DVDpedia : Library : Title : T

Theatrical: 2002

Studio: Sony Pictures

Genre: Art House & International

Duration: 114

Summary: Writer-director Pedro Almodóvar makes another masterpiece with "Talk to Her", his first film since the wonderful "All About My Mother". Marco (Dario Grandinetti) is in love with Lydia (Rosario Flores), a female bullfighter who is gored by a bull and sent into a coma. In the hospital, Marco crosses paths with Benigno (Javier Camara), a male nurse who looks after another coma patient, a young dancer named Alicia (Leonor Watling). From Benigno's gentle attentiveness to Alicia, Marco learns to take care of Lydia... but from there, the story goes in directions that deftly manage to be sad, hopeful, funny, and creepy, sometimes at the same time. The rich human empathy of Almodóvar's recent films is passionate, heartbreaking, intoxicating--there aren't enough adjectives to praise this remarkable filmmaker, who is at the height of his powers. "Talk to Her" is superb, with outstanding performances from all involved. "--Bret Fetzer"

Theatrical: 2006

Studio: Sony Pictures

Genre: Action & Adventure

Duration: 121

Summary:
Sweet baby Jesus, we thank you for blessing Will Ferrell and Adam McKay with the talent to create a NASCAR comedy as hilarious as "Talladega Nights". The so-called ""Ballad of Ricky Bobby"" is hardly flawless in fact it's not always firing on all cylinders but with comedy star Ferrell and director McKay still hot from the success of their previous comedy hit "Anchorman: The Legend of Ron Burgundy", most of this 108-minute spoof of oval-track racing is so knee-slappin' funny that you can't help but surrender to the stupidity.



































Obviously, Ferrell's the shining star, and his portrayal of lead-footed pit-crew-member-turned-#1 NASCAR champion Ricky "I Wanna Go Fast" Bobby (how can you not love that name?) is spot-on perfect, righteously spoofing the entirety of NASCAR culture without insulting its oft-ridiculed roots in redneck bootlegging of a bygone era. You could even argue that Talladega Nights is truer to NASCAR than Tom Cruise's "Days of Thunder", and it's certainly more entertaining, especially when you add John C. Reilly as Ricky's life-long pal, teammate, and eventual rival Cal Naughton, Jr. (together they're nicknamed "Shake 'n Bake"), and Sacha Baron Cohen (from "Da Ali G Show" and "Borat") as gay French "Formula Un" driver-turned NASCAR rival Jean Girrard, to a stellar cast including Molly Shannon, Greg Germann, Amy Adams and Michael Clarke Duncan.













Sure, it's mostly a showcase for Ferrell's loud, over-the-top antics and nonsensical non sequiturs (like cameo appearances by Elvis Costello and Mos Def), but with Ferrell behind the wheel, "Talladega Nights" rolls into victory lane with fuel to spare, and there's one final bit of comedy (with a tip of the hat to William Faulkner) for those who sit through the credits. --"Jeff Shannon"














Stills from "Talladega Nights: The Ballad of Ricky Bobby"(click for larger image)

















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Theatrical: 1995

Studio: MGM (Video & DVD)

Genre: Action & Adventure

Duration: 103

Summary: The Year is 2033. Earth has been clobbered with a comet, civilization has been destroyed, and it hasn't rained in 11 years. Nearly all the water on the planet is controlled by the evil Water and Power company, which is in turn controlled by the even more evil Kesslee (Malcolm McDowell). Who stands in the way? Some mysterious mutants called the Rippers and, of course, Tank Girl. Lori Petty plays Tank Girl, the wisecracking, defiant heart of the movie, as kind of an inner child gone wild. Unfortunately Petty can't quite carry a movie on her own--her zingers frequently fall flat and she seems to be continually worried that we still like her. Luckily there's Naomi Watts as Jet Girl to save the day: smart, shy, and inherently way more appealing than Tank Girl. "Tank Girl" is based on the comic of the same name, and it is visually an eye-popper. It's worth watching for the insane set and costume designs alone. "--Ali Davis"

Theatrical: 2001

Studio: Lions Gate

Genre: Comedy

Duration: 86

Summary: Thought provoking film with good performances from Ethan Hawke, Robert Sean Leonard and Uma Thurman.

