DVDpedia : Library : Title : M

Theatrical: 1931

Studio: Criterion

Genre: Art House & International

Duration: 110

Summary: Behind every great suspense thriller lurks the shadow of "M". In this, Fritz Lang's first sound film, Peter Lorre delivers a haunting performance as the cinema's first serial killer, a whistling pedophile hunted by the police and brought to trial by the forces of the Berlin underworld. Greig's "Peer Gynt Suite" will never sound the same. Criterion is proud to present Lang's seminal film in a new transfer.

Theatrical: 2007

Studio: Peacearch

Genre: Comedy

Duration: 83

Summary:

Theatrical: 1981

Studio: Warner Home Video

Genre: Action

Duration: 91

Summary: A former police officer is now a lone wanderer, travelling through a devasted Australia after a nuclear war looking for the now-priceless fuel of petrol. He lives to survive and is none too pleased when he finds himself the only hope of a small group of honest people running a remote oil refinery. He must protect them from the bike gang that is terrorising them whilst transporting their entire fuel supply to safety.

Theatrical: 1967

Studio: Avenue One

Genre: Musicals & Performing Arts

Duration: 55

Summary: The Beatles first film since "Help" was largely Paul McCartney's project. The story follows a bus load of eccentric characters on a magic journey through the English countryside. Rather than a unified narrative, it becomes a series of psychedelic clips promoting various songs including "The Fool on the Hill," "Blue Jay Way," "Your Mother Should Know," "I Am the Walrus" and "Magical Mystery Tour." The Bonzo Dog Doo-Dah Band are seen in a strip club playing "Death Cab for Cutie."

Theatrical: 1989

Studio: Sony Pictures

Genre: Drama

Duration: 119

Summary: Six divas of the silver screen -- Sally Field, Dolly Parton, Shirley MacLaine, Daryl Hannah, Olympia Dukakis and Julia Roberts -- come together as bosom buddies in this hilarious and heartwarming story of life, love and loss in a small Louisiana Parish. At the center of the group is Shelby Eatenton (Julia Roberts), newly married and joyfully pregnant, despite the fact that her diabetes could make childbirth life-threatening. Terrified and angry at the possibility of losing her only daughter, M Lynn Eatenton (Sally Field) looks to her four closest friends for strength and laughter as she battles her deepest fears of death in order to join Shelby in celebrating the miracle of new life.

System Requirements:
Starring: Olympia Dukakis, Sally Field, Daryl Hannah, Shirley MacLaine, Dolly Parton, Julia Roberts, Dylan McDermott, Kevin J. O Connor, Sam Shepard, and Tom Skerritt.
Directed By: Herbert Ross
Running Time: 119 Min., Color.
This film is presented in "Widescreen" format.
Copyright 2000 Columbia TriStar Home Video.

Format: DVD MOVIE

Theatrical: 1995

Studio: Universal Studios

Genre: Comedy

Duration: 96

Summary: 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"

Theatrical: 2007

Studio:

Genre: Sci-Fi

Duration: 87

Summary: An impromptu goodbye party for Professor John Oldman becomes a mysterious interrogation after the retiring scholar reveals to his colleagues he is an immortal who has walked the earth for 14,000 years. Acclaimed Sci-Fi writer Jerome Bixby conceived this story back in the early 1960's. It would come to be his last great work, finally completing it on his deathbed in April of 1998.

