern crime comedy about four lads getting in over their heads in londons underworld. Studio: Uni Dist Corp. (mca) Release Date: 06/03/2003 Starring: Jason Flemyng Steven Mackintosh Run time: 105 minutes Rating: R Director: Guy Ritchie

Lance Rivera Throughout his career, Charlie Murphy has done it all. As co-star of Comedy Central's top-rated Chappelle's Show, writer of the DreamWorks comedy Norbit and voice on the critically acclaimed cartoon The Boondocks, Charlie Murphy has made quite a name for himself. His film credits have spanned the last 20 years, ranging from Harlem Nights with Eddie Murphy to The Perfect Holiday with Morris Chestnut and Gabrielle Union. Now, drenched in the same: in your face, style of comedy that has made him a fan favorite, Charlie Murphy delivers his debut stand-up performance, I WILL NOT APOLOGIZE, as only he can...raw and uncut.

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

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

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

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

Jay Roach Randy Newman's opening song, "A Fool in Love," perfectly sets up the movie that follows. The lyrics begin, "Show me a man who is gentle and kind, and I'll show you a loser," before praising the man who takes what he wants. Greg Focker (Ben Stiller) is the fool in love in Meet the Parents. Just as he's about to propose to his girlfriend Pam (Teri Polo), he learns that her sister's fiancé asked their father, Jack Byrnes (Robert De Niro), for permission to marry. Now he feels the need to do the same thing. When Greg meets Jack, he is so desperate to be liked that he makes up stories and kisses ass rather than having the courage of his convictions. It doesn't take an elite member of the CIA to see right through Greg, but that's precisely what Jack is. Directed by Jay Roach (the Austin Powers movies), Meet the Parents is an incredibly well-crafted comedy that stands in nice opposition to, say, the sloppy extremes of the Farrelly brothers. Stiller is great at playing up the uncomfortable comedy of errors, balancing just the right amount of selfishness and self-deprecating humor, while De Niro's Jack is funny as the hard-ass father who just wants a few straight answers from the kid. What makes the Jack character all the funnier is Blythe Danner as his wife, the Gracie to his George Burns, who is the true heart of the movie. Oh, and Owen Wilson turns in yet another terrific comic performance as Pam's ex-fiancé. —Andy Spletzer

Jay Roach Meet the Parents found such tremendous success in the chemistry produced by the contrasting personalities of stars Robert De Niro and Ben Stiller that the film's creators went for broke with the same formula again in Meet the Fockers. This time around, Jack and Dina Byrnes (De Niro and Blythe Danner) climb into Jack's new kevlar-lined RV with daughter Pam (Teri Polo), soon-to-be son-in-law Gaylord (Stiller), and Jack's infant grandson from his other daughter for the trip to Florida to meet Gaylord's parents, Bernie and Roz Focker (Dustin Hoffman and Barbra Streisand in a casting coup). The potential in-laws are, of course, the opposite of Jack, a pair of randy, touchy-feely fun-lovers. The rest of the movie is pretty much a sitcom: put Bernie and Roz together with Jack, and watch the in-laws clash as Gaylord squirms. As with the original, there is a sense of joy in watching these actors take on their roles with obvious relish, and the Hoffman-Streisand-Stiller triumvirate is likeable enough to draw you in. But the formula doesn't work as well in Fockers mostly because much of the humor is based on two obvious gimmicks: Gaylord Focker's name, and the fact that Streisand's character is a sex therapist. As a result, the movie itself is more contrived and predictable, and a lot less fun than the original. The casting is grand, but one wishes more thought was put into the script.—Dan Vancini

Brian Robbins A mutant hybrid of a heist movie and The Breakfast Club, The Perfect Score follows a clutch of kids who steal the answers to an upcoming SAT test: An aspiring architect (Chris Evans) who isn't quite achieving his dreams (or his parents' expectations); his middling pal (Bryan Greenburg) whose girlfriend is already in college; an overachiever (Erika Christensen, Traffic) who freezes under pressure; a basketball star (NBA player Darius Miles) whose grades don't match his game; a stoner (Leonardo Nam) who falls into the scheme by accident; and a rich punk girl (Scarlett Johansson) who wants to strike back at her neglectful father. The heist itself is nonsensical, but the interplay of personalities manages to keep the movie afloat. Still, only Nam and Johansson (who, after Ghost World, Lost in Translation, and Girl with a Pearl Earring, is becoming a true movie star) stand out of the bland pack. —Bret Fetzer

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

James Robinson

Phil Alden Robinson This enjoyable thriller, written and directed by Phil Alden Robinson (the screenwriter of Field of Dreams), follows a raggedy group of corporate security experts who get in over their heads when they accept an assignment poaching some hot hardware for the National Security Agency. Robert Redford plays the group's guru, an aging techno-anarchist who has been hiding from the feds since the early 1970s; his companionable gang of freaks includes Dan Aykroyd, David Strathairn, Mary McDonnell, the late River Phoenix, and Sidney Poitier, as a veteran CIA operative turned "sneaker." The technological black box that everybody is after, an array of computer chips that can decode any encrypted message, isn't a very plausible invention, but it's a serviceable McGuffin, and the megalomania of the master plotter played by Ben Kingsley has more resonance than most. Modest inferences can be drawn about the very latest high-tech threats to civil liberties. —David Chute

Robert Rodriguez Carmen and Juni Cortez will soon find out that their favorite bedtime story, "The Spies Who Fell in Love," is really the story of their parents. So begins this affable fantasy, a James Bond adventure for wee ones with all the trimmings. When Dad and Mom (Antonio Banderas and Carla Gugino) mess up their first mission after coming out of retirement, their kids must come to the rescue, equipped with some cool gadgets. The Cortez family gets involved in a bizarre plot hatched by a Pee-wee Herman-type entertainer named Fegan Floop (a wonderfully hammy Alan Cumming) that's as giddy as it is ridiculous. Needless to say there is plenty of derring-do concerning long-lost uncles, goofy monsters, double agents, evil robots, look-alikes, and energized chases. Did we mention the gadgets? Although Banderas and Gugino make terrific impressions, the movie is carried (as it should be) by the younger Cortezes, winningly played by Alexa Vega and Daryl Sabara. Who would have thought an action/horror studio (Dimension) and writer-director Robert Rodriguez had this pleasing family film up their sleeves? Rodriquez (who produced with his wife Elizabeth Avellán) seemed to be mired in cheesy horror films but here breaks out by capitalizing on the talent that gave him instant status with his debut, El Mariachi (1992). Spy Kids has plenty of verve but never swerves into potty humor (OK, there is one good potty joke) or wicked gunplay. All 7-year-olds should have a film as fun as this in their movie-going lives. —Doug Thomas

Robert Rodriguez This delightful sequel to Spy Kids demonstrates once again writer-director Robert Rodriguez's remarkable gift for wild invention. Carmen and Juni Cortez (Alexa Vega and Daryl Sabara) are now regular operatives for a spy agency, but a couple of rival spy kids are making their lives difficult. When an important gadget gets stolen, Juni gets blamed and loses his job—but Carmen hacks into the agency computer, reinstates him, and sends them off on a high-security mission to a mysterious island to clear the boy's name. The pace is zippy, every situation is crammed with dazzling eye-candy, and the cast is great—Antonio Banderas and Carla Gugino return as the kids' parents, Steve Buscemi plays a crackpot scientist, and Ricardo Montalban comes in as the kids' grandfather. Fans of the classic Sinbad adventure movies will particularly enjoy the elaborate creatures that Carmen and Juni battle on the island. Pure fun. —Bret Fetzer

Robert Rodriguez The adventures of pint-sized secret agents Juni and Carmen Cortes (Daryl Sabara and Alexa Vega) continue. As Spy Kids 3-D: Game Over opens, Juni has left the spy agency and launched a career as a private detective—but when he learns that his sister Carmen has disappeared into a nefarious multi-user computer game, he agrees to go in after her, with the assistance of his grandfather (Ricardo Montalban). Three-dimensional special effects launch us into a topsy-turvy world of battling robots, souped-up motorcycle races, frogs on pogo sticks, surfing on hot lava, and much, much more. The story is even more incoherent than an actual computer game—but the movie storms along, driven by writer/director/editor/everything-else Robert Rodriguez's sheer visual enthusiasm. Featuring Sylvester Stallone, Antonio Banderas, Carla Gugino, and everyone else who appeared in the first two Spy Kids movies. —Bret Fetzer

Robert Rodriguez (Horror) A fun zombie film that busts at the seams with gross special effects amazing action and deliciously over-the-top moments as gun-legged Cherry Darling and one man wrecking crew El Wray try to save the world from a horde of flesh-eating zombies.System Requirements:Run Time: 105 minutes Genre: HORROR UPC: 796019803878

Don Roos Christina Ricci had a great year in 1998. The young actress continued to cast off her youthful image from the Addams Family movies and made a big splash on the independent movie scene, especially in this scathingly witty comedy in which Ricci has the central role. Here she plays Dedee, a buxom, sexually precocious teenager who's pregnant, cynical, and looking for a volunteer father for her unborn child. This takes her to the home of her gay half-brother (Martin Donovan) whose current lover (Ivan Sergei) becomes Dedee's latest target for seduction. That's just the start of the mischief that Dedee so masterfully orchestrates, and Lisa Kudrow (from TV's Friends) is also on hand to deliver some of the movie's most quotable dialogue while fending off the affection of a local policeman played by Lyle Lovett. If all this sounds rather sordid, rest assured that the movie's got a warm heart (well, sort of) beating beneath all of its sharp-edged sarcasm. Writer-director Don Roos (Single White Female) injects most of the movie's appeal and humor through Dedee's voice-over narration, which constantly reminds us that even the most familiar movie clichés can be cleverly overturned. As a result, The Opposite of Sex is the opposite of boring. —Jeff Shannon

Martin Rosen Much like Richard Adams's wonderful novel, this animated tale of wandering rabbits is not meant for small children. It is, however, rich storytelling, populated with very real individuals inhabiting a very real world. The animation is problematic, sometimes appearing out of proportion or just subpar; but it seems to stem from an attempt at realism, something distinguishing the film's characters from previous, cutesy, animated animals. A band of rabbits illegally leave their warren after a prophecy of doom from a runt named Fiver (Richard Briers). In search of a place safe from humans and predators, they face all kinds of dangers, including a warren that has made a sick bargain with humankind, and a warren that is basically a fascist state. Allegories aside, Down is engaging and satisfying, and pulls off the same amazing trick that the novel did—you—you'll forget that this is a story about rabbits. —Keith Simanton