Theatrical: 1999

Studio: Walt Disney Home Entertainment

Genre: Kids & Family

Duration: 88

Summary: After viewing "Snow White and the Seven Dwarfs", Edgar Rice Burroughs wrote to Walt Disney about adapting his novel of an ape-man into a feature animated cartoon. Sixtysome years later, the tale is finally told with brilliant design work that looks unlike any previous animated film. The story is a natural for Disney since the themes of misunderstood central figures have been at the heart of its recent hits. Disney's "Tarzan" doesn't wander far from the familiar story of a shipwrecked baby who is brought up by apes in Africa. What gives the film its zing is its clever use of music (the songs are sung by Phil Collins himself rather than onscreen characters) and the remarkable animation. Deep Canvas, a 3-D technology, was developed for the film, creating a jungle that comes alive as Tarzan swings through the trees, often looking like a modern skateboarder racing down giant tree limbs. The usual foray of sidekicks, including a rambunctious ape voiced by Rosie O'Donnell, should keep the little ones aptly entertained. The two lead voices, Tony Goldwyn as Tarzan and Minnie Driver as Jane, are inspired choices. Their chemistry helps the story through the weakest points (the last third) and makes Tarzan's initial connection with all things human (including Jane) delicious entertainment. Disney still is not taking risks in its animated films, but as cookie-cutter entertainment, "Tarzan" makes a pretty good treat. (Ages 5 and up) "--Doug Thomas"

Theatrical: 1998

Studio:

Genre: Art House & International

Summary: This is the original version of the film that was remade with Jimmy Fallon and Queen Latifah, which, to be honest with you, I haven't seen (I may never, actually). It's also the first in what became a franchise--there's actually a *fourth* film in the series, which came out earlier this year.



But it's hard to top the sheer velocity of this film, from the opening credits and the riff of "Misirlou" by Dick Dale, shamelessly stolen from "Pulp Fiction," to the climactic chase through the streets of Paris. There's plenty of humor, a little bit of sexiness (Marion Cotillard has to be one of the most beautiful women alive today, and then they throw in Emma Sjöberg just for good measure), and everything's wrapped up in just about an hour and a half. Seriously, this is totally worth owning a region-free DVD player for.



This first film also pits French automotive ingenuity against the Germans; the second takes on the Japanese. The less said about the third (with a Sylvester Stallone cameo, no less), the better, and I haven't seen the fourth one yet, but even if it's only as good as the third, it will still be leagues better than most American action films being made today.



Luc Besson is the brains behind this, and he's the reason I ended up watching this--Léon: The Professional is in my top five favorite films of all time. So try to watch this by hook or by crook, but definitely enjoy yourself!

Theatrical: 1976

Studio: Sony Pictures

Genre: Drama

Duration: 114

Summary:
At 26, Vietnam veteran Travis Bickle (Robert De Niro) is slipping slowly into isolation and violence on the streets of New York City. Trying to solve his insomnia by driving a yellow cab on the night shift, he grows increasingly disgusted by the people who hang out at night: "Someday a real rain will come and wash all the scum off the streets." His touching attempts to woo Betsy (Cybill Shepherd), a Senator's campaign worker, turn sour when he takes her to a porn movie on their first date. He even fails in his attempt to persuade child prostitute Iris (Jodie Foster) to desert her pimp Sport (Harvey Keitel) and return to her parents and school. Driven to the edge by powerlessness, he buys four handguns and sets out to assassinate the Senator, heading for the infamy of a `lone crazed gunman'.
DVD BONUS FEATURES INCLUDE:
"Martin Scorsese on Taxi Driver" Featurette
"Producing Taxi Driver" Featurette
"Influence and Appreciation" Documentary
Robert De Niro, Oliver Stone, Roger Corman and others pay tribute to Scorsese and the film
"God's Lonely Man" Documentary
"Travis' New York Locations" Featurette
Storyboard to Film Comparisons with Martin Scorsese Introduction
New Feature-length Commentary by Writer Paul Schrader
New Feature-length Commentary by Professor Robert Kolker
"Taxi Driver Stories" Featurette
"Making Taxi Driver" Documentary
Animated Photo Galleries
"Including Scorsese at Work" Photo Montage
Original Screenplay Read Along