Theatrical: 1999

Studio: Universal Studios

Genre: Comedy

Duration: 119

Summary: "There is no real you," jokes Lynn Margulies (Courtney Love) to her boyfriend, Andy Kaufman (Jim Carrey), as he grows more contemplative during a battle with cancer. "I forgot," he says, playing along, though the question of Kaufman's reality is always at issue in Milos Forman's underappreciated "Man on the Moon".
The story of Kaufman's quick rise to fame through early appearances on "Saturday Night Live" and the conceptual stunts that made his club and concert appearances an instant legend in the irony-fueled 1970s and early '80s, "Man on the Moon" never makes the mistake of artificially delineating Comic Andy from Private Andy. True, we get to see something of his private interest in meditation and some of the flakier extremes of alternative medicine, but even these interludes suggest the presence of an ultimate con behind apparent miracles of transformation.
Screenwriters Scott Alexander and Larry Karaszewski ("The People vs. Larry Flynt") allege that transformation was Kaufman's purpose--more than a shtick but less than a destiny. As we see him constantly up the ante on the credibility of his performance personae (the obnoxious nightclub comic Tony Clifton; the insulting, misogynistic professional wrestler), Forman makes it harder and harder to detect Kaufman's sleight of hand. But it's there, always there, always the transcendent Andy watching the havoc he creates and the emotions he stirs.
Carrey is magnificent as Kaufman, re-creating uncannily detailed comedy pieces etched in the memory of anyone who remembers the real Andy. But while Carrey's mimicry of Kaufman is flawless and funny, the actor probes much deeper into an enigmatic character who, in life, was often a moving target even for those closest to him. "--Tom Keogh"

Theatrical: 1976

Studio: Criterion

Genre: Science Fiction & Fantasy

Duration: 139

Summary: While other films directed by Nicolas Roeg have attained similar cult status (including "Walkabout" and "Don't Look Now"), none has been as hotly debated as this languid but oddly fascinating adaptation of the science fiction novel by Walter Tevis. David Bowie plays the alien of the title, who arrives on Earth with hopes of finding a way to save his own planet from turning into an arid wasteland. He funds this effort by capitalizing on several highly lucrative inventions, and in so doing becomes the powerful leader of an international corporate conglomerate. But his success has negative consequences as well--his contact with Earth has a disintegrating effect that sends him into a tailspin of disorientation and metaphysical despair. The sexual attention of a cheerful young woman (Candy Clark) doesn't do much to change his outlook, and his introduction to liquor proves even more devastating, until, finally, it looks as though his visit to Earth may be a permanent one. "The Man Who Fell to Earth" is definitely not for every taste--it's a highly contemplative, primarily visual experience that Roeg directs as an abstract treatise on (among other things) the alienating effects of an over-commercialized society. Stimulating and hypnotic or frightfully dull, depending on your receptiveness to its loosely knit ideas, it's at least in part about not belonging, about being disconnected from the world--about being a stranger in a strange land when there's really no place like home. "--Jeff Shannon".

Theatrical: 2002

Studio: Universal Studios

Genre: Art House & International

Duration: 116

Summary: For all of its late-1940s cold war paranoia, pulp fiction dialogue, and frenzied greed, Joel and Ethan Coen's "The Man Who Wasn't There" is their most cool and collected film since "Blood Simple". An unassuming barber with a scheming wife (Frances McDormand) and a serious smoking habit, Ed Crane (Billy Bob Thornton) is an onlooker to his own life, a ghostly presence set against a silver-toned film noir backdrop. Only when he decides to alter his fate by blackmailing his wife's lover (James Gandolfini) in order to invest with a traveling salesman (Jon Polito) touting the wave of the future--dry cleaning--do we begin to hear the full extent of Ed's understated, existential lament. As his lawyer (Tony Shalhoub) says in Ed's defense at his eventual trial for murder, "He is modern man." Thornton's deadpan eloquence and cinematographer Roger Deakins's precision lighting offer the perfect counterbalance to the requisite one-liners, plot twists, and false endings that have come to characterize recent Coen brothers films. Almost in spite of the obsessive cultural references (flying saucers, Nabokov's "Lolita", Heisenberg's uncertainty principle), Ed Crane steps neatly from the fray as one of cinema's most memorably disenchanted characters. "--Fionn Meade"

Theatrical: 2006

Studio: Zeitgeist Films

Genre: Documentary

Duration: 80

Summary:

Theatrical: 2004

Studio: Paramount

Genre: Drama

Duration: 102

Summary: THE MACHINIST is the story of TREVOR REZNIK, a lathe-operator who is dying of insomnia. In a machine shop, occupational hazards are bad enough under normal circumstances; yet for Trevor the risks are compounded by fatigue. Trevor has lost the ability to sleep. This is no ordinary insomnia...

