DVDpedia : Library : Title : A

Theatrical: 2006

Studio: Maple Pictures

Genre: Horror

Duration: 99

Summary: A film producer who was adopted as a baby and sent to America, returns to her native Russia and the family farm. Once there, strange things begin to happen including the disappearance of her guide, the manifestation of ghosts (including her own!) and the appearance of another man who has been drawn to the farm for the same reasons.

Theatrical: 2002

Studio: Universal Studios

Genre: Art House & International

Duration: 102

Summary: A box-office smash in England, "About a Boy" went on to charm the world as another fine adaptation (following "High Fidelity") of a popular Nick Hornby novel. While "High Fidelity" transplanted its London charm to Chicago, this irresistible comedy was directed by Americans Chris and Paul Weitz ("American Pie") with its British pedigree intact. Better yet, Hugh Grant is perfectly cast as Will, a self-absorbed trust-fund slacker who tries to improve his romantic odds by preying on desperate single mothers. His cynical strategy backfires when he recruits the misfit son (Nicholas Hoult) of a suicidal mother (Toni Collette) to pose as his own son, thus proving his parental prowess to his latest single-mom target (Rachel Weisz). The kid has a warming effect on this ultimate cad, and what could have been a sappy tearjerker turns into a subtle, frequently hilarious portrait of familial quirks and elevated self-esteem. From start to finish, it's a genuine treat. "--Jeff Shannon"

Theatrical: 2002

Studio: New Line Home Entertainment

Genre: Action & Adventure

Duration: 124

Summary: While confirming Jack Nicholson's status as an American national treasure, "About Schmidt" is sure to provoke polarized reactions. Stoked by the success of "Election", director Alexander Payne and cowriter Jim Taylor have altered Louis Begley's novel to suit their comedic agenda, turning Nicholson's titular character into a 66-year-old, newly retired Omaha insurance actuary, weary from decades of drudgery and passionless marriage. When his wife suddenly dies, he attempts to reclaim his life in a king-sized Winnebago, desperate to convince his daughter (Hope Davis) not to marry the Denver dimwit (Dermot Mulroney) whose mother (Kathy Bates) has her own baggage of peculiar peccadilloes. Nicholson perfectly (and often hilariously) nails the seething anger beneath his character's façade of resignation, but Payne and Taylor convey cold-hearted contempt for these Midwestern malcontents. Think of this as "Ikiru" with bleaker humanity, until Schmidt finds meaning--and some small reward--in a quiet gesture of goodwill. Love it or hate it, "About Schmidt" is a movie you won't soon forget. "--Jeff Shannon"

Theatrical: 1989

Studio: 20th Century Fox

Genre: Action & Adventure

Duration: 171

Summary: In this thrilling, underwater action adventure from writer-director James Cameron (Titanic, Terminator 2: Judgement Day, Aliens), a civilian oil rig crew is recruited to conduct a search-and-rescue effort when a nuclear submarine mysteriously sinks. One diver (Ed Harris) soon finds himself on a spectacular odyssey 25,000 feet below the ocean's surface where he confronts a mysterious force that has the power to change the world or destroy it.

System Requirements:
Starring: Ed Harris, Mary Elizabeth Mastrantonio, and Michael Biehn.
Directed By: James Cameron.
Running Time: 171 Min., Color.
This film is presented in "Widescreen" format.
Copyright 2002 Twentieth Century Fox.

Format: DVD MOVIE

Theatrical: 2003

Studio: Sony Pictures

Genre: Comedy

Duration: 115

Summary: Twisty brilliance from screenwriter Charlie Kaufman and director Spike Jonze, the team who created "Being John Malkovich". Nicolas Cage returns to form with a funny, sad, and sneaky performance as Charlie Kaufman, a self-loathing screenwriter who has been hired to adapt Susan Orlean's book "The Orchid Thief" into a screenplay. Frustrated and infatuated by Orlean's elegant but plotless book (which is largely a rumination on flowers), Kaufman begins to write a screenplay about himself trying to write a screenplay about "The Orchid Thief", all the while hounded by his twin brother Donald (Cage again), who's cheerfully writing the kind of formulaic action movie that Kaufman finds repugnant. By its conclusion, "Adaptation" is the most artistically ambitious, most utterly cynical, and most uncategorizable movie ever to come out of Hollywood. Also starring Meryl Streep (as Susan Orlean), Chris Cooper, Tilda Swinton, and Brian Cox; superb performances throughout. "--Bret Fetzer"