Theatrical: 2006

Studio:

Genre: Thriller

Duration: 88

Summary: Between 11:50 and 12:00 noon, a crime is commited. In the same ten minute period, we follow the lives of the ten people, all connected to this crime. As we see each person's point of view, we are propelled closer and closer to the truth of what exactly happened...and why.

Theatrical: 2006

Studio: New Line Home Video

Genre: Comedy

Duration: 95

Summary: You don't have to be a munchie-loving stoner or an aspiring rock god to enjoy "Tenacious D in The Pick of Destiny", but it helps. A dozen years after they introduced their mock-rock power duo on the Los Angeles club scene, Jack Black and Kyle Gass finally got the movie showcase (a partial spinoff from the D's short-lived HBO series) their fans had been waiting for, and it's a rockin' romp with plenty of crude laughs that will hit home for anyone who's ever played air guitar to Meat Loaf's "Bat out of Hell." It's a "Beavis and Butt-head"-like origin story, recalling the legend (ahem) of how JB (Black) and KG (Gass) met, bonded over bong-hits and rock-operatic guitar licks, then set out (on a tip from a crazed guitar-store clerk played by Ben Stiller) to find the mythic pick of destiny, used by all guitar gods and said to be fashioned from the tooth of Satan. Their quest includes a variety of well-cast cameos (including Tim Robbins, Meat Loaf, and Foo Fighters frontman Dave Grohl as Satan himself), and there's plenty of flatulence, drug humor, at least one hilarious fantasy sequence, and outrageous sight gags too numerous to mention. Suffice it to say, it's about 90 minutes of lowbrow indulgence, and some of the jokes fall flat, but if you're a headbanger at heart, you'll know what "Tenacious D" is riffing on, and the sweet licks (also available on the soundtrack CD) will sound that much sweeter. If you're not ready to RAWK, this potential cult favorite may not be for you... but give it try anyway. It may not be better than "Citizen Kane", but if you're properly stoked, it comes close to rock & roll heaven. "--Jeff Shannon"

Theatrical: 2003

Studio: Sony

Genre: Music Video & Concerts

Duration: 206

Summary: If you're not a Tenacious D fan already, "The Complete Master Works" might make you an instant convert (or scare you away; it all depends). One thing's for sure: If you thought "the D" were nothing more than a novelty act, this two-disc feast will set you straight, proving that classically trained guitarist Kyle Gass and fast-rising comedy star Jack Black ("School of Rock") are a bona fide acoustic power duo, scorching the pop-cultural landscape with their satirically scathing lyrics while qualifying as legitimate musicians with awesome chops and just enough insanity to make them dangerous on stage. Disc 1 ("For Fans") is all meat and potatoes, consisting of a brilliant concert (taped at London's Brixton Academy, November 3, 2002) in which Black casts himself as an abrasive provocateur, daring to offend "KG" and the audience alike with barbed taunts and spiteful attitude (all faked, of course, but convincing enough to sucker the gullible). The musicianship is first-rate, and Black's vocals remarkably spry, a deft combination of rapid-fire scatting and heavy-metal worship. The HBO episodes chronicle TD's early years as their popularity was still mostly an L.A.-based phenomenon, and without exception they're wet-your-pants hilarious.
Disc 2 is aptly dubbed "For Psycho Fans," offering a potpourri of TD ephemera for true devotees, including three HBO short films that are gross enough (and funny enough) to make any Farrelly Brothers comedy look positively tame by comparison (in other words, this definitely isn't kid's stuff). The TV appearances are somewhat redundant with the concert material, and the "On the Road" video diaries are perfunctory but fun. The best is saved for last: two music videos paired with "making-of" featurettes, including Spike Jonze's fantasy-oriented video for "Wonderboy," and a devilishly adult-oriented video for "FHG" (salacious "D" fans know what "that" means) from the animators of "Ren & Stimpy". If you're offended, don't blame "Kage" and "Jables"--their Tenacious DVD has "Parental Advisory" clearly stamped on its cover, and prudes are well-advised to stay away. "--Jeff Shannon"