Theatrical: 2003

Studio: Hbo Home Video

Genre: Art House & International

Duration: 101

Summary: When a movie can blend passionate social concern with good old-fashioned suspense, it must be doing something right. "Maria Full of Grace" scores high on both counts. Maria is a Colombian teenager who, for a large paycheck, agrees to be a mule for drug-runners: she has to swallow dozens of thumb-sized capsules of heroin and smuggle them into New York. This debilitating process is painstakingly described, and of course not everything goes as planned when Maria and her fellow mules land in America. Director Joshua Marston is working on a low budget, which explains the film's narrow, single-minded focus--but this may be a strength, not a weakness. The trump card is the lead performance of Catalina Sandrino Moreno, who won awards at the Seattle and Newport Film Festivals. Her empathetic face carries us along on Maria's journey, and humanizes a problem that is too easily relegated to a headline. "--Robert Horton"

Theatrical: 1995

Studio: Sony Pictures

Genre: Action & Adventure

Duration: 286

Summary: EL MARIACHI: All he wants is to be is a mariachi, like his father, his grandfather and his great grandfather before him. But the town he thinks will bring him luck brings only a curse of deadly mistaken identity. Forced to trade his guitar for a gun, the mariachi is playing for his life in this critically-acclaimed film debut from director Robert Rodriguez. Financed with earnings from a month-long stay in a research hospital, this astonishing action adventure was shot with no second takes, using borrowed equipment and a talented cast of unknowns. The riveting result is a wild bullet-dodging ride through a world of bandido violence, from the suspense of the opening shoot-out to the tragedy of the unexpected conclusion. With little more than a great story and a lot of heart, Rodriguez has created pure movie pleasure, setting new standards for independent filmmaking, and establishing himself as an unquestionable talent. "An enormously entertaining movie." (Roger Ebert, CHICAGO SUN-TIMES). DESPERADO: Antonio Banderas, Joaquim De Almeida, Salma Hayek, Steve Buscemi, Cheech Marin and Quentin Tarantino star in this stylish shoot-'em-up described as a south-of-the-border Pulp Fiction. Director Robert Rodriguez follows up his legendary debut film, El Mariachi, with this sexy sequel about a mysterious guitar player (Banderas) searching for vengeance against the men who murdered his girlfriend. ONCE UPON A TIME IN MEXICO: Leaping back into action, gun-slinging, guitar-toting hero "El Mariachi" is back in town in ONCE UPON A TIME IN MEXICO, as director Robert Rodriguez delivers the epic final chapter of his pulp Western trilogy. Starring Antonio Banderas, Salma Hayek, Johnny Depp, Mickey Rourke, Eva Mendes, Enrique Iglesias and Willem Dafoe ONCE UPON A TIME IN MEXICO is a full-frontal assault.

Theatrical: 2006

Studio: Sony Pictures Home Entertainment

Genre: Biography

Duration: 123

Summary: "All eyes will be on you," says the Austrian duchess, Maria Theresa to her youngest daughter Marie Antoinette. The film, marketed for a teen audience, is an impressionistic retelling of Marie Antoinette's life as a young queen in the opulent and eccentric court at Versailles. The film focuses on Marie Antoinette, as she matures from a teenage bride to a young woman and eventual queen of France.

Theatrical: 1964

Studio: Walt Disney Video

Genre: Kids & Family

Duration: 139

Summary: Experience the extraordinary animation, dazzling special effects, and award-winning music of Walt Disney's MARY POPPINS in this fully restored and remastered 2-Disc 40th Anniversary Edition! Join the "practically perfect" Mary Poppins (Julie Andrews) for a "Jolly Holiday" as she magically turns every chore into a game and every day into a whimsical adventure. Along the way you'll be enchanted by unforgettable characters such as the multitalented chimney sweep Bert (Dick Van Dyke). Unpack Mary's magical carpetbag full of bonus features, including an all-new animated short, games, and a never-before-heard deleted song. You won't need "A Spoonful Of Sugar" to love every moment of this timeless Disney classic!