Theatrical: 2005

Studio: Paramount

Genre: Science Fiction & Fantasy

Duration: 93

Summary: Like the animated series it's based on, "Aeon Flux" is the kind of sci-fi that's best appreciated by the MTV generation. It's a serious attempt at stylized, futuristic action/adventure (the title character, played by Charlize Theron, is essentially a female James Bond for the cyberpunk era) and taken for what it is, it's not all that bad. The action takes place in the year 2415, four centuries after a virus nearly decimated the human race, leaving only five million survivors in a utopian city called Bregna. Aeon belongs to the Monicans, a secret rebel resistance force that is struggling to destroy the Goodchild regime led by its namesake, Trevor Goodchild (Martin Csokas), the ruler of Bregna and a descendant of the man who found a cure for the deadly virus. As instructed by the Handler (Frances McDormand, gamely playing along in ridiculous sci-fi regalia), Aeon is assigned to assassinate Goodchild, but there are deeper secrets to be discovered, and conspiracies to be foiled. This leads director Karyn Kusama (who fared much better with her debut feature "Girlfight") to indulge in all sorts of routine action and fast-paced gunplay, but the elusive pleasures of "Aeon Flux" are mostly found in the sleek athleticism of Theron and costar Sophie Okonedo (as a fellow Monican), who commit themselves 100% to roles that are dramatically flat yet physically dynamic. Other highlights include Aeon's high-tech gadgetry (including an eyeball that doubles as a microsocope) and the amusing sight of Pete Postlethwaite in a costume resembling a construction-site disposal tube, but "Flux" fans may wonder what happened to the surreal, chromium sheen future that gave the MTV series its visionary appeal. As a live-action feature, "Aeon Flux" is a miscalculated exercise in cheesy style and dour tone, but it's entertaining enough to earn a small cadre of admirers. "--Jeff Shannon"