Theatrical: 1977

Studio:

Genre:

Summary:

Theatrical: 1968

Studio: Koch Lorber Films

Genre: Drama

Duration: 105

Summary: A strange visitor in a wealthy family. He seduces the maid, the son, the mother, the daughter and finally the father before leaving a few days after. After he's gone, none of them can continue living as they did. Who was that visitor ? Could he be God ?

Theatrical: 1984

Studio: MGM (Video & DVD)

Genre: Action & Adventure

Duration: 107

Summary: MGM DVD The Terminator special edition
with new dolby digital 5.1 surrond ex mix over 2.5 hours of extra footage

Theatrical: 1991

Studio: Lions Gate

Genre: Action & Adventure

Duration: 152

Summary: He said he'd be back. This time experience T2 like never before! Go EXTREME with the best picture and sound ever! ARNOLD SCHWARZENEGGER returns as the Terminator in this explosive action-adventure spectacle. Now he's one of the good guys, sent back in time to protect John Connor, the boy destined to lead the freedom fighters of the future. LINDA HAMILTON reprises her role as Sarah Connor, John's mother, a quintessential survivor who has been institutionalized for her warning of the nuclear holocaust she knows is inevitable. Together, the threesome must find a way to stop the ultimate enemy - the T-1000, the most lethal Terminator ever created. Co-written, produced and directed by James Cameron ("The Terminator," "Aliens," "Titanic), this visual tour de force is also a touching story of survival.

Theatrical: 2003

Studio: Warner Home Video

Genre: Action & Adventure

Duration: 109

Summary: With a reported budget of $172 million, "Terminator 3: Rise of the Machines" starts in high gear and never slows down. The apocalyptic "Judgment Day" of "T2" was never prevented, only postponed: John Connor (Nick Stahl, replacing "T2"'s Edward Furlong), now 22 and disconnected from society, is being pursued yet again, this time by the advanced T-X, a sleek "Terminatrix" (coldly expressionless Kristanna Loken) programmed to stop Connor from becoming the savior of humankind. Originally programmed as an assassin, a disadvantaged T-101 cyborg (Arnold Schwarzenegger, bidding fond farewell to his signature role) arrives from the future to join Connor and his old acquaintance Kate (Claire Danes) in thwarting the T-X's relentless pursuit. The plot presents a logical fulfillment of "T2" prophesy, disposing of Connor's mother (Linda Hamilton is sorely missed) while computer-driven machines assume control, launching a nuclear nightmare that Connor must survive. With "Breakdown" and "U-571" serving as worthy rehearsals for this cautionary epic of mass destruction, director Jonathan Mostow wisely avoids any stylistic connection to James Cameron's "Terminator" classics; instead he's crafted a fun, exciting popcorn thriller, humorous and yet still effectively nihilistic, and comparable to "Jurassic Park III" in returning the "Terminator" franchise to its potent B-movie roots. "--Jeff Shannon"

Theatrical: 2006

Studio: 20th Century Fox

Genre: Comedy

Duration: 91

Summary: 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"