Theatrical: 2006

Studio: Dreamworks Video

Genre: Drama

Duration: 124

Summary: The passion of mad love and the cold calculations of social climbing collide in Woody Allen's "Match Point". Former tennis pro Chris Wilton (Jonathan Rhys-Meyers, "Velvet Goldmine") stumbles into good fortune when Chloe Hewett (Emily Mortimer, "Lovely & Amazing"), the daughter of a wealthy businessman, falls in love with him. But when Chris meets Nola Rice (Scarlett Johansson, "Lost in Translation"), a much deeper passion is stirred--and his desire isn't deterred when he discovers that Nola is already dating Chloe's brother. But when their affair threatens Chris's increasingly cozy lifestyle, Chris begins to consider a drastic solution. "Match Point" starts deftly and ends with cunning; though the middle bogs down in banal plot mechanics, Woody Allen fans have justly hailed it as a comeback after Allen's last few cinematic stumbles. Despite weaknesses (Allen still seems to have lost touch with the mundane realities of life; his characters operate in a strange, weightless world of wealth and privilege), the strong performances and clean direction carry the movie through. Also featuring Brian Cox ("X-Men 2", "Adaptation"). "--Bret Fetzer"

Theatrical: 1999

Studio: Warner Home Video

Genre: Action & Adventure

Duration: 136

Summary: Set in the 22nd century, The Matrix tells of a computer hacker (Reeves) who joins a group of underground insurgents fighting the vast and powerful computers who now rule the earth. The computers are powered by human beings...
DVD Features:
Audio Commentary:Commentary by C. Moss, J. Gaeta, & Z. Staenberg
Featurette:"Bullet Time" Featurette (6:01) "What is the Concept" Featurette (10:50)
Music Clips:2.0 Music only with commentary
Other:HBO 1st Look Special: Making the Matrix (25:48) "White Rabbit" Clips (22:22) [4x3]

Theatrical: 1999

Studio: Warner Home Video

Genre: Action & Adventure

Duration: 136

Summary: Set in the 22nd century, The Matrix tells of a computer hacker (Reeves) who joins a group of underground insurgents fighting the vast and powerful computers who now rule the earth. The computers are powered by human beings...
DVD Features:
Audio Commentary:Commentary by C. Moss, J. Gaeta, & Z. Staenberg
Featurette:"Bullet Time" Featurette (6:01) "What is the Concept" Featurette (10:50)
Music Clips:2.0 Music only with commentary
Other:HBO 1st Look Special: Making the Matrix (25:48) "White Rabbit" Clips (22:22) [4x3]

Theatrical: 2003

Studio: Warner Home Video

Genre: Science Fiction & Fantasy

Duration: 618

Summary: The definitive ten-disc DVD set, The Ultimate Matrix Collection features all three films in the trilogy together for the first time ever with a newly remastered picture and sound for The Matrix. Also included is the companion piece The Matrix Revisited and the best-selling The Animatrix, plus five entirely new DVDs packed solid with brand-new supplemental materials that encompass every aspect of the Matrix universe, including two new audio commentaries on each film, Enter the Matrix video game footage, 106 deep-delving featurettes/ documentaries and much more!
DVD Features:
Additional Scenes:Filmed for Enter the Matrix video game
Audio Commentary:The Philosophers: Dr. Cornel West and Ken Wilber; The Critics: Todd McCarthy, John Powers and David Thomson
DVD ROM Features
Documentary
Easter Eggs
Featurette
Introduction:by the Wachowski Brothers
Music Video
Photo gallery
Storyboards
TV Spot
Theatrical Trailer