Theatrical: 1995

Studio: Paramount / MTV

Genre: Television

Duration: 224

Summary: Aeon Flux, the sexy secret agent extraordinaire that took MTV by storm is back on DVD! Follow the deftly skilled Aeon on her adventures through a futuristic world brimming with chaos and corruption. Experience every gripping episode of this cutting edge animated series like never before, as each episode has been digitally restored and has been bolstered with a 5.1 Dolby Digital Surround Sound audio track. Every aspect in the creation of The Complete Aeon Flux has been overseen and endorsed by original creator Peter Chung making this the definitive Aeon Flux collection.
Utopia or Deuteranopia
Trevor has an obsession with Aeon and tries to create a space in the ambassador's body (whose gone missing) for several days now. A Breen named Gildemere teams up with Aeon and tries to bring down Trevor and his evil ways, but instead Aeon turn on Gildemere as he is charged with the murder of the ambassador.
Thanatophobia
Aeon and Trevor play with two peoples life, Sybil and Onan, who are a couple trying to get to Monica, where it has more freedom. They are currently in Brenga, in which Trevor runs. When they both try to escape Onan is successful but Sybil is not. She breaks one of her spinal column and keeping her from falling apart or upright, she needs a device in which Trevor provides. Sybil decides she had enough of Aeon, Trevor and Onan and decides to try her jump into Monica again. Only to see a new device, that she help make, was planted there, cutting her legs off instead.
A Last Time For Everything
Aeon teams up with a double agent named Scafandra, who has hands on her feet. Trevor manages to create a cloning device and he manages to clone Aeon. Aeon then, we think, switch places with her clone but Trevor knows this. The "real" Aeon falls for Trevor, the "clone" Aeon tries to carry on. In the end things get too complicated to explain to the clone and the real Aeon allows herself to get killed as the "clone" runs away.
Ether Drift Theory
Aeon decides to help someone named Lindze, who is trying to get to Bargeld, the man she loves. Who was working with Trevor in a lab somewhere in the middle of a fluid. The fluid puts you in suspend. Bargeld managed to find a "cure" for the fluid, turning it to water. In the end things get complicated and Aeon gets taken over by the fluid as the lab surroundings decays.
The Purge
Aeon tries to stop a criminal named Bambara. Trevor has a new robot looking thing, called the custodian that gives you a conscience. It enters in though your naval. Aeon teams up with a group of people wanting to stop Trevor as well.
The Demiurge
Aeon is afraid of a thing that Trevor managed to acquire. This things acts as a god with peaceful intentions but Aeon wants to destroy it.
Isthmus Crypticus
Aeon is trying to free two bird like creatures (a male and female). The thing is Trevor feels for the female one but she ends up dying. The male on the other hand ends up with Aeon's friend Una, as they soar into the sky.
Reraizure
There is a creature called Narghile that produces a pellet that erases human memories. Rorty and Muriel vows to get rid of these creatures by launching them into the sun. Muriel ends up dying and Aeon, out of guilt, takes her place as Rorty and her try to finish it out. Rorty finds out (from Aeon) that Muriel was cheating on him with Trevor, which he doesn't believe at first. He gets proof himself and can't deal with it. So, he takes the pellet erasing all of his human memories about Aeon, the pellet and Muriel.
Chronophasia
Aeon is caught in a time loop, in a lab in the jungle somewhere. The reason she was going to the lab was, she was planning to save a test subject but go more than she bargined for. She encounters a little boy, who seems to be the cause of all of this. He wants her, but not in a sexual way, in a motherly figure way. We end the episode, as if they are in another dimesion (in the past) as Aeon drives this little boy (presumbaly her son) to baseball practice.
End Sinister
Trevor encounters a device that could wipe out the entire world but Aeon stops him. They both encounter an alien in which Trevor is very interested in. Trevor decides to go back with the alien to their planet and Aeon decides to wait for him, (Trevor) in the very same pod the alien had travel in. Years, (presumably hundreds) past and Aeon wakes up. She notices that the "aliens" had taken over earth and that Trevor is still alive. She then uses the device, (from the beginning) killing the entire race. What Aeon later finds out is that these alien creatures were actually humans. We end as the final words are spoken by Trevor, "It's the evolution of the revolution... may the best man win.
Runtime: 224
# of Discs: 3

Theatrical: 2004

Studio: New Line Home Video

Genre: Action & Adventure

Duration: 98

Summary: "After the Sunset" may not be the greatest jewel-heist caper comedy ever made, but it sure is easy on the eyes. Shifting back into his crowd-pleasing "Rush Hour" mode, director Brett Ratner kicks off the action with a rousing chase scene that pretty much describes the entire film: utter nonsense, but adequately enjoyable. Things get very sunny thereafter, when FBI agent Woody Harrelson lands in the Bahamas to track down ace diamond thief Pierce Brosnan and his lovely accomplice Salma Hayek, whom he suspects of planning their next big heist on a cruise ship. A Bahamian gangster (Don Cheadle) wants in on the action, and the whole thing's about as fluffy as an Elmo doll and just as harmless, especially when you consider Hayek's revealing wardrobe (which, thankfully, distracts from Brosnan's less-than-Bond-like physique). There's an abundance of witty banter between everyone, and the tropical locations make "After the Sunset" a balmy, vicarious vacation. Critics weren't exactly kind to this breezy dose of popcorn entertainment, but it's an agreeable time-killer and an instant cure for seasonal affective disorder, even if the comedic chemistry leaves something to be desired. "--Jeff Shannon"

Theatrical: 2001

Studio: Geneon [Pioneer]