Theatrical: 1996

Studio: 20th Century Fox

Genre: Comedy

Duration: 108

Summary: Tom Hanks's debut as a writer and director is a lively, affectionate account of the shooting-star career of a forgotten (fictional) '60s pop-rock band called The Wonders--as in "one-hit wonders." Hanks plays the manager of the group, which includes drummer Guy "Sticks" Patterson (Tom Everett Scott) who works the floor at his parents' appliance store in Erie, Pennsylvania; Jimmy (Johnathon Schaech), the talented and temperamental lead singer and songwriter; Lenny (Steve Zahn), the goofy guitarist; and Ethan Embry as a geeky little fellow identified in the cast list only as "The Bass Player." The movie traces their meteoric rise and fall, from cutting their first record, to going on tour with a Phil Spector/Motown-type revue, to the internal tensions that lead to the band's disintegration, which comes when they fail to follow up their smash hit single, "That Thing You Do!" And that song, by the way, is so catchy it would definitely have been a hit in 1964--and deserves to be one today. This delightful movie would make a great double-bill with Allison Anders's wonderful "Grace of My Heart". "--Jim Emerson"

Theatrical: 2001

Studio: Paramount

Genre: Television

Duration: 176

Summary: From the creators of "South Park", "That's My Bush" is two--two!--parodies in one. Matt Stone and Trey Parker take aim at both President George W. Bush and the two-camera sitcom. (Not necessarily in that order.) The acting is over-the-top, the laugh track is on steroids, and George (Timothy Bottoms, "The Last Picture Show") is more dopey husband than dopey leader. He even has his own Ralph Kramden-like catch phrase: "One of these days, Laura, I'm gonna punch you in the face!" Laura Bush (Carrie Quinn Dolin) is the brains behind the marriage, while Karl Rove (Kurt Fuller, "Auto Focus") is the brains behind the Oval Office. The West Wing is rounded out by sexy secretary Princess (Kristen Miller), sassy housekeeper Maggie (Marcia Wallace, "The Bob Newhart Show"), and wacky neighbor Larry (John D'Aquino). Though "That's My Bush!" may sound like liberal propaganda, Stone and Parker throw darts at the Left, too, like the surly pro-choice activist in the pilot ("An Aborted Dinner Date").
"That's My Bush!" ran for eight episodes, all pre-9/11, before Comedy Central pulled the plug, citing cost concerns rather than low ratings. Topics tackled include the death penalty, gun control, and the war on drugs. If the humor isn't always as "gut-busting" as its writers, including Tony Barbieri ("Windy City Heat"), seem to think, the show provides Bottoms with one of his best roles. Next to Homer Simpson and Al Bundy, it's hard to imagine a more hapless hubbie. This two-disc collection includes mini-commentaries (a few minutes a pop) from Stone, Parker, and the entire cast on each episode. "--Kathleen C. Fennessy"

Theatrical: 1998

Studio: 20th Century Fox

Genre: Comedy

Duration: 119

Summary: Ted (Ben Stiller) is still in love with his high school prom date, Mary (Cameron Diaz), even though it's been years after the humiliating incident that cut their date short. Ted hires Pat, a private detective (Matt Dillon) to track her down, but Pat ends up falling in love with her too, starting a battle for Mary's heart.

Theatrical: 1982

Studio: Madacy Records

Genre: Comedy

Duration: 87

Summary: A Korean man's resemblance to the legendary martial arts star Bruce Lee proves to be a mixed blessing when he stumbles onto the activities of the Mob.

Theatrical: 1982

Studio: Universal Studios

Genre: Horror

Duration: 109

Summary: Director John Carpenter and special makeup effects master Rob Bottin teamed up for this 1982 remake of the 1951 science fiction classic "The Thing from Another World", and the result is a mixed blessing. It's got moments of highly effective terror and spine-tingling suspense, but it's mostly a showcase for some of the goriest and most horrifically grotesque makeup effects ever created for a movie. With such highlights as a dog that splits open and blossoms into something indescribably gruesome, this is the kind of movie for die-hard horror fans and anyone who slows down to stare at fatal traffic accidents. On those terms, however, it's hard not to be impressed by the movie's wild and wacky freak show. It all begins when scientists at an arctic research station discover an alien spacecraft under the thick ice, and thaw out the alien body found aboard. What they don't know is that the alien can assume any human form, and before long the scientists can't tell who's real and who's a deadly alien threat. Kurt Russell leads the battle against the terrifying intruder, and the supporting cast includes Richard Masur, Richard Dysart, Donald Moffat, and Wilford Brimley. They're all playing standard characters who are neglected by the mechanistic screenplay (based on the classic sci-fi story "Who Goes There?" by John W. Campbell), but Carpenter's emphasis is clearly on the gross-out effects and escalating tension. If you've got the stomach for it (and let's face it, there's a big audience for eerie gore), this is a thrill ride you won't want to miss. "--Jeff Shannon"