Gary Ross Fantastical writer Gary Ross (Big, Dave) makes an auspicious directorial debut with this inspired and oddly touching comedy about two '90s kids (Tobey Maguire and Reese Witherspoon) thrust into the black-and-white TV world of Pleasantville, a Leave It to Beaver-style sitcom complete with picket fences, corner malt shop, and warm chocolate chip cookies. When a somewhat unusual remote control (provided by repairman Don Knotts) transports them from the jaded real world to G-rated TV land, Maguire and Witherspoon are forced to play along as Bud and Mary Sue, the obedient children of George and Betty Parker (William H. Macy and Joan Allen). Maguire, an obsessive Pleasantville devotee, understands the need for not toppling the natural balance of things; Witherspoon, on the other hand, starts shaking the town up, most notably when she takes basketball stud Skip (Paul Walker) up to Lover's Lane for some modern-day fun and games. Soon enough, Pleasantville's teens are discovering sex along with—gasp!—rock & roll, free thinking, and soul-changing Technicolor. Filled with delightful and shrewd details about sitcom life (no toilets, no double beds, only two streets in the town), Pleasantville is a joy to watch, not only for its comedy but for the groundbreaking visual effects and astonishing production design as the town gradually transforms from crisp black and white to glorious color. Ross does tip his hand a bit about halfway through the film, obscuring the movie's basic message of the unpredictability of life with overloaded and obvious symbolism, as the black-and-white denizens of the town gang up on the "coloreds" and impose rules of conduct to keep their strait-laced town laced up. Still, the characterizations from the phenomenal cast—especially repressed housewife Allen and soda-shop owner Jeff Daniels, doing some of their best work ever—will keep you emotionally invested in the film's outcome, and waiting to see Pleasantville in all its final Technicolor glory. —Mark Englehart

Herbert Ross Director Herbert Ross (The Turning Point) pulled a winning movie out of this almost self-consciously archetypal tale of teenage rock rebellion. Kevin Bacon stars as a hip city kid who ends up in a Bible-belt town after his parents divorce. An ill fit for a conservative community where rock is frowned upon and dancing is forbidden, Bacon's character rallies the kids and takes on the establishment. Between a good cast really embracing the drama of Dean Pitchford's screenplay, and Ross's imaginative, highly charged way of shooting the dance numbers, you can get lost in this all-ages confection, and you won't even mind Kenny Loggins's bubbly pop. Bonuses include one of John Lithgow's best performances (a bit reminiscent of Jimmy Stewart), and Christopher Penn (who sure doesn't look the same anymore) as a good-natured hick who learns to boogie. —Tom Keogh

Scheider, Roy, Shaw, Robert SPIELBERG PITS THREE MENA AGAINST A GREAT WHITE SHARK THAT HASBEEN ATTACKING SWIMMERS AT AN ISLAND RESORT IN NEW ENGLAND. THE FILM REDEFINED THE WORD "BLOCKBUSTER," AND JOHN WILLIAMS' SCORE STILL HAUNTS SWIMMERS AROUND THE WORLD

Brian Rudnick

David O. Russell A confident hybrid of M*A*S*H, Treasure of the Sierra Madre, and Dr. Strangelove, Three Kings is one of the most seriously funny war movies ever made. Improving the premise of Kelly's Heroes with scathing intelligence, it explores the odd connection between war and consumerism in the age of Humvees and cellular phones. Writer-director David O. Russell's third film (after Spanking the Monkey and Flirting with Disaster), it's a no-holds-barred portrait of personal conscience in the volatile arena of politics, played out by one of the most gifted filmmakers to emerge in the 1990s.

George Clooney, Mark Wahlberg, Ice Cube, and Spike Jonze (director of Being John Malkovich) play a quartet of U.S. soldiers who, disillusioned by Operation Desert Storm, decide to steal $23 million in gold hijacked from Kuwait by Saddam Hussein's army. Getting the bullion out of an Iraqi stronghold is easy; keeping it is a potentially lethal proposition. By the end of their mercenary mission, the Americans can no longer ignore wartime atrocities (and neither can we—the film is boldly unflinching), and conscience demands their aid to Iraqi rebels abandoned by President George Bush's fickle wartime policy. This is serious stuff indeed, but Russell infuses Three Kings with a keen sense of the absurd, and the entire film is an exercise in breathtaking visual ingenuity. Despite a conventional ending that's mildly disappointing for such a brashly original film, Three Kings conveys the brutal madness of war while making you laugh out loud at the insanity. —Jeff Shannon

David O. Russell Billed as "an existential comedy,"I Heart Huckabees is a flawed yet endearingly audacious screwball romp that dares to ponder life's biggest questions. Much of director David O. Russell's philosophical humor is dense, talky, and impenetrable, leading critic Roger Ebert to observe that "it leaves the viewer out of the loop," and suggesting that Russell's screenplay (written with his assistant, Jeff Baena) is admirably bold yet frustratingly undisciplined. Russell's ideas are big but his expression of them is frenetic, centering on the unlikely pairing of an environmentalist (Jason Schwartzman) and a firefighter (Mark Wahlberg) as they depend on existential detectives (Lily Tomlin, Dustin Hoffman) and a French nihilist (Isabelle Huppert) to make sense of their existential crises, brought on (respectively) by a two-faced chain-store executive (Jude Law) and his spokesmodel girlfriend (Naomi Watts), and the aftermath of 9/11's terrorism. No brief description can do justice to Russell's comedic conceit; you'll either be annoyed and mystified or elated and delighted by this wacky primer for coping with 21st century lunacy. Deserving of its mixed reviews, I Heart Huckabees is an audacious mess, like life itself, and accepting that is the key to enjoying both. —Jeff Shannon

Anthony Russo (II), Joe Russo (II) There are a lot of broad comedies about men refusing to grow up, but few have the sly bite of You, Me and Dupree. Even though Carl (Matt Dillon, Crash, There's Something About Mary) is newly married to Molly (Kate Hudson, Almost Famous, How to Lose a Guy in 10 Days), when his best friend Dupree (Owen Wilson, Wedding Crashers, The Life Aquatic) ends up homeless, Carl invites Dupree into their house—in which Dupree promptly makes himself at home, culminating in setting the place on fire during lurid sex. But though he's trapped between his wife and his best friend, Carl may have bigger problems as his boss—and father-in-law—hates him and is sneakily working against his marriage. You, Me and Dupree seems at first glance to be a frat-boy farce about men being emasculated by their wives, but the well-written script, guided with a sure hand by director team Joe and Anthony Russo (who each directed episodes of the top-notch TV series Arrested Development), successfully walks a treacherous path between multi-layered characters and comic events, and is all the funnier as a result. Michael Douglas (Wonder Boys, Fatal Attraction) turns in a sharp, nasty performance as Molly's overly-possessive father. Also featuring Seth Rogan (The 40 Year Old Virgin). —Bret Fetzer

Michael Rymer Despite voluminous protest and nitpicking criticism from loyal fans of the original 1978-80 TV series, the 2003 version of Battlestar Galactica turned out surprisingly well for viewers with a tolerance for change. Originally broadcast on the Sci-Fi Channel in December 2003 and conceived by Star Trek: The Next Generation alumnus Ronald D. Moore as the pilot episode for a "reimagined" TV series, this four-hour "miniseries" reprises the basic premise of the original show while giving a major overhaul (including some changes in gender) to several characters and plot elements. Gone are the flowing robes, disco-era hairstyles, and mock-Egyptian fighter helmets, and thankfully there's not a fluffy "daggit" in sight... at least, not yet. Also missing are the "chrome toaster" Cylons, replaced by new, more formidable varieties of the invading Cylon enemy, including "Number Six" in hot red skirts and ample cleavage, who tricks the human genius Baltar into a scenario that nearly annihilates the human inhabitants of 12 colonial worlds.

Thus begins the epic battle and eventual retreat of a "ragtag fleet" of humans, searching for the mythical planet Earth under the military command of Adama (Edward James Olmos) and the political leadership of Laura Roslin (Mary McDonnell), a former secretary of education, 43rd in line of succession and rising to the occasion of her unexpected Presidency. As directed by Michael Rymer (Queen of the Damned), Moore's ambitious teleplay also includes newfangled CGI space battles (featuring "handheld" camera moves and subdued sound effects for "enhanced realism"), a dysfunctional Col. Tigh (Michael Hogan) who's provoked into action by the insubordinate Starbuck (Katee Sackhoff), and a father-son reunion steeped in familial tragedy. To fans of the original BG series, many of these changes are blasphemous, but for the most part they work—including an ominous cliffhanger ending. The remade Galactica is brimming with smart, well-drawn characters ripe with dramatic potential, and it readily qualifies as serious-minded science fiction, even as it gives BG loyalists ample fuel for lively debate. —Jeff Shannon

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

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

Beth Schacter

Akiva Schaffer After making a name for himself on SNL through a series of shorts, particularly viral video favorite "Lazy Sunday," the way was clear for Andy Samberg to segue to the big screen. Directed by SNL scribe Akiva Schaffer, Hot Rod proves his humor works best in small doses. Then again, producer Will Ferrell got his start in A Night at the Roxbury. In his first starring role, Samberg is amateur stuntman Rod Kimble. To raise money for his ailing stepfather, Frank (played with devilish glee by Deadwood's Ian McShane), Rod plans to jump 15 school buses on a moped. With support from his crew, which includes SNL's Bill Hader and Isla Fisher (Wedding Crashers), Rod trains for the big event. All the while, Denise (Fisher) is seeing obnoxious attorney Jonathan (Will Arnett, Arrested Development). Lack of physical dexterity aside, Rod prevails through pure dogged determination. You've seen it before, and if you can't get enough of this sort of thing, you'll see it again. Hot Rod is the kind of slapdash comedy that neglects to provide its hero with an age, a job, or even a hometown. But don't count Samberg out. Given time, he may yet craft a persona that doesn't borrow so heavily from the man-boy antics associated with Ferrell and Adam Sandler. Still, Hot Rod would've worked better with the funnier, more sympathetic Jorma Taccone, who plays Rod's half-brother, in the lead—on the other hand, that's the same formula that made Napoleon Dynamite a hit. —Kathleen C. Fennessy

Jeff Schaffer

Rob Schmidt This very loose update of Dostoyevsky will never gain the original's classic status, but on its own unseemly little terms it's an efficient genre flick. Trapped in a suburban Hell with an alcoholic stepfather (the always nasty Michael Ironside), suffering, molested high-schooler Rosanne (Monica Keena) begs her quarterback boyfriend (James DeBello) to help her bump him off. Things get complicated with the involvement of her weary mother (scrappy Ellen Barkin, still waiting for a decent role) and a sensitive, outsider classmate (Vincent Kartheiser). Larry Gross's script has Barkin's selfish character acting too much the idiot, though you won't hear a bad note from her or the rest of the appealing young cast (the invaluable Jeffrey Wright also has a nice bit as Barkin's lover). Even if director Rob Schmidt has too much of an MTV sensibility (showy cuts, booming soundtrack, etc.) and indulges himself with the gruesome murder, his glossy sensitivity to teen trauma redeems some of the pulp. The film can be seen in widescreen on DVD, as well as heard in French and Spanish. —Steve Wiecking

Michael Schultz Cooley High has frequently been compared to American Graffiti, and for good reason. Like that classic, Cooley High has a loose, multicharacter structure, autobiographical origins, and the rich texture of its time. Set in Chicago in 1964, the movie follows aspiring writer Preach (Glynn Turman) and local basketball star Cochise (Lawrence-Hilton Jacobs, who went on to star in Welcome Back, Kotter) as they wander their neighborhood, drifting in and out of their classes at Cooley Vocational High School. The two friends pull pranks, crash parties, commit petty crimes, and generally try to enjoy their lives in an impoverished urban environment. Preach falls in love with a smart girl named Brenda (Cynthia Davis), whom he wins over by reciting poetry—leading to one of the silliest and sweetest love scenes you'll ever see. When Preach and Cochise go on a joy ride with a pair of young hoods, they end up arrested. Their history teacher, Mr. Mason (a superb Garrett Morris), gets them off, but the hoods think the boys sold them out and come seeking revenge. Cooley High depicts the rough life of African Americans in the 1960s with honesty and humor, offering no easy solutions or pat lessons. It's a roughly made movie, but Turman and Jacobs are both excellent, and there's an attention to reality that makes it engaging, refreshing, and ultimately moving. The soundtrack is a great compilation of 1960s soul, including the Supremes, Martha and the Vandellas, Stevie Wonder, the Four Tops, and Smokey Robinson. An unjustly neglected film that deserves rediscovery. —Bret Fetzer