Genre: Science Fiction & Fantasy

Duration: 124

Summary: In 1988, the landmark Anime film AKIRA, by director Katsuhiro Otomo, defined the cutting edge of Anime around the world. By today's standards, Akira remains the pinnacle of cel animation and retains the explosive impact of its highly detailed animation and its intensely violent saga of power and corruption. Neo-Tokyo has risen from the ashes of World War III to become a dark and dangerous megalopolis infested with gangs and terrorists. The government seethes with corruption and only maintains a token control over the powerful military that prevents total chaos and hides the secrets of the past. Childhood friends Tetsuo and Kaneda plunge into Neo-Tokyo's darkest secret when their motorcycle gang encounters a military operation to retrieve an escaped experimental subject. Tetsuo, captured by the military, is subjected to experiments that make him a powerful psychic, but, unfortunately for Neo-Tokyo, Tetsuo's powers rage out of control and he lashes out at the world that has oppressed him! Nothing can stop the destructive forces that Tetsuo wields except possibly the last boy to destroy Tokyo. Insert: 1) Black BRC response card (regular version).
2) Todd McFarlane Toy Insert (limited to 300,000 total inserts) * Anime masterpiece first time ever on DVD for North American release! * Created and directed by Katsuhiro Otomo. Special Features: * Digitally re-mastered including High Definition film transfer, High Definition restoration. * THX Certified * New English dialogue, new 5.1 mix (on the English audio only), scene access and more. * Disc 2 contains supplementary materials including "Akira" Production Report, "Sound Clip," director's interview, trailers, production materials, Restoration of "Akria", and "Akria" glossary. * Widescreen format (1:78) and enhanced for widescreen TV's (anamorphic). Akria The Special Edition (DVD9, 2 discs)

Theatrical: 2004

Studio: Walt Disney Home Entertainment

Genre: Kids & Family

Duration: 90

Summary: Soar away on a magic carpet ride of nonstop thrills and fun in the most spectacular adventure of all time! Now meticulously restored and enhanced -- experience the wonders of ALADDIN like never before, from the Academy Award(R)-winning music (Best Original Song, Best Original Score, 1992) to the unforgettable moments of sidesplitting comedy and soaring adventure. In the heart of an enchanted city, a commoner named Aladdin and his mischievous monkey, Abu, battle to save the free-spirited Princess Jasmine. Aladdin's whole life changes with one rub of a magic lamp as a fun-loving, shape-shifting Genie appears and grants him three wishes, setting him on an incredible journey of discovery. Through his adventures, Aladdin proves that he is a prince where it truly matters most -- on the inside!

Theatrical: 2002

Studio: Universal Studios

Genre: Comedy

Duration: 88

Summary: Ali G addicts have been fretting over the British comedian's spiraling popularity. As word of his outrageous celebrity interviews spreads--the deer-in-the-headlights gaze of his victims as they wrestle with incredulity over his audacious stupidity is itself always worth the price of admission--his pool of potential victims naturally diminishes. Not to worry: Ali G as a character has enough flexibility to make the leap to full-length film. The transition is far from perfect: few moments in "Ali G Indahouse" can match the unforced hilarity of "Da Ali G Show". The film's biggest drawback, in fact, is the absence of the real-life personalities we know from the interview format; it's the friction between them and comic actor Sacha Baron Cohen's imposter shtick that generates so many howlers. "Ali G Indahouse", in contrast, hangs on a silly plot. The setup of fictional characters interacting with Ali G simply can't have the same payoff.
Said plot is nothing more than a vehicle to subject the hip-hop poseur to a variety of ridiculous situations. He finds himself the unexpected champion in a parliamentary election and has to deal with the devious plotting of the Machiavellian Chancellor of the Exchequer (played by Charles Dance, who undergoes all manner of extreme humiliation). The result is a mix of "Dumb and Dumber" and Leslie Nielsen-esque pratfalls, with a hint of the Peter Sellers character in "Being There". A good deal of the intended irony falls flat, and the litany of dated jokes calculated to offend all over the spectrum gets tiresome: from raunchy malapropisms to Ali G's recurrent obsession with being perceived as gay. But Baron Cohen's genius for getting under the skin of his creation remains undiluted. One aspect of special interest to Ali G fans is the light "Ali G Indahouse" throws on topics that are always behind the scenes in the "Ali G Show" context. We actually see Ali's Nana and his crib in suburban Staines, and "me Julie" (Kellie Bright) becomes a focal point as the story unwinds. Genial Borat makes an appearance (and gets dissed by Ali); we even learn the secret origin of Ali G's name (an abbreviation of Alistair Graham). It all might add up to a guilty pleasure, but hey--check yaself before ya wreck yaself. "--Tom May"