Theatrical: 2001

Studio: New Line Home Video

Genre: Drama

Duration: 147

Summary: 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"

Theatrical: 2006

Studio: Ifc

Genre: Documentary

Duration: 97

Summary:

Theatrical: 2007

Studio:

Genre: Drama

Duration: 70

Summary:

Theatrical: 1984

Studio: MGM (Video & DVD)

Genre: Comedy

Duration: 83

Summary: Director Marty DiBergi (Rob Reiner) solemnly alerts us to the glory that was Spinal Tap in his introduction to this "rockumentary" about the legendary British heavy-metal group, featuring lead guitarist Nigel Tufnel (Christopher Guest), lead singer David St. Hubbins (Michael McKean), bassist Derek Smalls (Harry Shearer), and a succession of drummers whose careers were cut short by spontaneously combusting on their stool, drowning in somebody else's vomit, or otherwise perishing in untimely fashion. Under DiBergi's studious interrogation, the band and their familiars retrace the band's evolution from head-bopping Mersey Beat poseurs to head-banging metal poseurs, each change in musical direction or tonsorial chic having little effect on the surviving trio's sublime idiocy. For, as St. Hubbins (he's the "deep" one, relatively speaking) sagely observes, "It's such a fine line between stupid and clever."
Happily for us, director Reiner, who developed the underlying story line with Guest and former Credibility Gap pranksters McKean and Shearer, stays squarely on the right side of the line, even as his writer-actors remain hilariously trapped on the other side. In lieu of a formal shooting script, the quartet created an extensive and detailed band history ripe with the sort of dead-pan detail that hard-core rock historians and screwball aficionados will savor on countless replays; with the three Tap members also musicians themselves, the "band" developed its stage act under the unsuspecting noses of L.A. club denizens, who accepted them as just as loud, flashy, sexist, and obvious as any other mullet-tressed, leather-garbed brigade of guitar slingers, circa 1984. The resulting footage thus manages to lob its punch lines and build its characters (including some thinly veiled character assassinations of various industry folks) with a loose, tossed-away verve rooted in the improvisational approach. "This Is Spinal Tap" remains the funniest, and most truthful, look at rock culture ever filmed and a personal best for all involved. "--Sam Sutherland"

Theatrical: 2005

Studio: Universal Studios

Genre: Drama

Duration: 95

Summary: Jake Cassevetes is a world renowned shooter just back from being embedded during the U.S. invasion of Iraq. As a well-paid stringer for the networks, Jake does not buy into the currently vogue, left-wing conspiracy theory of a corporate-controlled press. But, after discovering much of his best footage in Iraq was censored by the network, Jake is growing disillusioned with his corporate masters. When he gets an assignment to shoot on the streets of the Republican National Convention protests, he meets Seven, one of the young leaders of the masked anarchist Black Bloc. Jake quickly wins the trust of the group and is allowed to shadow them as they move through the demo. Later that night, after shooting Seven with her mask down describing the Bloc's militant objectives, the videotape is mistakenly returned to the network with the rest of his footage. When he goes to retrieve the tape, he is told the network made a deal with Homeland Security to review all footage to look for potential terror suspects. Realizing the danger he has brought to Seven and the Black Bloc itself, Jake decides to use his skills and access at the network to jam the government controlled corporate media and broadcast the truth of the protests and the message of a new generation of activists.