Michael Schultz Get ready for some seriously big hair. The Last Dragon—or, to call it by its full title, Berry Gordy's the Last Dragon—is a stunning example of 1980s camp cinema. One-name kung fu wonder Taimak plays Leroy Green, a.k.a. Bruce Leroy, a humble student of kung fu who has achieved the highest level of skill, but hasn't yet found his inner master. Wandering through the streets of New York in a Chinese peasant outfit, he accidentally becomes the protector of nightclub hostess/video jockey Laura Charles (played by former Prince protégé Vanity, who also costarred in the trash classic Action Jackson). She's being threatened by a height-challenged mobster who wants her to play his girlfriend's video (the girlfriend is something of a Cyndi Lauper look-alike, played by Broadway star Faith Prince). Meanwhile, a man who calls himself Sho'Nuff, the Shogun of Harlem, wants to kick Leroy's ass and prove himself the baddest kung fu master in town. Add to this Leroy's smart-mouthed brother Richie (who calls Leroy "the chocolate-covered yellow peril"), a dregs-of-Motown soundtrack (DeBarge is a high point), ninja battles, pseudo-Eastern philosophical babble, and a jaw-dropping club performance by Vanity, and you have a hilarious example of why we're all so very glad the '80s are over. Featuring a bit role by William H. Macy (Fargo, Magnolia). —Bret Fetzer

Michael Schultz, Marty Callner Studio: Hbo Home Video Release Date: 01/20/2009 Run time: 270 minutes

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

Joel Schumacher This 1987 thriller was a predictable hit with the teen audience it worked overtime to attract. Like most of director Joel Schumacher's films, it's conspicuously designed to push the right marketing and demographic buttons, and granted, there's some pretty cool stuff going on here and there. Take Kiefer Sutherland, for instance. In Stand by Me he played a memorable bully, but here he goes one step further as a memorable bully vampire who leads a tribe of teenage vampires on their nocturnal spree of bloodsucking havoc. Jason Patric plays the new guy in town, who quickly attracts a lovely girlfriend (Jami Gertz), only to find that she might be recruiting him into the vampire fold. The movie gets sillier as it goes along, and resorts to a routine action-movie showdown, but it's a visual knockout (featuring great cinematography by Michael Chapman) and boasts a cast that's eminently able (pardon the pun) to sink their teeth into the best parts of an uneven screenplay. —Jeff Shannon

Joel Schumacher By some lucky quirk of fate, Phone Booth landed on Hollywood's A-list, but this thriller should've been a straight-to-video potboiler directed by its screenwriter, veteran schlockmeister Larry Cohen, who's riffing on his own 1976 thriller God Told Me To. Instead it's a pointless reunion for fast-rising star Colin Farrell and his Tigerland director, Joel Schumacher, who employs a multiple-image technique similar to TV's 24 to energize Cohen's pulpy plot about an unseen sniper (maliciously voiced by 24's Kiefer Sutherland) who pins his chosen victim (a philandering celebrity publicist played by Farrell) in a Manhattan phone booth, threatening murder if Farrell doesn't confess his sins (including a potential mistress played by Katie Holmes in a thankless role). In a role originally slated for Jim Carrey, Farrell brings vulnerable intensity to his predicament, but Cohen's irresistible premise is too thin for even 81 brisk minutes, which is how long Schumacher takes to reach his morally repugnant conclusion. —Jeff Shannon

Douglas Schwartz This Baywatch reunion movie, like the 11-year television series itself, is a guilty pleasure short on story credibility but long on action, hardbody appeal, and hot passions. The hyperdrive plot finds Mitch Buchannon (David Hasselhoff), presumed dead at the end of season 10, alive and well and in love with a woman named Allison (Alexandra Paul), who bears a spooky resemblance to Mitch's late lover, Stephanie. Wedding plans that include the old Baywatch lifeguard crew (Pamela Anderson, Yasmine Bleeth, Billy Warlock, etc.) are set for Hawaii, but in a Wrath of Khan-like twist, a villain (Cary-Hiroyuki Tagawa) from the old show's second season turns up with an elaborate plan to kidnap and endanger Mitch's guests. The script is shameless, of course, but the outre element is fun to watch, including a subplot in which Mitch's former wife (Gena Lee Nolin)—suspicious of Allison's true motives—gets into a spectacular catfight with her ex's new lady. —Tom Keogh

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

Tony Scott In giving 1991's The Last Boy Scout a three-star review, critic Roger Ebert was properly performing his duty as an objective reporter, praising the filmmakers' professional skill while observing that "the only consistent theme of the film is its hatred of women." For the purposes of this capsule review, there's no such obligation to level-headed fairness; the simple truth is, this ultraviolent, action-packed vehicle for Bruce Willis and Damon Wayans is disgustingly rotten to the core. Not only is it fueled by a bitter and spiteful attitude toward women, it's also the kind of profanely vulgar movie that doesn't hesitate to put foul-mouthed children in the path of vicious thugs and potentially deadly situations. Willis plays an ex-secret service agent turned private detective who is hired to protect a stripper (Halle Berry) and then teams up with the stripper's boyfriend (Wayans), a disgraced NFL star who was kicked out of football for gambling. They catch on to a criminal plot leading all the way up to a corrupt football team owner who wants to legalize gambling on pro football. Willis and Wayans get in and out of all sorts of trouble along the way, and naturally there are plenty of explosions to go along with the brutal beatings, gunfire, and constant cussing. Shane Black (of Lethal Weapon infamy) set a Hollywood record (since broken, several times) for the sale price of his slick but vile screenplay, and Top Gun director Tony Scott handles the action with his trademark gloss and high-impact style. But, seriously, is this a movie that anyone could bear to watch twice? —Jeff Shannon

Frank Sebastiano It's appropriate that this extravaganza of lowbrow cinema had its premiere at the 2006 Cinevegas Film Festival, because what happens in Artie Lange's Beer League should stay in Artie Lange's Beer League. Lange is most recognizable for his stint in the Mad TV ensemble, but probably more idolized by the people who will get wild kicks from his leading man debut as the resident guest-baiter and booze/scatological/flatulence/sex joke expert on Howard Stern's radio show. Those are the same kinds of laughs this movie relies on in telling the wisp of a story about a bunch of New Jersey boneheads whose lives are fulfilled by softball games and the beer-guzzling that goes on before, during, and after. Artie's team is proud to be in the bottom ranks of their league, especially when brawls erupt at games against their slick, archrival team. Artie and the rest of his team know these arrogant jerks in their immaculate black (of course) uniforms are unbeatable, so it's only natural that Artie thinks its easier to just beat the hell out of them. The local cop who's had to deal with both teams finally gets so angry with the escalating brawls that he issues an ultimatum: Whichever team loses the season has to disband and never play on the league again. It's kind of an utterly tasteless version of The Bad News Bears for people who like their movies vulgar, offensive, misogynistic, and often really funny in spite of it all. Some of the subplots and supporting players include Ralph Macchio as one of Artie's childhood friends who's about to get married (cue depraved bachelor party scene with lots of topless babes), Mary Birdsong from Reno 911! as a kooky waitress, and a delightful turn by crusty character actor Seymour Cassel as Artie's teammate Dirt, who may be old but loves booze, fisticuffs, and debauchery as much as anyone. For some reason, Artie's foul-mouthed slobbery attracts a local Jersey girl (Cara Buono), even though he's jobless and still lives with his mom (Laurie Metcalf, who should get some kind of good sport award). The buffoonery doesn't just stop with the movie. There's also more than two hour of bonus material tailored for Artie Lange enthusiasts who probably number more than you'd think — whether they'd ever admit it or not. —Ted Fry

Joshua Seftel A political satire set in turaqistan a country occupied by an american private corporation run by a former us vice-president. In an effort to monopolize the opportunities the war-torn nation offers the corporations ceo hires a troubled hit man to kill a middle east oil minister. Studio: First Look Home Entertain Release Date: 10/14/2008 Starring: John Cusack Marisa Tomei Run time: 107 minutes Rating: R

Nelson Shin During the 1980s, one cartoon series ruled the airwaves... The Transformers. This paragon of consumerism was created with a dual purpose—to entertain and to galvanize children to buy the toys. Somewhere along the line, the show became a cult favorite, so in 1986 they fashioned an epic tale of good versus evil specifically for the big screen. The result looked vaguely like an animated remake of Star Wars. Who are the Transformers? The good guys are the Autobots: Optimus Prime, SoundWave, Jazz, Ultra Magnus, and many more. Their mortal enemies are the evil Decepticons, led by Megatron and StarScream. The Autobots must save their home planet from an evil entity known as Unicron (voiced by Orson Welles). At the same time, they must defend themselves from an all-out attack from the Decepticons. Along the way, lives are lost, battles are fought, and a new Autobot leader is born as another dies. The story and action never stop in a thrilling ride that often makes you forget that you're watching an '80s cartoon with inferior graphics. The violence will also come as a mild shock to those who haven't seen this film for a while—definitely a movie for the 8 and over audience. For those who grew up on this series, this is a movie that must be watched. Unlike cartoon serials before and after, The Transformers relied on solid stories and interesting characters, a manifesto the film itself upholds with gusto and grace while also being morally responsible. Don't underestimate this movie; there is definitely more to it than meets the eye. —Jeremy Storey

Peter Shin, Pete Michels For Family Guy fans, there are no freakin' sweeter words than "Never Before Seen." A triumphant homecoming for the Griffins, Stewie Griffin is not so much a movie as it is a not-yet-aired three-episode story arc enhanced with a home-video-exclusive "red carpet premiere" prologue and an epilogue (capped, of course, with a fart joke). Family Guy's resurrection is a television miracle, and its creators have rewarded the faithful by picking up right where they left off, offending any and all sensibilities (recasting Jesus as comic magician Art Metrano), dissing the celebrity disenfranchised (Ellen Cleghorne references, anyone?), and generally taking potshots at anyone on their enemies list (Stewie breaks the neck of a reporter for Entertainment Weekly, the magazine that once called Family Guy "the Awful Show They Just Keep Putting on the Air"). The Untold Story! is a star vehicle for Family Guy 's breakout character, in which the mega maniacal and matricidal infant has a Grinch-like change of heart after a near-death experience (and a disturbing encounter with Steve Allen in Hell) and, more life-altering, discovers a football-pated man who could be his father (the truth is more shocking!). As go the gags, so goes Family Guy, and there are enough good ones here to compensate for the many misfires. The Miller-esque (as in Dennis) penchant for channeling arcane pop culture can grow tiresome. But for those who do remember the words to the Who's the Boss theme song, know (or still care) who Steve Bartman is, and are always up for "a sexy party," this will be the greatest story ever untold. —Donald Liebenson

Stills from Family Guy Presents Stewie Griffin - The Untold Story (click for larger image)

Ryan Shiraki All-season comedy fun gets sprung in a big way when Saturday Night Live veterans Amy Poehler (Baby Mama), Rachel Dratch (I Now Pronounce You Chuck & Larry) and Will Arnett (Semi-Pro) gear up for one huge Spring Breakdown. Thirtysomething best friends Gayle (Poehler), Becky (Parker Posey) and Judi (Dratch) have always dreamed of being fabulous. But they never grew out of being geeks. So when Becky gets the opportunity to unofficially chaperone her boss daughter Ashley (Amber Tamblyn) to the college spring-break destination of South Padre Island, the ladies decide to turn their tragically unhip lives around and party with the beer-and-bikini set. Through keg-stands, hookups and foam parties, Becky, Gayle, Judi and Ashley are about to discover that its better to stand out than to fit in.