Theatrical: 1951

Studio: Walt Disney Home Video

Genre: Kids & Family

Duration: 75

Summary: Imaginatively rendered but slightly chilly, this 1951 Disney adaptation of the Lewis Carroll classic is also appropriately surreal. Alice (voiced by Kathryn Beaumont) has all the anticipated experiences: shrinking and growing, meeting the White Rabbit, having tea with the Mad Hatter, etc. Characterization is very strong, and the Disney team worked hard to bring screen personality to Carroll's eccentric creations. For a Disney film, however, it seems more the self-satisfied sum of its inventiveness than a truly engaging experience. "--Tom Keogh"

Theatrical: 1986

Studio: 20th Century Fox

Genre: Horror

Duration: 145

Summary: Disc 1: Alien Collector?s Edition Disc 2: Aliens Collector?s Edition Disc 3: Alien 3 Collector?s Edition Disc 4: Alien Resurrection Collector?s Edition Disc 5: Bonus Disc

Theatrical: 2000

Studio: Dreamworks Video

Genre: Comedy

Duration: 123

Summary: "Almost Famous" is the movie Cameron Crowe has been waiting a lifetime to tell. The fictionalization of Crowe's days as a teenage reporter for "Creem" and "Rolling Stone" has all the well-written characters and wonderful "movie moments" that we expect from Crowe ("Jerry Maguire"), but the film has an intangible something extra--an insider's touch that will turn the film into "the" ode to '70s rock & roll for years to come. We are introduced to Crowe's alter ego, William Miller (Patrick Fugit), at home, where his progressive mom (Frances McDormand, just superb) has outlawed rock music and sister Anita (Zooey Deschanel) has slipped him LPs that will "set his mind free." Following the wisdom of "Creem"'s disheveled editor, Lester Bangs (Philip Seymour Hoffman in an instant-classic performance), Miller gets on the inside with the up-and-coming band Stillwater (a fictionalized mixture of the Allman Brothers, Led Zeppelin, and others). A simple visit with the band turns into a three-week, life-altering odyssey into the heyday of American rock. Of the characters he meets on the road, the two most important are groupie extraordinaire Penny Lane (Kate Hudson in a star-making performance) and Stillwater's enigmatic lead guitarist (Billy Crudup), who keeps stringing Miller along for an interview. From the handwritten credits (done by Crowe) to the bittersweet finale, Crowe's comedic valentine is an indelible, heartbreaking romance of music, women, and the privilege of youth. "--Doug Thomas"

Theatrical: 2001

Studio: Miramax Home Entertainment

Genre: Art House & International

Duration: 122

Summary: 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"

Theatrical: 1999

Studio: Dreamworks Video

Genre: Art House & International

Duration: 122

Summary: 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"

Theatrical: 2005

Studio: 20th Century Fox

Genre: Television

Duration: 284

Summary: Whether "American Dad!" will ever enjoy "Family Guy"'s cult status remains to be seen, but the first 13 episodes of its inaugural season, collected in this extras-laden three-disc set, are promising. After a few episodes, CIA agent Stan Smith and family gradually emerge from the Griffins' formidable shadow, and the show finds its own comic voice. And it sounds a lot like Paul Lynde. That would be Roger (voiced by Seth McFarlane), the housebound alien who saved Stan's life at Area 51 and now lives with the Smiths. Not as inspired a creation is Klaus, the German-accented goldfish who lusts after Stan's wife, Francine. He does, though, have an inspired meta-moment in the episode "Bullocks to Stan," in which he provides faux scene-specific commentary (during the episode!) in anticipation of the show's release on DVD ("I wasn't sure about the Squeaky Fromme reference," he offers, "but it's a smart joke, and the fans have come to expect that from us"). As for the rest of the clan, Steve's children are the typical dysfunctional siblings: Steve, a socially awkward geek, and Hayley, a liberal counterpoint to red, white, and blue-blooded Stan--at least liberal enough to sleep with Stan's boss, Bullock (playfully voiced by Patrick Stewart) in the episode "Bullocks to Stan."
Though the jokes in "American Dad!" are not as free-associative as in "Family Guy", McFarlane cannot seem to resist dispensing with character integrity for a gratuitous potshot at, say, Lisa Kudrow. But as with "Family Guy", "American Dad!" tears at the sitcom envelope. The blasphemous episode "Deacon Stan, Jesus Man," had the distinction of being voted "Worst TV Show of the Week" by the Parents Television Council. And "American Dad!" has its own version of "Family Guy"'s surreal titanic bouts between Peter Griffin and that chicken. The episode "Homeland Insecurity" features a digression in which a Department of Water and Power worker greedily kills his partner over a gem-encrusted gold "turd," only to find out his wife is having an affair. As he wails to the heavens, the words "To be continued" appear onscreen. According to the audio commentary, the writers do indeed intend to continue this compelling soap opera. So that's something to look forward to. "--Donald Liebenson"