Theatrical: 1999

Studio: MGM (Video & DVD)

Genre: Action & Adventure

Duration: 113

Summary: For the Hollywood remake rule, which dictates that an update of an older film be inferior to the original in almost every aspect, "The Thomas Crown Affair" stands as a glorious exception. The original 1968 film, starring a dapper Steve McQueen and a radiant Faye Dunaway, was a diverting pop confection of mod clothes and nifty break-ins, but not much more. John McTiernan's new version, though, cranks up the entertainment factor to mach speed, turning what was a languid flick into a high-adrenaline caper romance. Thomas Crown (Pierce Brosnan) is now a man of industry who likes to indulge in a little high-priced art theft on the side; Catherine Banning (Rene Russo) is the insurance investigator determined to get on his tail in more ways than one. If you're thinking cat-and-mouse game, think again--it's more like cat vs. smarter cat, as both the thief and the investigator try to outwit each other and "nothing" is off-limits, especially after they start a highly charged love affair that's a heated mix of business and pleasure.
What makes this "Thomas Crown" more enjoyable than its predecesor is McTiernan's attention to detail in both the set action pieces (no surprise from the man who helmed "Die Hard" with precision accuracy) and the developing romance, the witty and intelligent script by Leslie Dixon (she wrote the love scenes) and Kurt Wimmer (he wrote the action scenes), and, most of all, its two stunning leads (both over 40 to boot), combustible both in and out of bed. Brosnan, usually held prisoner in the James Bond straitjacket, lets loose with both a relaxed sensuality and a comic spirit he's rarely expressed before. The film, however, pretty much belongs to Russo, who doesn't just steal the spotlight, but bends it to her will. Beautiful, stylish, smart, self-possessed, incredibly sexy, she's practically a walking icon; it's no wonder Crown falls for her hook, line, and sinker. With Denis Leary as a police detective smitten with Russo, and Faye Dunaway in a throwaway but wholly enjoyable cameo as Brosnan's therapist. "--Mark Englehart"

Theatrical: 1945

Studio: Walt Disney Video

Genre: Kids & Family

Duration: 72

Summary: As a Disney oddity, they don't get much odder than "Three Caballeros". Donald Duck receives a birthday package from South America, and the film proceeds to unravel like some peyote-induced hallucination. It starts out reminiscent of other Disney films, where shorts are cobbled together, such as "Make Mine Music" or "Fun and Fancy Free." The film has vignettes such as "The Cold-Blooded Penguin" and "The Flying Guachito." After them it careens straight into part-travelogue, part-stream-of-consciousness animation. Not helping out much are Donald's "friends," Joe Carioca (a parrot) and Panchito (a rooster). They spend most of the rest of the film watching Donald chase skirt. That's right, Donald Duck is a wolf in this movie, and he chases every live-action señorita who bustles across the screen. Although some will say otherwise, "Caballeros" is for die-hard Disney, Donald, or psychedelia fans only. "--Keith Simanton"

Theatrical: 1971

Studio: Warner Home Video

Genre: Drama

Duration: 88

Summary: Two-Disc Special Edition:
* Digitally remastered with THX certified sound
* Commentary by George Lucas and co-writer/sound effects editor Walter Murch
* "Theatre of Noise" sound-effects track with branching segments to 13 master sessions with Walter Murch
* 2 New documentaries: "A Legacy of Filmmakers: The Early Years of American Zoetrope" and "Artifacts from the Future: The Making of THX 1138"
* George Lucas's original student film "THX-11384EB"
* "Bald": 1971 production featurette
* Five new trailers from the 2004 theatrical release
* Original theatrical trailer

Theatrical: 1979

Studio:

Genre: Documentary

Duration: 134

Summary: From a portrait of the Dalai lama as a spiritual and temporal leader, to an unprecedented revelation of the mystical inner world of monastic and an unflinching depiction of the moving response to a death in the community, the film takes the viewer on a journey deep into the heart of an ancient Buddhist way of life and brings you face to face with the unbroken continuity of Tibet's unique culture.