Brett Simon How far would you go to hang with the hottest girl on campus? Assassination of a High School President is an acid-tongued high-school comedy with attitude to spare, starring a sexy young cast including Mischa Barton (TV's The O.C., The Sixth Sense), Reece Daniel Thompson (Rocket Science), and superstar Bruce Willis. Sophomore newspaper reporter Bobby Funke (Thompson) is assigned to write a cover story on popular class president and top athlete. After a stack of SAT tests is stolen from the office of hard-as-nails Principal Kirkpatrick (Willis), Funke publishes an expose that names Paul as the prime suspect and suddenly, Bobby is BMOC. But when Paul's girlfriend, sexy senior Francesca (Barton), makes a move on Bobby and even his former bullies play nice, Funke begins to doubt the star jock's guilt and everyone else's motives. When his investigation uncovers a campus-wide conspiracy that threatens to take down students and teachers alike, Funke must decide to tell the truth or enjoy his new stud status. Also starring Michael Rapaport, Luke Grimes and Aaron Himelstein.

Felicia Sinclair

Bryan Singer In a time when race and religion don't separate people, but extra powers and mutated characteristics do, two longtime friends, Professor Charles Xavier (Patrick Stewart) and Magneto (Ian McKellen) part ways, only to become rivals over the issue of how much patience they should have with "normal" people. Living lives that scare most humans lacking the "X-factor" (a special power such as telekinesis), they fight over changing the general population into mutants. Xavier decides to help mutants in a special school while waiting for humanity to be more accepting, while Magneto opts to change all "normal" people into mutants in order to create a mutant-only world. Leading a group of four powerful X-Men (and women) to rescue one lost girl (the mutant Rogue, played by Anna Paquin)—and the entire population of New York—Xavier recruits a new member to their group: Logan (Hugh Jackman), better known as Wolverine, joins the team with much reluctance, only to prove very valuable to the rescue effort.

Each member of the X-Men has mastered their special gift—the ability to create a storm (Storm, played by Halle Berry), telekinesis (Dr. Jean Grey, played by Famke Janssen), eyesight carrying laserlike destructive power (Cyclops, played by James Marsden), the ability to heal nearly any wound he sustains (Wolverine, played by Hugh Jackman). The chemistry among these four sets the stage for some expert teamwork—and some hidden romance. The mutants' ensemble work drives the action sequences, such as in a train station battle with Magneto's crew—including Sabertooth (Tyler Mane), Toad (Ray Park), and Mystique (Rebecca Romijn-Stamos)—that unleashes a lot of destruction, thanks to the striking special effects.

You don't have to be a fan of the hugely popular X-Men comic books to enjoy Bryan Singer's film, which is loaded with creativity, cool effects, and characters complex enough to lift it above run-of-the-mill action films. And Singer sets the stage admirably for the sequels that could turn X-Men into the strongest comic-book franchise since Batman. —Sandra Levin

Bryan Singer In a time when race and religion don't separate people, but extra powers and mutated characteristics do, two longtime friends, Professor Charles Xavier (Patrick Stewart) and Magneto (Ian McKellen) part ways, only to become rivals over the issue of how much patience they should have with "normal" people. Living lives that scare most humans lacking the "X-factor" (a special power such as telekinesis), they fight over changing the general population into mutants. Xavier decides to help mutants in a special school while waiting for humanity to be more accepting, while Magneto opts to change all "normal" people into mutants in order to create a mutant-only world. Leading a group of four powerful X-Men (and women) to rescue one lost girl (the mutant Rogue, played by Anna Paquin)—and the entire population of New York—Xavier recruits a new member to their group: Logan (Hugh Jackman), better known as Wolverine, joins the team with much reluctance, only to prove very valuable to the rescue effort.

Each member of the X-Men has mastered their special gift—the ability to create a storm (Storm, played by Halle Berry), telekinesis (Dr. Jean Grey, played by Famke Janssen), eyesight carrying laserlike destructive power (Cyclops, played by James Marsden), the ability to heal nearly any wound he sustains (Wolverine, played by Hugh Jackman). The chemistry among these four sets the stage for some expert teamwork—and some hidden romance. The mutants' ensemble work drives the action sequences, such as in a train station battle with Magneto's crew—including Sabertooth (Tyler Mane), Toad (Ray Park), and Mystique (Rebecca Romijn-Stamos)—that unleashes a lot of destruction, thanks to the striking special effects.

You don't have to be a fan of the hugely popular X-Men comic books to enjoy Bryan Singer's film, which is loaded with creativity, cool effects, and characters complex enough to lift it above run-of-the-mill action films. And Singer sets the stage admirably for the sequels that could turn X-Men into the strongest comic-book franchise since Batman. —Sandra Levin

John Singleton This ambitious 1995 film by John Singleton (Boyz N the Hood) doesn't quite succeed at painting the illuminating, collective portrait of college life in the '90s that the director seeks. But Singleton does do a fine job of defining some conflicting impulses for young people on the cusp of adulthood, particularly the desire to broaden horizons on the one hand and circle the wagons with like-minded allies on the other. Students in the film's Columbus University divide themselves along lines of race, sexual preferences, ideology, and, most dangerously, levels of paranoia. Among the fine cast is Michael Rapaport, who portrays a loner drawn to a local community of neo-Nazis. His resultant problems with the school's African-Americans takes over the story at the expense of other, parallel dramas, but Singleton's insights into race hatred on campus—a microcosm of the surrounding culture—is not to be dismissed. —Tom Keogh

Erik Skjoldbjærg Fans of Christina Ricci will note that the saucer-eyed actress takes a big leap from deadpan-child and grumpy-ingenue roles with Prozac Nation, an adaptation of Elizabeth Wurtzel's bestselling book. Ricci puts her all into playing Lizzie, a self-absorbed Ivy League writer wannabe who alienates friends and family with her out-of-control mood swings and other chemical imbalances. Ricci is committed and convincing, but nothing she does ameliorates Lizzie's exasperating personality; spending 90 minutes around this person is an eternity of tantrums. Around to provide audience stand-ins are Jason Biggs, Michelle Williams, and Jonathan Rhys-Meyers, all of whom disapprove of Lizzie's self-destructive behavior. Jessica Lange, professional as always, is Lizzie's brittle mother. If the movie really did capture the sense of the zeitgeist suggested by its grandiose title, or if it carried some intriguing stylistic urgency that carried us into its depressive labyrinth, perhaps Lizzie's journey would be palatable. But the long delay between Prozac Nation's shooting (in 2001) and its emergence on cable-TV and DVD is all too easy to understand. —Robert Horton

Kat Slater

Kevin Smith Jersey Girl stars Ben Affleck as a workaholic music executive who loses his wife (Jennifer Lopez) in childbirth and has to raise his newborn daughter with the help of his crotchety New Jersey dad (George Carlin). The movie unspools as if writer-director Kevin Smith, normally a highly self-aware filmmaker (Clerks, Chasing Amy, Dogma), set out to put a fresh spin on every cliché he could imagine (parent forced to choose between child and career; parent rushing to attend school performance; etc.)—then forgot to put in the spin. The scenes that aren't lifeless are implausible (Liv Tyler plays the fantasy girl of every awkward boy's dreams). The only real feeling comes from the strong soundtrack. However, Raquel Castro, as the daughter, is an uncanny double for Lopez; when the light plays across Castro's cheekbones just so, you'd swear the casting director simply shrunk Lopez for convenience. —Bret Fetzer

Kevin Smith Fans of writer/director Kevin Smith (auteur of Dogma and Chasing Amy) should run to see Zack and Miri Make a Porno—the adored filmmaker has clearly made this with his hardcore following in mind. Zack (Seth Rogen, Knocked Up) and Miri (Elizabeth Banks, Slither) are longtime friends and housemates who, after their power and water get shut off, turn to pornography to pay their bills. After assembling a cheerful and perhaps dimwitted cast and crew, the hapless pair launch into their cynical yet heartwarming scheme with enthusiasm, only to discover—spoiler alert!—that they have feelings for each other. Smith clearly wanted to make a sex comedy with heart, something in the vein of The 40 Year Old Virgin. Unfortunately, Zack and Miri Make a Porno combines the mawkish, formulaic sentimentality of Jersey Girl with the belabored, formulaic sex gags of Clerks II. For a movie that clearly hearkens back to Smith's own experiences making the beloved and archetypally cheap-and-dirty Clerks, Zack and Miri Make a Porno is sadly generic and predictable. But Smith's fanbase will appreciate that the movie has snarky jokes about science fiction, a good dose of bare breasts (and two actual porn stars, Traci Lords and Katie Morgan), and the schlubby guy/hot chick dynamic that drives a thousand sitcoms. —Bret Fetzer

Steven Soderbergh Chelsea (Adult Film Star Sasha Grey in her mainstream film debut), a $2,OOO-an-hour Manhattan call girl, offers more than sex to her clients; it's her companionship and conversation that provides her customers with the complete girlfriend experience. Chelsea thinks she has her life totally under control, but when you're in the business of meeting people, control can be easily manipulated.

Steven Soderbergh, Charles Kiselyak Out of Sight scored critical raves, but its title sums up the theatrical fate of Steven Soderbergh's coolly comic crime caper and misfit romance based on Elmore Leonard's novel. But this is the sort of buried treasure home video was created to rescue.

George Clooney comes into his own as a leading man in the role of inveterate bank robber Jack Foley. Incarcerated, he uses another inmate's prison break as a cover for his own escape. Waiting for him, according to plan, is his partner, Buddy (Ving Rhames). Also waiting for him, not according to plan, is federal agent Karen Sisco (the ravishing Jennifer Lopez). She finds herself disarmed in more ways than one when she is deposited in the getaway car's trunk with Jack. But that doesn't stop her from joining the task force created to capture him, while he plans "one last heist."

Out of Sight is a rich, entertaining film, stylish without being showy, faithful to the integrity of Leonard's potent dialogue and quirky characters, and seamlessly acted by a dream ensemble. Standouts include Albert Brooks as convicted insider trader Richard Ripley, who while in prison brags to the wrong people that he has $5 million in uncut diamonds hidden in his house; Don Cheadle as Maurice (don't call him "Snoopy") Miller, with whom Jack warily teams up to steal said diamonds; Dennis Farina as Karen's protective father (his idea of a birthday gift is a Sig-Hauer .38); and, in unbilled cameos, Michael Keaton, reprising his Jackie Brown role as FBI agent Ray Nicolet, and Samuel L. Jackson.