Theatrical: 2003

Studio: Warner Home Video

Genre: Science Fiction & Fantasy

Duration: 618

Summary: The definitive ten-disc DVD set, The Ultimate Matrix Collection features all three films in the trilogy together for the first time ever with a newly remastered picture and sound for The Matrix. Also included is the companion piece The Matrix Revisited and the best-selling The Animatrix, plus five entirely new DVDs packed solid with brand-new supplemental materials that encompass every aspect of the Matrix universe, including two new audio commentaries on each film, Enter the Matrix video game footage, 106 deep-delving featurettes/ documentaries and much more!
DVD Features:
Additional Scenes:Filmed for Enter the Matrix video game
Audio Commentary:The Philosophers: Dr. Cornel West and Ken Wilber; The Critics: Todd McCarthy, John Powers and David Thomson
DVD ROM Features
Documentary
Easter Eggs
Featurette
Introduction:by the Wachowski Brothers
Music Video
Photo gallery
Storyboards
TV Spot
Theatrical Trailer

Theatrical: 2007

Studio: Rhino Records

Genre: Music Video & Concerts

Duration: 180

Summary: It's rather incredible to ponder the fact that with the release of "The McCartney Years" in late 2007, Paul McCartney has now been making recordings in various mediums for the better part of 40 years--and that's not even including the decade he spent as a member of the world's greatest band. And while some may quibble about certain details of the content and presentation, this three-disc set, packed with videos, concert footage, interviews, documentaries, and more, will surely satisfy the vast majority of Sir Paul's loyal subjects. The dozens of videos, occupying the first two discs and spanning the years from 1970 ("Maybe I'm Amazed," ten years before the emergence of MTV) to 2005 ("Fine Line"), can be viewed in either chronological order or as programmed by Macca himself. Ranging from straight lip-synced performances to various conceptual films, they are a decidedly mixed bag. In some cases (e.g. "London Town"), the songs are superior to the clips, while in others, the reverse is true ("Coming Up," a lightweight tune but a delightful video in which McCartney portrays everyone from Buddy Holly to Sparks keyboardist Ron Mael). Sometimes both the song and the video are terrific ("Take it Away" features Ringo Starr on drums, producer George Martin on piano, and a cameo by actor John Hurt; "Band on the Run," a creative pastiche of photos, film effects, and other media, suggests that the band in question was the Beatles, not Wings), while some fail on both counts (John Lennon might have had the likes of "C-Moon" in mind when he referred to McCartney's '70s output as "all pizza and fairytales"). Of the three concerts included on Volume Three, the best (and shortest) comes from a 1991 "Unplugged" show and features lovely versions of "Every Night" and "And I Love Her"; "Rockshow" spotlights Wings on tour in '76, and the 2004 gig in Glastonbury, England features McCartney's excellent current band (a good show, but the playlist isn't nearly as adventurous as, say, 2005's "Live in Red Square"). Extras include McCartney's commentary on several of the videos; footage from Live Aid in '85 and the Super Bowl in '02; and, accompanying every DVD menu, various raw and unreleased live and studio performances of obscurities like "Blackpool." The late Linda McCartney is featured throughout, of course, and if "The McCartney Years" is a "de facto" tribute to his first wife, as one reviewer has suggested, it's a more than fitting one. "--Sam Graham"

Theatrical: 1998

Studio: Universal Studios

Genre: Drama

Duration: 260

Summary: "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"

Theatrical: 2004

Studio: Universal Studios

Genre: Comedy

Duration: 116

Summary: "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"

Theatrical: 2000

Studio: Universal Studios

Genre: Comedy

Duration: 108

Summary: 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"

Theatrical: 2000

Studio: Sony Pictures

Genre: Art House & International

Duration: 110

Summary: 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"