Theatrical: 1994

Studio: Buena Vista Home Entertainment

Genre: Kids & Family

Duration: 252

Summary: Even with one episode missing, "The Tick vs. Season One" offers a dozen good reasons to enjoy one of the wackiest superheroes of all time. From his humble beginnings as an in-house comic book character created by 17-year-old Ben Edlund for a Boston comic shop, the Tick (with his muscular physique, twitching antennae, and form-fitting "blue tights of justice") has proven remarkably popular and versatile as a multimedia juggernaut, attracting a global fan base in comics, then this animated series beginning in 1994, and finally as a live-action comedy series starring Patrick Warburton as "the big blue bug of justice." All three of the Tick's incarnations are wildly entertaining, but the animated series comes closest to capturing the unbridled giddiness of Edlund's comics, albeit somewhat sanitized for a Saturday-morning audience of kids and Tick-loving teens and grown-ups. And while episode #11, "The Tick vs. The Mole Men" (widely considered to be one of the first season's weakest episodes) is missing here for legal reasons (but may be included in a future DVD release), the 12 episodes included are remarkably consistent in their well-written hilarity of character and plotting. "The Tick vs. Chairface Chippendale" is just one example of the series' rogue's gallery of oddball monstrosities (the villain's head is a wooden chair, after all!) and the show's clever writers are always finding inventive ways to incorporate in-jokes, show-biz homage (such as the villainous "Uncommon Cold," who sounds suspiciously like James Mason!), and choice bits of throwaway dialogue that will cause older viewers to burst out laughing.
It's regrettable that Buena Vista (i.e., Disney) didn't include any bonus features with this two-disc set (at the very least, the Tick's comic book origins should be acknowledged), and the color and clarity of these episodes varies a bit, from crisp and clean to just a little it fuzzy. But let's face it, the animation (as good as it is) isn't exactly state-of-the-art, and most of "The Tick"'s quality is derived from the outrageous cast of characters (including patriotic superheroine American Maid and the Tick's moth-costumed sidekick, Arthur), all of whom reside in a kind of alternate world of hyper-imagination. Perhaps that's why "The Tick" has proven so enduring as a pop-cultural touchstone of the late 20th century: Whether he's in a comic book, an animated cartoon, or a live-action sitcom, the Tick is just a goofy, lovable, well-meaning reflection of our better selves, eager (as the saying goes) to swat evil on the snout with the rolled-up newspaper of goodness. Make way for seasons 2 and 3! "--Jeff Shannon"

Theatrical: 2000

Studio: Walt Disney Video

Genre: Comedy

Duration: 77

Summary: In the classic tradition of Disney's animated feature films, the first Winnie The Pooh theatrical feature in 23 years weaves magical storytelling, charming characters, and memorable songs into an enchanting tale of adventure and heart. As it happens, the whole gang is busy preparing a suitably gloomy winter home for Eeyore. When everything they do seems to get undone by Tigger's exuberant bouncing, Rabbit suggests Tigger go outside and find other tiggers to bounce with -- a notion Tigger finds ridiculous because after all, he's "the onliest one!" Or is he? And so begins Tigger's amazing journey to find his family. This whimsical and touching film will bounce right into your heart -- and feet.

Theatrical: 1981

Studio: Starz / Anchor Bay

Genre: Comedy

Duration: 116

Summary: Divimax is a High Definition (HD) film transfer process that provides state-of-the-art picture quality--and can be viewed on any home entertainment system.

Theatrical: 1981

Studio: Criterion

Genre: Comedy

Duration: 116

Summary: In Terry Gilliam's fantastic voyage through time and space, a young boy named Kevin (Craig Warnock) escapes his gadget-obsessed parents to join a band of time-traveling dwarves. Armed with a map stolen from the Supreme Being (Ralph Richardson), they plunder treasure from Napoleon (Ian Holm) and Agamemnon (Sean Connery)-but the Evil Genius (David Warner) is watching their every move!