If you liked Get Shorty and Jackie Brown, you'll find this, well, Out of Sight. —Donald Liebenson

Iain Softley As a depiction of the computer-hacker underground, this movie is bogus to the bone. As a thriller, it's cartoonish and conventional. The premise (computer-happy kids hack into the wrong system, and the Forces of Repression come after them) is recycled from John Badham's 1983 WarGames. And the corporate-creep bad guy, played by Fisher Stevens, steeples his fingers and growls mossy villainous clichés. ("By the time they realize the truth, we'll be long gone with all the money.") For all its postmodern trappings the movie is working with sub-prehistoric storytelling tools. But it does succeed on one level, as a movie about adolescent bonding and alienation. The director, Iain Softley, helmed the Beatles-in-Hamburg biopic Backbeat, and he seems to have an instinct for the emotions that pull kids together around common interests and the insecurities that drive them apart. The familiar crises of loyalty and betrayal have an ache of real loneliness. It doesn't hurt that the two stars, Jonny Lee Miller (Sick Boy Williamson in Trainspotting) and Angelina Jolie (Gia), are just about equally gorgeous and charismatic; their longing glances steam up the screen. —David Chute

Peter Sollett Studio: Sony Pictures Home Ent Release Date: 02/03/2009 Run time: 89 minutes Rating: Pg13

Todd Solondz Todd Solondz, director of the acclaimed Welcome to the Dollhouse and the controversial Happiness, continues pushing the envelope of social decorum with the merciless and casually cruel Storytelling, his most ruthless satire of suburban complacency. Broken into two unrelated chapters, "Fiction" follows college girl Selma Blair through a degrading encounter with her resentful writing teacher (Robert Wisdom), while the more sprawling and scattershot "Non-Fiction" circles around the mutual exploitation of a fumbling documentary filmmaker (Paul Giamatti doing a near-parody of director Solondz) and his clueless subject, a suburban high school slacker named Scooby (Mark Webber). The squirmy laughs are laced with humiliation and the satire is acidic and cynical; in the world of Solondz, victims and victimizers alike are petty, selfish, vindictive, and thoughtless, and empathy is strictly rationed. Though sharply written and well directed, this misanthropic vision is strictly for daring filmgoers and Solondz fans. —Sean Axmaker

Brenton Spencer COREY HAIM (The Lost Boys), COREY FELDMAN (Gremlins) and NICOLE EGGERT (television's "Baywatch") star in this erotic thriller about young love gone dangerously wrong. Rich (COREY HAIM) works as an activities director at a fashionable resort in order to earn money for college. He meets the blonde and beautiful Megan (NICOLE EGGERT) and soon discovers she is not your average seventeen-year-old. Despite the warning from his older brother Wes (COREY FELDMAN), Rich plunges into a dangerous and obsessive affair with Megan. But Megan has more on her mind than love. She has plans for the future that could include murder. Is Rich the man who can help her make her dreams come true, or a pawn in her game of deceit?

Steven Spielberg When Steven Spielberg was an adolescent, his first home movie was a backyard war film. When he toured Europe with Duel in his 20s, he saw old men crumble in front of headstones at Omaha Beach. That image became the opening scene of Saving Private Ryan, his film of a mission following the D-day invasion that many have called the most realistic—and maybe the best—war film ever. With 1998 production standards, Spielberg has been able to create a stunning, unparalleled view of war as hell. We are at Omaha Beach as troops are slaughtered by Germans yet overcome the almost insurmountable odds.

A stalwart Tom Hanks plays Captain Miller, a soldier's soldier, who takes a small band of troops behind enemy lines to retrieve a private whose three brothers have recently been killed in action. It's a public relations move for the Army, but it has historical precedent dating back to the Civil War. Some critics of the film have labeled the central characters stereotypes. If that is so, this movie gives stereotypes a good name: Tom Sizemore as the deft sergeant, Edward Burns as the hotheaded Private Reiben, Barry Pepper as the religious sniper, Adam Goldberg as the lone Jew, Vin Diesel as the oversize Private Caparzo, Giovanni Ribisi as the soulful medic, and Jeremy Davies, who as a meek corporal gives the film its most memorable performance.

The movie is as heavy and realistic as Spielberg's Oscar-winning Schindler's List, but it's more kinetic. Spielberg and his ace technicians (the film won five Oscars: editing (Michael Kahn), cinematography (Janusz Kaminski), sound, sound effects, and directing) deliver battle sequences that wash over the eyes and hit the gut. The violence is extreme but never gratuitous. The final battle, a dizzying display of gusto, empathy, and chaos, leads to a profound repose. Saving Private Ryan touches us deeper than Schindler because it succinctly links the past with how we should feel today. It's the film Spielberg was destined to make. —Doug Thomas

Steven Spielberg Like an airport running at peak efficiency, The Terminal glides on the consummate skills of its director and star. Having refined their collaborative chemistry on Saving Private Ryan and Catch Me if You Can, Steven Spielberg and Tom Hanks mesh like the precision gears of a Rolex, turning a delicate, not-very-plausible scenario into a lovely modern-age fable (partly based on fact) that's both technically impressive and subtly moving. It's Spielberg in Capra mode, spinning the featherweight tale of Victor Navorski (Hanks, giving a finely tuned performance), an Eastern European who arrives at New York's Kennedy Airport just as his (fictional) homeland has fallen to a coup, forcing him, with no valid citizenship, to take indefinite residence in the airport's expansive International Arrivals Terminal (an astonishing full-scale set that inspires Spielberg's most elegant visual strategies). Spielberg said he made this film in part to alleviate the anguish of wartime America, and his master's touch works wonders on the occasionally mushy material; even Stanley Tucci's officious terminal director and Catherine Zeta-Jones's mixed-up flight attendant come off (respectively) as forgivable and effortlessly charming. With this much talent involved, The Terminal transcends its minor shortcomings to achieve a rare degree of cinematic grace. —Jeff Shannon

Lev L. Spiro

Morgan Spurlock There's no doubt Morgan Spurlock is a brave man. In Super Size Me, the director subsisted on junk food for 30 days and suffered the consequences. In 2006, after finding out his wife, vegan chef Alexandra Jamieson (who features in his previous effort), is pregnant, Spurlock takes action—John McCain style—to secure a more peaceful planet for his unborn child. In Where in the World Is Osama bin Laden?, he gets his shots, works out, and takes a self-defense class in preparation for a jaunt through Morocco, Egypt, Israel, Jordan, Afghanistan, and Pakistan to track down the Al-Qaeda fugitive (his itinerary neglects Iran and Iraq). With a child on the way, the $25 million reward holds some attraction, but video-game graphics, terrorist trading cards, and action-movie music underline the quixotic nature of Spurlock's quest. Similarly, the movie itself is a mixed success. The humor that fueled his first film can fall flat when the stakes are higher. Pop-culture references and serious conversations with concerned citizens make for odd bedfellows. It isn't that Spurlock disrespects his subjects, but that he tries harder to entertain than to elucidate, and his interviews merely reinforce the notion that people everywhere share similar concerns. Unfortunately, fellow Oscar nominated filmmakers, like Laura Poitras (My Country, My Country) and James Longley (Iraq in Fragments), already beat him to the punch. Spurlock has also released a book with the same name to expand on themes explored in this somewhat superfluous documentary. —Kathleen C. Fennessy

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

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

Carter Stevens

Alex Steyermark The premise sounds like the most crass 1980s teen sex comedy imaginable: A teenage boy dying of cancer makes a last wish to spend a weekend alone with a supermodel. Yet One Last Thing... is neither crass nor a sex comedy, but rather a surprisingly touching exploration of taking chances, mortality, spirituality, and the price of love. Dylan (Michael Angarano, Sky High) has been granted a conventional dying wish by a foundation, but at the televised press conference he changes his mind and asks for a weekend with blond sex symbol Nikki Sinclair (Sunny Mabrey, Snakes on a Plane). The consequences unfold realistically: The supermodel (who has her own problems) and her agent (Gina Gershon, Bound) show up for a brief photo opportunity, then split—but Dylan, with the help of his friends, goes to New York to follow up on her promise to go out with him if he visits. The core of One Last Thing... is Dylan's relationship with his mother (Cynthia Nixon, Sex and the City), one of the most real and affecting mother-son relationships on film. The actors—including an uncredited Ethan Hawke (Before Sunset)—are uniformly excellent, giving this potentially absurd set-up a remarkable emotional integrity. —Bret Fetzer

Ben Stiller Studio: Paramount Home Video Release Date: 11/18/2008 Run time: 120 minutes Rating: Ur

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

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

Chris Stokes You Got Served has one simple priority, and if you're into the latest hip-hop dance moves, you'll get served an enjoyable 93-minute diversion. For anyone else, however, all bets are off, since this wretchedly plotted film was written by director Christopher B. Stokes as a crassly commercial vehicle for B2K, the teen group that Stokes managed while making cheap-ass movies like this one. There's a tissue-thin romantic subplot, but mostly it's about the MTV-styled showdown between B2K (as Orange County white boys) and their black L.A. competitors, including members of the hip-hop group IMx. Their aggressive moves are undeniably impressive (in other words, don't try this at home unless you know a good chiropractor), but Stokes would've been better off making a straight documentary, thus avoiding all the nonsense that You Got Served delivers between its abundance of choppily edited dance scenes. —Jeff Shannon

Nicholas Stoller Studio: Uni Dist Corp. (mca) Release Date: 09/30/2008 Run time: 229 minutes

Tom Stoppard Tells the story of Hamlet from the viewpoint of two supporting characters.

Genre: Feature Film-Comedy

Rating: PG

Release Date: 21-AUG-2007

Media Type: DVD

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

Tim Story Bumbling cop Washburn (Jimmy Fallon) is a terrible driver who loses his license and so recruits reluctant Belle (Queen Latifah) and her souped-up mega-cab after he stumbles onto a team of supermodel bank robbers. Several klutzy encounters and high-speed car chases ensue. If this sounds to you like the obvious result of a Hollywood pitch session ("Hey, let's pair some guy from Saturday Night Live with a tough-talking African-American and set them after babes on wheels!"), you're right; it doesn't mean, however, that you won't get in a few decent laughs before director Tim (Barbershop) Story's amiable time-killer falls into a steaming pile of would-be blockbuster buddy film cliches. The ever-ingratiating Latifah has long since proved her star charisma, and Fallon does an amusingly offhand parody of failed machismo. They're clearly having a good time together, and you could do worse than their company. There isn't a frame here that isn't cheaply recycled from some other lame action comedy, but if you grit your teeth for the very bumpy ride, you'll come out without too many scratches.—Steve Wiecking

Susan Stroman The trend is to convert movies into stage musicals, but The Producers goes a step further: making a feature film of the smash-hit stage musical that was adapted from the 1968 film. The chief drawing card, of course, is Nathan Lane and Matthew Broderick reprising their roles from the stage. Lane plays Max Bialystock, a legendary Broadway producer who hasn't had a hit show in a long time. Enter nebbish accountant Leo Bloom (Broderick), who tells Bialystock he could actually make more money with a flop than a hit. So the two set out to produce the worst Broadway musical of all time, one guaranteed to close on opening night, with the collaboration of an outrageous cast of characters: Will Ferrell as sieg heil-ing author Franz Liebkind, Uma Thurman as Swedish bombshell Ulla, Gary Beach as director Roger De Bris, and Roger Bart as his assistant, Carmen Ghia, among others.