Theatrical: 1998

Studio: New Line Home Video

Genre: Drama

Duration: 119

Summary: 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"

Theatrical: 1999

Studio: Universal Studios

Genre: Comedy

Duration: 96

Summary: 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"

Theatrical: 2001

Studio: Universal Studios

Genre: Comedy

Duration: 111

Summary: 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"

Theatrical: 1995

Studio: Castle Rock

Genre: Comedy

Duration: 115

Summary: The world's most powerful man has met his match! Michael Douglas is the widower President wooing environmental lobbyist Annette Bening in this romantic hit by Rob Reiner.
DVD Features:
Interactive Menus
Production Notes
Scene Access
Theatrical Trailer

Theatrical: 2000

Studio: Lions Gate

Genre: Comedy

Duration: 102

Summary: Patrick Bateman (Christian Bale) a Wall Street yuppie obsessed with success, status and style is also a serial killer who murders, rapes and mutilates both strangers and acquaintances without reason. A Police detective is on his trail as Bateman s mask of studied, distant cool begins to fall apart.

System Requirements:
Running Time 102 Min

Format: DVD MOVIE

Theatrical: 2003

Studio: HBO Video

Genre: Action & Adventure

Duration: 101

Summary: One of the most acclaimed films of 2003, "American Splendor" is also one of the most audaciously creative biographical movies ever made. Blending fact, fiction, and personal perspective from the comic books that inspired it, this marvelous portrait of Harvey Pekar--scowling curmudgeon, brow-beaten everyman, insightful chronicler of his own life, and frustrated file clerk at a Cleveland V.A. hospital--is an inspired amalgam of the media (comic books, TV, and film) that lifted Pekar from obscurity to the status of a pop-cultural icon. As played by Paul Giamatti in a master-stroke of casting, we see Pekar and his understanding wife (played by Hope Davis) as underdogs in a world full of obstacles, yet also infused with subtle hope and (gasp!) heartwarming perseverance. We also see the "real" Pekar, and this multifaceted commingling of "reel" and "real" turns "American Splendor" into a uniquely cinematic celebration of Pekar's life and, by extension, the tenacity of an unlikely American hero. "--Jeff Shannon"

Theatrical: 2003

Studio: Universal Studios

Genre: Comedy

Duration: 104

Summary: 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"

Theatrical: 1981

Studio: Universal Studios

Genre: Horror

Duration: 98

Summary: Remember back in the early 1980s when special-effects makeup artists were tripping over themselves to create the next big effect? "The Howling" boasted a fantastic werewolf transformation scene courtesy of makeup wizard Rob Bottin. Then along came Bottin's mentor, Rick Baker, with his own spectacular effects in this popular horror comedy directed by John Landis. "An American Werewolf in London" is more of a makeup showcase than a truly satisfying movie, but the film is effectively moody when David Naughton discovers that a wolf attack has turned him into a bloodthirsty lycanthrope. Jenny Agutter plays his love interest (watch out, he bites!), and who can forget Griffin Dunne as Naughton's best friend, an undead corpse who progressively rots away as the plot unfolds? All things considered, it's easy to see why "An American Werewolf in London" became a modern horror favorite. "--Jeff Shannon"