Theatrical: 1997

Studio: Sony Pictures

Genre: Science Fiction & Fantasy

Duration: 98

Summary: This imaginative summer comedy from director Barry Sonnenfeld ("Get Shorty") is a lot of fun, largely on the strength of Will Smith's engaging performance as the rookie partner of a secret agent (Tommy Lee Jones) assigned to keep tabs on Earth-dwelling extraterrestrials. There's lots of comedy to spare in this bright film, some of the funniest stuff found in the margins of the major action. (A scene with Smith's character being trounced in the distance by a huge alien while Jones questions a witness is a riot.) The inventiveness never lets up, and the cast--including Vincent D'Onofrio doing frighteningly convincing work as an alien occupying a decaying human--hold up their end splendidly. "--Tom Keogh"

Theatrical: 1990

Studio: Criterion

Genre: Comedy

Duration: 99

Summary: Whit Stillman ("Barcelona", "Last Days of Disco") enters Woody Allen territory in his talky yet articulate debut, creating a stinging exposé of self-important upper-class socialites and the head games they play, during their Christmas vacation in Manhattan. Witty and cynical, Stillman captures this odd subculture with sly observation and occasional sympathy--sort of a fascinating anthropological study of adolescent preppies. His young subjects, spoiled by their silver spoons, still lack life experience and, thus, emotional maturity or social grace. They pass time idly discussing Jane Austen (a tip of the hat to the master of social-manner comedies), Marxism, and other philosophies, dressing up for parties and undressing during strip poker, and gossiping about the romantic pairings for the upcoming debutante ball. Stillman smartly offers up Tom (Edward Clements), a middle-class loner who's slowly adopted into the clique, as an audience identification reference, making the events seem even stranger and funnier from his point of view. But Tom's far from perfect himself. As the innocent, easily manipulated Audrey (Carolyn Farina) begins to fall in love with him, Tom's boorish, hurtful responses make him appear as juvenile as the rest. Concurrently, it also jolts the group with a much-needed taste of reality, and the film with unpredictable poignancy, suggesting that at least one may grow from the experience. In his first opportunity as director, Stillman pulls wonderful performances from his unknown cast. Especially memorable are Christopher Eigeman as the sarcastically perceptive snob, Nick, and Taylor Nichols playing the philosophical, anxiety-ridden Charlie. "--Dave McCoy"

Theatrical: 2007

Studio:

Genre: Drama

Duration: 119

Summary: Michael Clayton is an in-house "fixer" at one of the largest corporate law firms in New York. A former criminal prosecutor, Clayton takes care of Kenner, Bach & Ledeen's dirtiest work at the behest of the firm's co-founder Marty Bach. Though burned out and hardly content with his job as a fixer, his divorce, a failed business venture and mounting debt have left Clayton inextricably tied to the firm. At U/North, meanwhile, the career of litigator Karen Crowder rests on the multi-million dollar settlement of a class action suit that Clayton's firm is leading to a seemingly successful conclusion. But when Kenner Bach's brilliant and guilt-ridden attorney Arthur Edens sabotages the U/North case, Clayton faces the biggest challenge of his career and his life.

Theatrical: 1999

Studio: Turner Home Ent

Genre: Comedy

Duration: 102

Summary: "Mickey Blue Eyes" was crafted as a vehicle for the stammering British charm of Hugh Grant (star of "Four Weddings and a Funeral" and "Nine Months"), so whether or not you like the movie will depend heavily on your affection for Grant. He plays an art auctioneer who falls in love with schoolteacher Jeanne Tripplehorn ("Basic Instinct", "Very Bad Things"), who just happens to be the daughter of mobster James Caan ("The Godfather", "Misery"). To protect Grant, Tripplehorn tries to fend off his proposal of marriage, but some miscommunications lead to Grant being embraced by the "family." After the mob decides to launder money through Grant's auction house, an accidental killing results in Grant pretending to be Mickey Blue Eyes out of Kansas City (the sight and sound of Grant trying to say "fuggedaboudit" was undoubtedly what sold the movie in the first place). The plot isn't as well executed as it could be, but the leads are all well cast and there are some excellent supporting performances, particularly Burt Young ("Rocky") as a myopic mob boss and Scott Thompson (from the comedy troupe The Kids in the Hall) as a sprightly FBI agent. "--Bret Fetzer"