As directed and choreographed by Susan Stroman (who did the same honors on Broadway) and co-written by Mel Brooks, The Producers is laugh-out-loud funny. It's also a relentlessly over-the-top, shamelessly bawdy, stereotype-ridden comedy that may turn off its audience just as much as its centerpiece, Springtime for Hitler, was intended to. But Broadway fans who are used to larger-than-life figures who play to the back row while showering the first row with spit, are likely to forgive and just enjoy the famous granny-walker dance, a supporting cast dotted with Broadway performers (playing a taxi driver is Brad Oscar, who originated the role of Liebkind on Broadway then later played Bialystock), or the mere spectacle of seeing Lane and Broderick memorializing the performances that millions never got a ticket to see. (For maximum laughs, stick around through the closing credits.) —David Horiuchi

Kevin Rodney Sullivan An aging Satchel Paige wanted to be the first African American baseball player to integrate the major leagues after World War II. Of course, things didn't work out that way: the visibly dignified and younger Jackie Robinson got the nod, while the Negro Leagues he left behind carried on with such brilliant talents as Josh Gibson segregated from deserving opportunities. This HBO movie concerns the period just before Robinson was pressed into a difficult role breaking the color barrier, and the rich script by David Himmelstein and Gary Hoffman concerns his aspirations as well as those of the frustrated Paige and the deteriorating Gibson. Blair Underwood plays Robinson with an expected nobility, while Delroy Lindo is superb as Paige as is Mykelti Williamson as Gibson. Directed by Kevin Rodney Sullivan, the film really does fill a gap in a viewer's imagination about what these three legendary men must have been going through—and much of it is painful to witness. With Edward Herrmann as Branch Rickey. —Tom Keogh

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

Stephen Surjik Budding filmmakers joe & baggy know that they have a script made of gold but lack the finances for production until a desperate producer throws them a bone. Theres one catch - they need candy fiveways the worlds 1 adult star to play the lead in their movie. Studio: Magnolia Pict Hm Ent Release Date: 09/09/2008 Starring: Carmen Electra Michelle Ryan Run time: 86 minutes Rating: R

Quentin Tarantino Quentin Tarantino's Kill Bill, Vol. 1 is trash for connoisseurs. From his opening gambit (including a "Shaw-Scope" logo and gaudy '70s-vintage "Our Feature Presentation" title card) to his cliffhanger finale (a teasing lead-in to 2004's Vol. 2), Tarantino pays loving tribute to grindhouse cinema, specifically the Hong Kong action flicks and spaghetti Westerns that fill his fervent brain—and this frequently breathtaking movie—with enough cinematic references and cleverly pilfered soundtrack cues to send cinephiles running for their reference books. Everything old is new again in Tarantino's humor-laced vision: he steals from the best while injecting his own oft-copied, never-duplicated style into what is, quite simply, a revenge flick, beginning with the near-murder of the Bride (Uma Thurman), pregnant on her wedding day and left for dead by the Deadly Viper Assassination Squad (or DiVAS)—including Lucy Liu and the unseen David Carradine (as Bill)—who become targets for the Bride's lethal vengeance. Culminating in an ultraviolent, ultra-stylized tour-de-force showdown, Tarantino's fourth film is either brilliantly (and brutally) innovative or one of the most blatant acts of plagiarism ever conceived. Either way, it's hyperkinetic eye-candy from a passionate film-lover who clearly knows what he's doing. —Jeff Shannon

Quentin Tarantino A deranged stuntman stalks his victims from the safety of his killer car but when he picks on the wrong group of badass babes all bets are off in an adrenaline-pumping high speed white-knuckle automotive duel of epic proportions where anything can happen. System Requirements:Run Time: 113 minutes Genre: ACTION/ADVENTURE UPC: 796019803885

Quentin Tarantino, Allison Anders, Robert Rodriguez This unbearable quartet of stories was written and directed by hot filmmakers Quentin Tarantino (Pulp Fiction), Robert Rodriguez (El Mariachi), Allison Anders (Gas Food Lodging), and Alexandre Rockwell (In the Soup), which only proves that even the smart guys can really blow it sometimes. The anthology is linked by the hotel in which all the events are taking place, and by Tim Roth as a bellboy flitting from scene to scene. Nobody overcomes the insufferable air of self-congratulation that permeates this exercise in forced hipness. With Bruce Willis, Madonna, Lili Taylor, Ione Skye, Jennifer Beals, and Antonio Banderas. —Tom Keogh

Jessy Terrero The raunchy slapstick comedy Soul Plane touches down on DVD in an unrated "Mile High Edition" that adds five minutes of more outrageous material that should appeal to fans who queued up for this urban take on Airplane! Kevin Hart stars a young man who becomes the head of the first all-black airline after winning a major lawsuit. Complications arise during the maiden voyage courtesy of a chemically impeded pilot (Snoop Dogg), a misplaced white family (led by Tom Arnold), and Hart's scheming cousin (Method Man). Snoop, Method, Arnold, and Missi Pyle are the most amusing in the game cast, but too frequently, any attempt to pull Soul Plane out of a scatological tailspin is undone by music-video helmer Jessy Torero's unfocused direction. Still, the gags come fast and furious, so for there's undoubtedly something to laugh at amidst the bathroom and ethnic jibes. —Paul Gaita

Betty Thomas Give credit to director Betty Thomas for making the notorious Howard Stern, self-proclaimed "king of all media," into a nerdish but appealing media rebel who loves his wife and family. Even if you hate Stern's rude radio show, you may discover that the underdog charm of this warm, whimsical film (based on Stern's autobiography) turns you into a fan—for the length of the film at least. Stern delivers a winning performance as the clumsy college kid and aspiring disc-jockey-turned-demon-shock-jock, who becomes an unlikely hero as he battles station managers, network executives, and conservative "arbiters of decency" in the name of unfettered bad taste. Mary McCormack is fine as his understanding wife, Alison, and longtime Stern sidekicks Robin Quivers and Fred Norris acquit themselves nicely appearing as themselves. By the end of this smart, funny little film, don't be surprised if you find yourself cheering for the slob. —Sean Axmaker

Betty Thomas Eddie Murphy needed a comeback after The Adventures of Pluto Nash, but I Spy didn't provide it. As with his previous turkey, Murphy's the least of this movie's problems; his spitfire delivery begs for better plotting and dialogue, and his teaming with Owen Wilson had even more promise than Wilson's Shanghai comedies with Jackie Chan. But this unfunny hash—bearing no resemblance to the 1960s Bill Cosby-Robert Culp TV series that inspired it—undermines Murphy and Wilson at every turn, stranding them in scenes that play well in isolation but never form a coherent action-comedy. It's not that director Betty Thomas is incapable; she just seems uninterested, going through the motions while Eddie, Owen, and Famke Janssen play spy games in Budapest, chasing after a villain (Malcolm McDowell, wasted again) who's stolen a sleek, invisibility-cloaked jet bomber called the Switchblade. Explosions, shootouts, double-crosses... ignore it all, and find what pleasure you can in Eddie and Owen's aimless banter. —Jeff Shannon

Rawson Marshall Thurber A recent college grad spends his final summer with a girl and her adventurous boyfriend before heading into a job his father wants him to take and along the way realizes what he wants more out of his life. Based on the novel by Pulitzer Prize Winning Author Michael Chabon.

George Tillman Jr. Studio: Tcfhe Release Date: 04/21/2009 Run time: 122 minutes Rating: R

Guillermo del Toro, Javier Soto 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

Robert Townsend Recasting Bizet's classic opera as a musical tale in the 'hood, Carmen: A Hip Hopera proves that the plot's not the thing. By retaining the story but jettisoning Bizet's individual musical numbers that propel the tragedy to its inevitable conclusion, this Carmen founders on familiarity: it's just another soap opera about two lovers whose tryst proves fatal. Occasionally, the music quotes Bizet's famous themes, but most of the rapping and singing sound interchangeable. What makes this Carmen worth seeing, however, is the scintillating performance of Beyoncé Knowles (of the trio Destiny's Child) in the lead role. From her first entrance in a dazzling red gown, Knowles shows off a vibrant, magnetic personality; the camera loves her, as her group's many music videos have shown, but they only hint at how impressively she holds the screen. Can she act? The jury's still out, but Carmen: A Hip Hopera—however disappointing this hybrid is in most ways—showcases a compelling movie-star presence. —Kevin Filipski

Keith Truesdell

Tom Tykwer It's difficult to create a film that's fast paced, exciting, and aesthetically appealing without diluting its dialogue. Run Lola Run, directed and written by Tom Tykwer, is an enchanting balance of pace and narrative, creating a universal parable that leaps over cultural barriers. This is the story of young Lola (Franka Potente) and her boyfriend Manni (Moritz Bleibtreu). In the space of 20 minutes, they must come up with 100,000 deutsche marks to pay back a seedy gangster, who will be less than forgiving when he finds out that Manni incompetently lost his cash to an opportunistic vagrant. Lola, confronted with one obstacle after another, rides an emotional roller coaster in her high-speed efforts to help the hapless Manni—attempting to extract the cash first from her double-dealing father (appropriately a bank manager), and then by any means necessary. From this point nothing goes right for either protagonist, but just when you think you've figured out the movie, the director introduces a series of brilliant existential twists that boggle the mind. Tykwer uses rapid camera movements and innovative pauses to explore the theme of cause and effect. Accompanied by a pulse-pounding soundtrack, we follow Lola through every turn and every heartbreak as she and Manni rush forward on a collision course with fate. There were a variety of original and intelligent films released in 1999, but perhaps none were as witty and clever as this little gem—one of the best foreign films of the year. —Jeremy Storey

Franklin A. Vallette

Gore Verbinski With its disturbing images and a few good shocks, The Ring is the kind of frightfest you'll watch to set a chilling mood or spook your susceptible friends, but when you try to sort it out, this well-mounted American remake (of the 1998 Japanese hit Ringu, based on Koji Suzuki's popular novel) becomes a batch of incoherent parts. The negligible plot follows a Seattle reporter (Naomi Watts) as she investigates the death of her niece, the victim of a mysterious videotape that, according to urban legend, causes the viewer's death seven days later. (Fear Dot Com borrowed the same idea while avoiding this film's lofty pretensions.) The countdown structure follows the reporter, her son, and her estranged boyfriend into deepening layers of terror—all quite effective until the movie attempts to explain itself. At that you're better off shutting down your brain and letting the creepy visuals take over. —Jeff Shannon

Gore Verbinski You won't need a bottle of rum to enjoy Pirates of the Caribbean: The Curse of the Black Pearl, especially if you've experienced the Disneyland theme-park ride that inspired it. There's a galleon's worth of fun in watching Johnny Depp's androgynous performance as Captain Jack Sparrow, a roguish pirate who could pass for the illegitimate spawn of rockers Keith Richards and Chrissie Hynde. Depp gets all the good lines and steals the show, recruiting Orlando Bloom (a blacksmith and expert swordsman) and Keira Knightley (a lovely governor's daughter) on an adventurous quest to recapture the notorious Black Pearl, a ghost ship commandeered by Jack's nemesis Capt. Barbossa (Geoffrey Rush), a mutineer desperate to reverse the curse that left him and his (literally) skeleton crew in a state of eternal, undead damnation. Director Gore Verbinski (The Ring) repeats the redundant mayhem that marred his debut film Mouse Hunt, but with the writers of Shrek he's made Pirates into a special-effects thrill-ride that plays like a Halloween party on the open seas. Aye, matey, we've come a long way since Jason and the Argonauts! —Jeff Shannon

Gore Verbinski PIRATES OF THE CARIBBEAN - AT WORLD'S EN (DVD MOVIE)