Theatrical: 2004

Studio: Dreamworks Video

Genre: Comedy

Duration: 98

Summary: Will Farrell followed up his star-making vehicle "Elf", which matched his fine-tuned comic obliviousness to a sweet sincerity, with a more arrogant variation on the same character: Ron Burgundy, a macho, narcissistic news anchor from the 1970s. Along with his news posse--roving reporter Brian Fantana (Paul Rudd, "Clueless"), sports guy Champ Kind (David Koechner), and dim-bulb weatherman Brick Tamland (Steve Carell, "Bruce Almighty")--Burgundy rules the roost in San Diego, fawned upon by groupies and supported by a weary producer (Fred Willard, "Best In Show") who tolerates Burgundy's ego because of good ratings. But when Veronica Corningstone (Christina Applegate, "View from the Top") arrives with ambitions to become an anchor herself, she threatens the male-dominated newsroom. "Anchorman" has plenty of funny material, but it's as if Farrell couldn't decide what he really wanted to mock, and so took smart-ass cracks at everything in sight. Still, there are moments of inspired delirium. "--Bret Fetzer"

Theatrical: 1978

Studio: Universal Studios

Genre: Comedy

Duration: 109

Summary: This is one of those movies that works for all the wrong reasons--disgusting, lowbrow, base humor that we are all far too sophisticated to find amusing. So, just don't tell anyone you still think it's a riot to watch John Belushi as the brutish Bluto slurp Jell-O or terrorize his less-aggressive fellow students. This crude parody of college life in the '60s spawned many imitations, but none could match the fresh-faced talent or bad taste of this huge box office success. (Remember all those toga parties in the '80s?) The first of the National Lampoon movies, this was originally released as "National Lampoon's Animal House". Keep an eye out for a very young Kevin Bacon in his first credited screen appearance. "--Rochelle O'Gorman"

Theatrical: 1993

Studio: Warner Home Video

Genre: Kids & Family

Duration: 550

Summary: As a splendid homage to the legacy of Warner Bros. animation, the Emmy and Peabody award-winning "Animaniacs" was arguably the most inventive and deliriously entertaining cartoon series of the 1990s. The series' appeal is at least two-fold: kids will enjoy the wacky characters and easy-to-follow comedy, and grownups raised on "Looney Tunes" and "Merrie Melodies" cartoons will love the show's knowledgeable movie spoofs, witty satire, and spontaneous lines of dialogue aimed squarely at an older audience with an appreciation for Hollywood history. Cartoon lovers and film buffs will benefit the most from repeated viewings of "Animaniacs" since the series was conceived by head writer Tom Ruegger (under the supervision of executive producer Steven Spielberg) as an affectionate tribute to the golden age of Hollywood, with its wild and wonderful cast of cartoon characters led by "Warner Brothers" Wakko and Yakko, and their ever-so-cute Warner sister, Dot, a playful trio of indeterminate species who were (fictionally) created in the early 1930s by the overworked animators of "Termite Terrace" (the actual name given to Warner's animation studios) and wreaked havoc on the Warner Bros. backlot until they were caught and captured in the studio's water tower. Every episode begins with their clever escape, leading to wacky adventures involving the entire cast of "Animaniacs", a menagerie of colorful characters worthy of cartoon immortality.
This five-DVD set offers 25 beautifully preserved episodes (out of a five-season total of 99), mostly from the first season (1993), when Spielberg was also enjoying the success of "Jurassic Park" and "Schindler's List". Premiering on the Fox Kids network, the series introduced delighted viewers to Pinky and the Brain; Slappy the Squirrel (a curmudgeonly veteran of decades in show-biz); the Goodfeathers (a pigeon-trio spoof of Martin Scorsese's "Goodfellas"); Rita and Runt (a dog and cat duo often featured in musical spoofs, the former voiced by Bernadette Peters); and a wide variety of peripheral characters who randomly appeared as part of the series' multi-segment format. Some segments are brief and brilliant (including many original songs that qualify as mini-masterpieces of educational entertainment), while others are cartoon-length adventures like the unforgettable "Bumbie's Mom," a riff on "Bambi" (and Disney animation) that's one of many first-season highlights. Smart, literate, and totally irreverent, "Animaniacs" benefited from all the prestige that Spielberg's involvement could bring, including a once-in-a-lifetime voice cast (honored here by disc 3's special featurette "Animaniacs Live," hosted by "Annie"-award-winner Maurice "The Brain" LeMarche) and amazing musical scores (many written or supervised by the late, great Richard Stone) that were recorded in the very same Warner studio where the legendary Carl Stalling scored most of the classic Warner Bros. cartoons. With creative and comedic highlights too numerous to mention, "Animaniacs" is must-see TV for those who missed it the first time around, and a welcome treasure for established fans who will cherish these DVDs for many years to come. "--Jeff Shannon"