Theatrical: 1930

Studio:

Genre: Drama

Duration: 93

Summary: ROY ORBISON, FLEETWOOD MAC, PETER FRAMPTON, JOHN DENVER & CASS ELLIOT, THE BEE GEES, LINDA RONSTADT, THE GUESS WHO, AL GREEN, ARETHA FRANKLIN, DAVID BOWIE, BLONDIE, LABELLE, THE STEVE MILLER BAND, BILLY JOEL, DONNA SUMMER---SPECIAL BONUS FEATURES---LIVE STAND UP COMEDY FROM RICHARD PRYOR AND STEVE MARTIN

Theatrical: 2005

Studio: Warner Home Video

Genre: Drama

Duration: 132

Summary: Clint Eastwood's 25th film as a director, "Million Dollar Baby" stands proudly with "Unforgiven" and "Mystic River" as the masterwork of a great American filmmaker. In an age of bloated spectacle and computer-generated effects extravaganzas, Eastwood turns an elegant screenplay by Paul Haggis (adapted from the book "Rope Burns: Stories From the Corner" by F.X. Toole, a pseudonym for veteran boxing manager Jerry Boyd) into a simple, humanitarian example of classical filmmaking, as deeply felt in its heart-wrenching emotions as it is streamlined in its character-driven storytelling. In the course of developing powerful bonds between "white-trash" Missouri waitress and aspiring boxer Maggie Fitzgerald (Hilary Swank), her grizzled, reluctant trainer Frankie Dunn (Eastwood), and Frankie's best friend and training-gym partner Eddie "Scrap-Iron" Dupris (Morgan Freeman), 74-year-old Eastwood mines gold from each and every character, resulting in stellar work from his well-chosen cast. Containing deep reserves of love, loss, and the universal desire for something better in hard-scrabble lives, "Million Dollar Baby" emerged, quietly and gracefully, as one of the most acclaimed films of 2004, released just in time to earn an abundance of year-end accolades, all of them well-deserved. "--Jeff Shannon"

Theatrical: 2002

Studio: Dreamworks Video

Genre: Action & Adventure

Duration: 146

Summary: 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"

Theatrical: 1996

Studio: Paramount

Genre: Action & Adventure

Duration: 358

Summary: Paramount Mission: Impossible - Ultimate Missions Collection (Blu-ray)
Includes Mission: Impossible; Mission: Impossible II; Mission: Impossible III.
Mission: Impossible
This DePalma film is a big-screenremake of a prior American television show, modernized and updated with all of the eye-popping special effects that a Hollywood mega-budget can buy. The show's Jim Phelps is the leader of the 'Impossible Missions Force.' In this 'episode,' Ethan Hunt is the point man for an IMF mission to catch a spy in the act of stealing information about the 'covers' of many other covert operatives. In the tradition of the TV show, the viewer is led down manyplot twists, turns, and reversals, while the IMF members employ the latest in technology, disguises, and spy gadgetry to accomplish their mission.
Mission: Impossible II
IMF agent Ethan Hunt has been sent on a mission to retrieve and destroy the supply of a genetically created disease called'Chimera'. His mission is made impossible due to the fact that he is not the only person after samples of the disease. He must also contest with a gang of international terrorists headed by a turned bad former IMF agent who has already managed to steal the cure called 'Bellerophon' and now need 'Chimera' to complete their grand plan of infecting the whole world. In order to infiltrate and locate the terrorist group he relies on the help of an international thief Nyah of whom he quickly developsa love interest. Time is not only running out forAgent Hunt to find and destroy 'Chimera' before the terrorists get their hands on it, but he must also find 'Bellerophon' so as to save his love interest who has already become infected by the disease from a terrible and rapid death.
M