Paul Verhoeven When Goldie Hawn recommended Elizabeth Berkley for a small role in First Wives Club, she publicly stated that Berkley deserved the opportunity to redeem herself after starring in the ridiculous Showgirls. That says it all: this sleazy, stupid movie, which mixes soft pornography with the clichés of backstage dramas, is the kind of project an aspiring actress would have to put well behind her to keep a career going (though costar Gina Gershon certainly benefited from her, uh, exposure in the film). Berkley plays a drifter who hitches a ride to Las Vegas, becomes a lap dancer and then a performer, and discovers—gasp!—there—there's a whole world of sex and violence involved with these things. Gershon is probably the best element in the film, playing Berkley's bisexual rival for the big spotlight on stage. Joe Eszterhas was well overpaid for writing this howler, and director Paul Verhoeven (Basic Instinct) should have known better than to take it seriously. —Tom Keogh

Andy Wachowski, Larry Wachowski Destined for cult status, this provocative thriller offers a grab bag of genres (gangster movie, comedy, sexy romance, crime caper) and tops it all off with steamy passion between lesbian ex-con Corky (Gina Gershon) and a not-so-ditzy gun moll named Violet (Jennifer Tilly), who meets Corky and immediately tires of her mobster boyfriend (Joe Pantoliano). Desperate to break away from the Mob's influence and live happily ever after, the daring dames hatch a plot to steal $2 million of Mafia money. Their scheme runs into a series of escalating complications, until their very survival depends on split-second timing and criminal ingenuity. Simultaneously violent, funny and suspenseful, Boundis sure to test your tolerance for bloodshed but the film is crafted with such undeniable skill that several critics(including Roger Ebert) placed it on their top-10 lists for 1996. —Jeff Shannon

Andy Wachowski, Larry Wachowski By following up their debut thriller Bound with the 1999 box-office smash The Matrix, the codirecting Wachowski brothers—Andy and Larry—annihilated any suggestion of a sophomore jinx, crafting one of the most exhilarating sci-fi/action movies of the 1990s. Set in the not too distant future in an insipid, characterless city, we find a young man named Neo (Keanu Reeves). A software techie by day and a computer hacker by night, he sits alone at home by his monitor, waiting for a sign, a signal—from what or whom he doesn't know—until one night, a mysterious woman named Trinity (Carrie-Anne Moss) seeks him out and introduces him to that faceless character he has been waiting for: Morpheus (Laurence Fishburne). A messiah of sorts, Morpheus presents Neo with the truth about his world by shedding light on the dark secrets that have troubled him for so long: "You've felt it your entire life, that there's something wrong with the world. You don't know what it is, but it's there, like a splinter in your mind, driving you mad." Ultimately, Morpheus illustrates to Neo what the Matrix is—a reality beyond reality that controls all of their lives, in a way that Neo can barely comprehend.

Neo thus embarks on an adventure that is both terrifying and enthralling. Pitted against an enemy that transcends human concepts of evil, Morpheus and his team must train Neo to believe that he is the chosen champion of their fight. With mind-boggling, technically innovative special effects and a thought-provoking script that owes a debt of inspiration to the legacy of cyberpunk fiction, this is much more than an out-and-out action yarn; it's a thinking man's journey into the realm of futuristic fantasy, a dreamscape full of eye candy that will satisfy sci-fi, kung fu, action, and adventure fans alike. Although the film is headlined by Reeves and Fishburne—who both turn in fine performances—much of the fun and excitement should be attributed to Moss, who flawlessly mixes vulnerability with immense strength, making other contemporary female heroines look timid by comparison. And if we were going to cast a vote for most dastardly movie villain of 1999, it would have to go to Hugo Weaving, who plays the feckless, semipsychotic Agent Smith with panache and edginess. As the film's box-office profits soared, the Wachowski brothers announced that The Matrix is merely the first chapter in a cinematically dazzling franchise—a chapter that is arguably superior to the other sci-fi smash of 1999 (you know... the one starring Jar Jar Binks). —Jeremy Storey

Tommy Lee Wallace Is there anything scarier than clowns? Of course not. And who knows scary better than Stephen King? You see where we're going. It puts a malevolent clown (given demented life by a powdered, red-nosed Tim Curry) front and center, as King's fat novel gets the TV-movie treatment. Even at three hours plus, the action is condensed, but an engaging Stand by Me vibe prevails for much of the running time. The seven main characters, as adolescents, conquered a force of pure evil in their Maine hometown. Now, the cackling Pennywise is back, and they must come home to fight him—or, should we say, It—again. Admitting the TV-movie trappings and sometimes hysterical performances, this is a genuinely gripping thriller. As so often with King, the basic idea (the bond formed during a childhood trauma) is clean and powerful, a lifeline anchored in reality that leads us to the supernatural. —Robert Horton

Andrew Waller Get ready for the most hilarious and outrageous freshman year in collegiate history - American Pie is pledging Beta House! Join Dwight Stifler, his cousin Erik, Mr. Levenstein (Eugene Levy), and the infamous Beta House fraternity for the hottest, wildest

David S. Ward Those diehard Cleveland Indians that went from worst to first in the hit original now cope with fame and its perks as the hangdog team tries to hit, hustle and joke its way back to the top. Charlie Sheen, Tom Berenger and Corbin Bernsen star.

David S. Ward This is the movie blamed for encouraging college kids (and others) to lie down on the painted divider between lanes of highway traffic. (Incredibly, the studio pulled the film in its opening weeks and deleted the allegedly offending scene.) James Caan plays a football coach under tremendous pressure from his university's sports program to come up with a winning team. The story focuses on the fallout of that pressure on the lives of several players and the program itself. It's all rather flat and TV-movie-like, and because there is an emphasis on issues instead of characters, the actors work doubly hard to bring dimension to their stock roles. On the plus side, the cast is largely composed of young actors who have come a long way since the film's release. —Tom Keogh

David S. Ward A baseball comedy and slob comedy rolled into one, this one actually works as entertainment, if not as a piece of cinematic mastery. James Gammon is the has-been manager hired to lead the last-place Cleveland Indians whose owner wants them to lose so she can sell them. But the team of has-beens and never-wases that he assembles (including Tom Berenger, Charlie Sheen, Corbin Bernsen, and Wesley Snipes) develops a sense of pride and turns the team around. There's plenty of rowdy humor about sex, race, and whatever else they can make fun of. Look for Rene Russo (in her first film role) as Berenger's romantic interest; Snipes also had his first showy role as Willie Mays Hayes, the team's base-stealing ace. —Marshall Fine

Mark Waters (VIII) The cutting wit of Tina Fey (the first female head writer for Saturday Night Live) brilliantly fuses pop culture and smart satire. Fey wrote Mean Girls, in which a formerly home-schooled girl named Cady (Lindsay Lohan, Freaky Friday) gets dropped into the sneaky, vicious world of the Plastics, three adolescent glamor-girls who dominate their public high school's social heirarchy. Cady first befriends a couple of art-punk outsiders who persuade her to infiltrate the Plastics and destroy them from within—but power corrupts, and Cady soon finds the glory of being a Plastic to be seductive. Mean Girls joins the ranks of Clueless, Bring It On, and Heathers, cunning movies that use the hormone-pressurized high school milieu to put the dark impulses of human nature—ambition, envy, lust, revenge—under a comic microscope. Fey manages to skewer everyone without forgetting the characters' hapless humanity; it's a dazzling and delightful balancing act. —Bret Fetzer

Dan Waters SEX AND DEATH 101 (DVD MOVIE)

Christina Wayne Cat storm just wants to fit in at the exclusive hewitt school in manhattans upper east side. She also worships william the most popular boy in high school. Her best friend delilah is a bad influence who can only lead her into trouble. Cat finally gets her chance to be part of the in crowd. Studio: Lions Gate Home Ent. Release Date: 03/22/2005 Starring: Dominque Swain Mischa Barton Run time: 94 minutes Rating: R

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

Jane Weinstock No Description Available.

Genre: Feature Film-Comedy

Rating: R

Release Date: 26-DEC-2005

Media Type: DVD

Peter Weir In the capable hands of director Peter Weir, Master and Commander: The Far Side of the World is a seafaring adventure like no other, impeccably authentic, dynamically cast, and thrilling enough to give any classic swashbuckler a run for its money. In adapting two of Patrick O'Brian's enormously popular novels about British naval hero Capt. Jack Aubrey, Weir and cowriter John Collee have changed the timeframe from the British/American war of 1812 to the British/French opposition of 1805, where the HMS Surprise, under Aubrey's confident command, is patrolling the South Atlantic in pursuit of the Acheron, a French warship with the strategic advantage of greater size, speed, and artillery. Russell Crowe is outstanding as Aubrey, firm and fiercely loyal, focused on his prey even if it means locking horns with his friend and ship's surgeon, played by Crowe's A Beautiful Mind costar Paul Bettany. Employing a seamless combination of carefully matched ocean footage, detailed models, full-scale ships, and CGI enhancements, Weir pays exacting attention to every nautical detail, while maintaining a very human story of honor, warfare, and survival under wretched conditions. Raging storms and hull-shattering battles provide pulse-pounding action, and a visit to the Galapagos Islands lends a note of otherworldly wonder, adding yet another layer of historical perspective to this splendidly epic adventure. —Jeff Shannon

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

Paul Weitz Thinly disguised versions of American Idol and the Bush presidency collide in the satire American Dreamz. Bored and self-loathing, Martin Tweed (Hugh Grant, About a Boy) wants to give his hugely popular reality show American Dreamz an extra boost by courting political controversy—but suspects he may find personal redemption in the form of scheming contestant Sally Kendoo (Mandy Moore, Saved!), who manipulates her boyfriend (Chris Klein, Election) to give herself a vote-winning backstory. Meanwhile, equally desperate to court popularity, the President's chief of staff (Willem Dafoe, Spider-Man, looking suspiciously Dick-Cheney-esque) gets Tweed to let the President (Dennis Quaid, The Rookie) be a guest judge on the show. But unbeknownst to all, a privately conflicted terrorist (Sam Golzari) has been selected as a contestant, and his sleeper cell wants him to blow up the President in the final competition. This complicated storyline doesn't quite have the bite it's reaching for; the political edge is particularly blunted—even diehard Republicans are unlikely to be offended. But sharp and funny lines are sprinkled throughout and the cast is uniformly excellent; the relationship between Grant and Moore is oddly touching, and Marcia Gay Harden (Pollock) makes an amazing First Lady—is this satire, or what we all wish Laura Bush was really like? An uneven movie, but with some delicious tidbits. —Bret Fetzer

Zo Wesson Katt Williams, who got his big break as the scene-stealing, fast-talking pimp Money Mike in the film Friday After Next, currently plays "A Pimp Named Slickback" on the Adult Swim animated TV series The Boondocks and appears in MTV's Nick Cannon Presents: Wild `N Out. Not only is he one of today's fastest-rising actors, he's also one of the hottest comedians. Returning to his hometown of Cincinnati, Williams says and does exactly what he feels, provoking nonstop laughter on everything from sex, relationships and parenthood to his shattered L.A. illusions. Williams connects with his audience like few other comedians as he pimps out some street-savvy advice and outrageously funny observations.