Theatrical: 1993

Studio: Warner Home Video

Genre: Kids & Family

Duration: 531

Summary: Steven Spielberg Presents Animaniacs! The adventures or misadventures of the Warner Brothers, Yakko and Wakko, and the Warner Sister, Dot, who were so crazy that the studio execs locked them away in the water town at the Studio. The witty, slapstick humor with pop culture parodies and cartoon wackiness is on DVD for the first time ever with 25 fantastic Animaniacs episodes.

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: 1979

Studio: Paramount

Genre: Action & Adventure

Duration: 153

Summary: In the tradition of such obsessively driven directors as Erich von Stroheim and Werner Herzog, Francis Ford Coppola approached the production of "Apocalypse Now" as if it were his own epic mission into the heart of darkness. On location in the storm-ravaged Philippines, he quite literally went mad as the project threatened to devour him in a vortex of creative despair, but from this insanity came one of the greatest films ever made. It began as a John Milius screenplay, transposing Joseph Conrad's classic story "Heart of Darkness" into the horrors of the Vietnam War, following a battle-weary Captain Willard (Martin Sheen) on a secret upriver mission to find and execute the renegade Colonel Kurtz (Marlon Brando), who has reverted to a state of murderous and mystical insanity. The journey is fraught with danger involving wartime action on epic and intimate scales. One measure of the film's awesome visceral impact is the number of sequences, images, and lines of dialogue that have literally burned themselves into our cinematic consciousness, from the Wagnerian strike of helicopter gunships on a Vietnamese village to the brutal murder of stowaways on a peasant sampan and the unflinching fearlessness of the surfing warrior Lieutenant Colonel Kilgore (Robert Duvall), who speaks lovingly of "the smell of napalm in the morning." Like Herzog's "Aguirre: The Wrath of God", this film is the product of genius cast into a pit of hell and emerging, phoenix-like, in triumph. Coppola's obsession (effectively detailed in the riveting documentary "Hearts of Darkness", directed by Coppola's wife, Eleanor) informs every scene and every frame, and the result is a film for the ages. "--Jeff Shannon"

Theatrical: 1979

Studio: Paramount

Genre: Action & Adventure

Duration: 202

Summary: 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"

Theatrical: 1979

Studio: Paramount

Genre: Action & Adventure

Duration: 355

Summary: I love the smell of a collector's edition in the morning. Everyone's favorite Joseph Conrad adaptation gets the fancy packaging and extras treatment with this release of "Apocalypse Now - The Complete Dossier". Both the original theatrical cut and the 2001 "Redux" version are included, with enough extras to keep one occupied on a long boat trip. Calling this the "complete" dossier is sure to raise hackles among fans who insist that Eleanor Coppola's lauded documentary, "Hearts of Darkness", which chronicled husband Francis's harrowing experience making the film, should have been included. (As of this review, "Hearts of Darkness" has yet to be released on DVD, so battered VHS copies will have to suffice.) Packaged in a cardboard "dossier" sleeve, the two-disc set includes Marlon Brando reading T.S. Eliot's poem "The Hollow Men," new production featurettes, and cast member interviews. Owners of previous editions of either of the cuts might consider how much they want all the officially sanctioned information on this edition. For newcomers to the Vietnam epic, this is an edition worth going crazy for. "--Ryan Boudinot"
Apocalypse Now
In the tradition of such obsessively driven directors as Erich von Stroheim and Werner Herzog, Francis Ford Coppola approached the production of "Apocalypse Now" as if it were his own epic mission into the heart of darkness. On location in the storm-ravaged Philippines, he quite literally went mad as the project threatened to devour him in a vortex of creative despair, but from this insanity came one of the greatest films ever made. It began as a John Milius screenplay, transposing Joseph Conrad's classic story "Heart of Darkness" into the horrors of the Vietnam War, following a battle-weary Captain Willard (Martin Sheen) on a secret upriver mission to find and execute the renegade Colonel Kurtz (Marlon Brando), who has reverted to a state of murderous and mystica