Theatrical: 1989

Studio: Universal Studios

Genre: Action & Adventure

Duration: 627

Summary: Clockers
Based on the riveting bestseller by Richard Price, this 1995 crime drama was directed by Spike Lee with such authority and authenticity that it has the hyper-real quality of a stylized documentary. Fully capturing the thoroughly researched detail of Price's novel, the film focuses on Strike (newcomer Mekhi Phifer), a young, ambitious "clocker"--or drug dealer--who works the streets of his New York housing project, selling drugs for a local supplier named Rodney (played with ferocious charisma by Delroy Lindo). Just as Strike is struggling to get away from his dead-end life of crime, another dealer is murdered in a fast-food restaurant and local detectives (Harvey Keitel, John Turturro) consider Strike the primary suspect. In cowriting the script with novelist Price, Lee uses this murder mystery to explore the plague of guns and black-on-black crime in America's inner cities, in which drugs and death are familiar routines of daily life. The film doesn't pretend to offer solutions, nor does it dwell on the problem with numbing insistence. Rather, this taut, well-acted film takes the viewer into a world often hidden in plain sight--a world where options seem nonexistent for youth conditioned to have little or no expectation beyond a probable early death. Lee and Price are deadly serious in handling this volatile subject (which incorporates racism, powerless law enforcement, and political indifference), but "Clockers" is also blessed with humor, insight, and humanity. It's one of Lee's most confidently directed films, signaling a creative maturity that Lee continued to develop throughout the 1990s. "--Jeff Shannon"
Jungle Fever
Spike Lee's 1991 story about an interracial relationship and its consequences on the lives and communities of the lovers (Wesley Snipes, Annabella Sciorra) is one of his most captivating and focused films. Snipes and Sciorra are very good as individuals trying to reach beyond the limits imposed upon them for reasons of race, tradition, sexism, and such. Lee makes an interesting and subtle case that they are driven to one another out of frustration with social obstacles as well as pure attraction--but is that enough for love to survive? John Turturro is featured in a subplot as an Italian American who grows attracted to a black woman and takes heat from his numbskull buddies. "--Tom Keogh"
Do the Right Thing
Spike Lee's incendiary look at race relations in America, circa 1989, is so colorful and exuberant for its first three-quarters that you can almost forget the terrible confrontation that the movie inexorably builds toward. "Do the Right Thing" is a joyful, tumultuous masterpiece--maybe the best film ever made about race in America, revealing racial prejudices and stereotypes in all their guises and demonstrating how a deadly riot can erupt out of a series of small misunderstandings. Set on one block in Bedford-Stuyvesant on the hottest day of the summer, the movie shows the whole spectrum of life in this neighborhood and then leaves it up to us to decide if, in the end, anybody actually does the "right thing." Featuring Danny Aiello as Sal, the pizza parlor owner; Lee himself as Mookie, the lazy pizza-delivery guy; John Turturro and Richard Edson as Sal's sons; Lee's sister Joie as Mookie's sister Jade; Rosie Perez as Mookie's girlfriend Tina; Ossie Davis and Ruby Dee as the block elders, Da Mayor and Mother Sister; Giancarlo Esposito as Mookie's hot-headed friend Buggin' Out; Bill Nunn as the boom-box toting Radio Raheem; and Samuel L. Jackson as deejay Mister Señor Love Daddy. A rich and nuanced film to watch, treasure, and learn from--over and over again. "--Jim Emerson "
Mo' Better Blues
With "Mo' Better Blues", the story of a young trumpeter's rise to jazz-world stardom, Spike Lee set out to counter Clint Eastwood's cliché-ridden biopic of Charlie Parker in Bird. But the final product, a slick, glossy drama (with hip-hop jazz provided by Gangstarr no less), is just as superficial as the numerous Alger-esque stories of music stardom to which movie audiences are accustomed.
Denzel Washington gives a typically charismatic performance as the trumpeter in question, as does Wesley Snipes as his sax-playing rival. And as with most Spike Lee films, there are numerous solid performers in small roles such as Bill Nunn