Simon West Con Air is proof that the slick, absurdly overblown action formula of Hollywood mega-producers Don Simpson and Jerry Bruckheimer (Top Gun, Days of Thunder, The Rock, Crimson Tide) lives on, even after Simpson's druggy death. (Read Charles Fleming's exposé, High Concept: Don Simpson and the Hollywood Culture of Excess, for more about that.) Nicolas Cage, sporting a disconcerting mane of hair, is a wrongly convicted prisoner on a transport plane with a bunch of infamously psychopathic criminals, including head creep Cyrus the Virus (John Malkovich), black militant Diamond Dog (Ving Rhames), and serial killer Garland Greene (Steve Buscemi, making the most of his pallid, rodent-like qualities). Naturally, the convicts take over the plane; meanwhile, on the ground, a US marshal (John Cusack) and a DEA agent (Colm Meaney), try to figure out what to do. As is the postmodern way, the movie displays a self-consciously ironic awareness that its story and characters are really just excuses for a high-tech cinematic thrill ride. Best idea: the filmmakers persuaded the owners of the legendary Sands Hotel in Las Vegas to let them help out with the structure's demolition by crashing their plane into it. —Jim Emerson

Joss Whedon, Tim Minear, Vern Gillum Five hundred years in the future there's a whole new frontier, and the crew of the Firefly-class spaceship Serenity is eager to stake a claim on the action. They'll take any job, legal or illegal, to keep fuel in the tanks and food on the table. But things get a bit more complicated after they take on a passenger wanted by the new totalitarian Alliance regime. Now they find themselves on the run, desperate to steer clear of Alliance ships and the flesh-eating Reavers who live on the fringes of space.

Nick Wickham Britney Spears: In the Zone is a busy batch of Britney-mania, much of it featuring Spears in crisp dance numbers supplemented by behind-the-scenes glimpses and chatter. The heart of this DVD is an ABC television special featuring toned-down but still sexy performances of "Toxic,""Breathe on Me," and "I'm a Slave 4 U." A fun highlight is Spears's hip-hop collaboration with the Ying Yang Twins on "(I Got That) Boom Boom," one of the few numbers in the star's stage repertoire with a little room for spontaneity. Between songs one finds Spears gushing over her grandfather, praising her entourage, describing the emotional toll of being in the public eye, and, most interestingly, talking a little about writing songs. Also included here is footage from Spears's Times Square performance on MTV, a couple of videos and related featurettes, and a CD including alternative mixes of "Toxic" and "Me Against the Music."—Tom Keogh

Billy Wilder Studio: Tcfhe/mgm Release Date: 05/20/2008 Run time: 122 minutes Rating: Nr

James Winner The events that occur the night of a bachelor party are often shrouded in secrecy—until now! The night before Claire and Brad's wedding, Claire sends her friend Tori along to make sure Brad behaves himself. But before the evening is over, a stripper will make off with the cash; a loan shark will have to be paid off; the maid of honor will be kidnapped; and the groom will be held hostage by a sexy dominatrix. But the real question is: will they make it to the church on time?

Kirk Wong Film fans might someday recognize 1997 and '98 as the years Hong Kong came to Hollywood. Stars Jackie Chan, Sammo Hung, Chow Yun-Fat, Jet Li, and Michelle Yeoh all appeared in major Hollywood projects and directors John Woo, Ronny Yu, and Tsui Hark directed Face/Off, Bride of Chucky, and Knock Off, respectively. Another entry into this new era of entertainment is The Big Hit, directed by Che-Kirk Wong (who also directed Jackie Chan in Crime Story), executive produced by John Woo, and produced by Wesley Snipes. Mark Wahlberg leads this all-American cast in a played-for-laughs macho blowout. Rounding out the testosterone brigade are Lou Diamond Phillips (sprouting a gold-capped tooth and a dirty mouth), Bokeem Woodbine (who, according to this DVD's director audio track, wore extra socks where it counts), Antonio Sabàto Jr., and Avery Brooks. Wahlberg plays Melvin Smiley, a nice-guy hit man with an ulcer and a severe insecurity problem. He's short on cash due to the spending habits of his unsuspecting fiancée Pam (Christina Applegate) and his girlfriend-on-the-sly Chantel (Lela Rochon). He and his crew decide to do a little freelancing and cook up their own heist to make a little mo' money—specifically by kidnapping Keiko (China Chow), the daughter of a Japanese businessman whom they target for ransom. Little do they know her dad is broke and she's the goddaughter of their boss. The Big Hit has action scenes aplenty (one of the stunt coordinators worked on Woo's The Killer and Bullet in the Head) and the same cornball sense of humor as other films in the Hong Kong action genre. Slick pacing and over-the-top humor made this movie a miss with the critics but a fun ride for fans of Hong Kong-styled action. —Shannon Gee

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

Jim Wynorski

Jim Wynorski

Boaz Yakin With only one major star (Denzel Washington), an appealing cast of fresh unknowns, and a winning emphasis of substance over self-indulgent style, Boaz Yakin's Remember the Titans is, like Rudy before it, a football movie that will be fondly remembered by anyone who sees it.

Set in Alexandria, Virginia, in 1971, the fact-based story begins with the integration of black and white students at T. C. Williams High School. This effort to improve race relations is most keenly felt on the school's football team, the Titans, and bigoted tempers flare when a black head coach (Washington) is appointed and his victorious predecessor (Will Patton) reluctantly stays on as his assistant. It's affirmative action at its most potentially volatile, complicated by the mandate that the coach will be fired if he loses a single game in the Titans' 13-game season. The players represent a hotbed of racial tension, but as the team struggles toward unity and gridiron glory, Remember the Titans builds on several subplots and character dynamics to become an inspirational drama of Rocky-like proportions.

Yakin—whose debut, Fresh, was one of the best independent films of the 1990s—understands the value of connecting small scenes to form a rich climactic payoff. Likewise, Washington provides a solid dramatic foundation (his coach is obsessively harsh, but for all the right reasons) while giving his younger co-stars ample time in the spotlight. The result is a film that achieves what it celebrates: an enriching sense of unity that's unquestionably genuine. (Ages 9 and older) —Jeff Shannon

Ronny Yu After 11 years in development hell and screenplay drafts by 13 different writers, the long-awaited smackdown of Freddy vs. Jason finally arrives. After making their respective debuts in Friday the 13th (1980) and A Nightmare on Elm Street (1984), the hockey-masked killer Jason Voorhees (Ken Kirzinger, replacing long-time Jason performer Kane Hodder) and razor-gloved Freddy Krueger (Robert Englund) square off in a slasher-franchise combo-deal that only their most devoted fans will appreciate; turns out this is a lightweight match in which nobody wins. It's an average entry in the histories of these horror icons, comparable to half of their previous sequels, and Bride of Chucky director Ronny Yu satisfies purists with plenty of gushing blood and mayhem when Freddy recruits Jason to slice 'n' dice the ill-fated teens who've forgotten Freddy's once-formidable reign of terror. While it logically connects the gruesome legacies of Nightmare's Elm Street and Friday's Camp Crystal Lake, this horror hybrid is shockingly uninspired. It briefly peaks when Freddy gives the unconscious Jason a dream-world pummeling, but their ultimate showdown's a draw. In the immortal words of Peggy Lee, is that all there is? —Jeff Shannon

James Yukich Dennis Miller rolls out a highly polished new act in this HBO special, taped before a live Chicago audience on March 1, 2003. While Miller's social commentary remains rigorously middlebrow, it's his typically loquacious, often elegant, occasionally anachronistic (one wonders what the young, Windy City audience makes of Miller's coiffure reference to "the harmonica player from the J. Geils Band") delivery that makes The Raw Feed worth visiting. Surreal esoterica abounds from the moment the comedian takes the stage with references to the "sequin mines of L.A.," the India-Pakistan conflict as understood through the filter of Jonny Quest, the length of purchase receipts from Circuit City, and suck-up Saudi royalty described as "the Eddie Haskells of the Middle East." The occasional killer line emerges, including Miller's prescription for peace in Israel (give Palestinians the casinos) and a hard truth about nature: "It's like Nick Nolte with a clogged Eustachian tube."—Tom Keogh

Robert Zemeckis Director Robert Zemeckis (Forrest Gump, Contact) had a hit with this 1984 comedy that first teamed Michael Douglas, Kathleen Turner, and Danny DeVito. Turner steals the show from the guys, however, playing a pushy romance novelist who gets stuck among some dangerous figures in Colombia and has only a rumpled guide (Michael Douglas) as an ally. The chemistry between the stars is infectious (the trio went on to make a sequel, Jewel of the Nile, and then an interesting, dark comedy directed by DeVito, The War of the Roses). Zemeckis—whose specialty at the time was creating set pieces of raucous action (as in his Back to the Future)—keeps things hopping with lots of kinetic material. —Tom Keogh

Michael Zen

Rob Zombie Studio: Genius Products Inc Release Date: 05/13/2008 Run time: 121 minutes Rating: Ur

Jerry Zucker Modeled after 1963's It's a Mad, Mad, Mad, Mad World, Jerry Zucker's Rat Race lacks the irreverence of Zucker's 1980 hit Airplane! but has enough chuckles to make it an agreeable time-killer. Like Mad, Mad, Mad..., it employs a huge ensemble of comedy stalwarts, assembled by an eccentric hotelier (pearly-toothed John Cleese) to race from Las Vegas to New Mexico for a $2 million jackpot. With a backstage gambling subplot, Rowan Atkinson's Italian-geek lunacy, Seth Green's slacker antics, and some nicely understated work from SCTV alumnus Dave Thomas, the movie has almost as many highlights as clunkers, and Zucker's embrace of easy gags and traditional slapstick will tickle anyone's old-fashioned funny bone. Other ingredients are hopelessly stale: Whoopi Goldberg's frantic mugging, Cuba Gooding's latter-day Stepin Fetchit, "mature" humor that compromises the movie's broad appeal, and the assumption that crashing vehicles are inherently hilarious. Lamentable decisions, perhaps, but Rat Race maintains a pleasantly altruistic spirit. —Jeff Shannon

Joel Gallen Studio: Sony Pictures Home Ent Release Date: 10/31/2006 Run time: 100 minutes Rating: Ur

Smith, Kevin Studio: Buena Vista Home Video Release Date: 09/01/2006 Run time: 92 minutes Rating: R

Whit Stillman Completing the loosely connected trilogy that also includes Metropolitan and Barcelona, writer-director Whit Stillman brings his signature style to this casually structured but acerbically witty ode to... well, to the last days of disco. Set in New York during 1980-81, the film follows its half-dozen central characters onto the strobe-lit dance floor of The Club—the anonymous name Stillman gave to the central setting, knowing at the time that his film would be released in close proximity to 54, the bigger-budget movie about the legendary and infamous nightclub Studio 54. In fact, Stillman's film captures the same period with greater accuracy, and draws us into the waning disco craze with more incisive wit and deft handling of a first-rate cast.

The film's casual plot revolves around six recent college graduates, and Stillman charts their clashes and intimacies with a keen sense of human foibles and frailties, pausing throughout for such characteristic touches as a hilarious conversation about the sexual politics of Disney's Lady and the Tramp or the homoerotic subtext in an episode of Wild Kingdom. Sharp dialogue is in rich abundance here, and through it all Stillman captures the fading glory of disco as his characters make the transition toward adult responsibilities. It's here that we see how this film is subtly intertwined with Stillman's earlier work, and where we gain a fuller and more satisfying appreciation of a filmmaker who has carved a singular niche for himself in the world of independent movies. —Jeff Shannon