DVDpedia : Library : Title : C

Theatrical: 1980

Studio: Warner Home Video

Genre: Comedy

Duration: 99

Summary: The greenskeeper is about to start World War III - against a gopher. The judge plays to win but his nubile niece has her mind set on scoring her own way. The playboy shoots perfect golf by pretending he is the ball. And the country club loudmouth just doubled a $20,000 bet on a 10-foot putt. Insanity? No. Caddyshack. Chevy Chase, Rodney Dangerfield, Ted Knight and Bill Murray tee off for a side-splitting round of fairway foolishness that does for golf what Animal House did for college fraternities and Police Academy did for law enforcement.

Theatrical: 2006

Studio: First Look Pictures

Genre: Comedy

Duration: 92

Summary: A fanciful battle of the sexes ensues when the relationships of the staff and patrons of a quirky London café are unexpectedly turned upside down by sudden revelations of terribly embarrassing secrets having to do with their sexual misadventures.

Theatrical: 1998

Studio: Sony Pictures

Genre: Comedy

Duration: 101

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

Theatrical: 1995

Studio: MGM (Video & DVD)

Genre: Comedy

Duration: 91

Summary: The US economy is in a rut, and so is the president's approval rating. What we need is a good war, but the Russians aren't interested. Hey -- how about that big polite country to the north? Niagara Fall Sheriff Bud B. Boomer takes this all a bit too seriously, though.

Theatrical: 1996

Studio: TROMA ENTERTAINMENT INC.

Genre: Comedy

Duration: 96

Summary: Alferd Packer was the only man in the United States ever convicted of cannibalism--what better hero for fellow Coloradan and future "South Park" creator Trey Parker to celebrate in music? Blue-eyed and boyish Parker was still in college when he wrote, directed, composed the songs for, and took the starring role as the innocent young Packer in this film, giving a gee- whiz performance as an ambitious pioneer who joins an ill-fated trek west that ends up stranded in the mountains. At times resembling a perverse community theater parody of Rodgers and Hammerstein ("My heart's as full as a baked po-ta-to!"), Parker bounces back and forth between cheery production numbers and goony songs ("Let's build a snowman," sings one starving-mad hiker) and grotesque gore (bloody body parts, festering sores, human hors d'oeuvres). It lacks in style and consistency and the juvenile gags and fart jokes wear thin over the course of a feature film, but Parker's sheer energy and inventiveness carry the overlong picture to a rousing conclusion. Regular Parker collaborators Matt Stone and Dian Bachar costar in this tuneful barbecue. "--Sean Axmaker"

Theatrical: 2005

Studio: Sony Pictures

Genre: Drama

Duration: 114

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

Theatrical: 2006

Studio: Walt Disney Video

Genre: Kids & Family

Duration: 116

Summary: There's an extra coat of hot wax on Pixar's vibrant, NASCAR-influenced comedy about a world populated entirely by cars. Lightning McQueen (voiced by Owen Wilson) is the slick rookie taking the Piston Cup series by storm when the last race of the season (the film's high-octane opening) ends in a three-way tie. On the way to the tie-breaker race in California, Lightning loses his way off Route 66 in the Southwest desert and is taught to stop and smell the roses by the forgotten citizens of Radiator Springs. It's odd to have such a slim story from the whizzes of Pixar, and the film pales a bit from their other films (though can that be a fair comparison?). Nonetheless, "Cars" is another gleaming ride with Pixar founder John Lasseter, who's directing for the first time since "Toy Story 2". There's the usual spectrum of excellent characters teamed with appropriate voice talent, loads of smooth humor for kids and parents alike, knockout visuals, and a colorful array of sidekicks, including a scene-stealing baby blue forklift named Guido. Lightning's plight is changed with the help of former big-city lawyer Sally Carrera (Pixar veteran Bonnie Hunt), the town's patriarch Doc Hudson (Paul Newman), and kooky tow truck Mater (Larry the Cable Guy). "The Incredibles" was the first Pixar film to break the 100-minute barrier, but had enough story not to suffer; "Cars", at 116 minutes (including some must-see end credit footage), is not as fortunate, plus it never pierces the heart. Trivia fans should have bonanza with the frame-by-frame DVD function; the movie is stuffed with in-jokes, some appearing only for an instant. Ages 5 and up. "--Doug Thomas"

Theatrical: 1943

Studio: Warner Home Video

Genre: Drama

Duration: 103

Summary: A truly perfect movie, the 1942 "Casablanca" still wows viewers today, and for good reason. Its unique story of a love triangle set against terribly high stakes in the war against a monster is sophisticated instead of outlandish, intriguing instead of garish. Humphrey Bogart plays the allegedly apolitical club owner in unoccupied French territory that is nevertheless crawling with Nazis; Ingrid Bergman is the lover who mysteriously deserted him in Paris; and Paul Heinreid is her heroic, slightly bewildered husband. Claude Rains, Sydney Greenstreet, Peter Lorre, and Conrad Veidt are among what may be the best supporting cast in the history of Hollywood films. This is certainly among the most spirited and ennobling movies ever made. "--Tom Keogh"

Theatrical: 2006

Studio: Sony Pictures

Genre: Action & Adventure

Duration: 144

Summary: The most successful invigoration of a cinematic franchise since "Batman Begins, Casino Royale" offers a new Bond identity. Based on the Ian Fleming novel that introduced Agent 007 into a Cold War world, "Casino Royale" is the most brutal and viscerally exciting James Bond film since Sean Connery left Her Majesty's Secret Service. Meet the new Bond; not the same as the old Bond. Daniel Craig gives a galvanizing performance as the freshly minted double-0 agent. Suave, yes, but also a "blunt instrument," reckless, and possessed with an ego that compromises his judgment during his first mission to root out the mastermind behind an operation that funds international terrorists. In classic Bond film tradition, his global itinerary takes him to far-flung locales, including Uganda, Madagascar, the Bahamas (that's more like it), and Montenegro, where he is pitted against his nemesis in a poker game, with hundreds of millions in the pot. The stakes get even higher when Bond lets down his "armor" and falls in love with Vesper (Eva Green), the ravishing banker's representative fronting him the money.






























For longtime fans of the franchise, "Casino Royale" offers some retro kicks. Bond wins his iconic Astin-Martin at the gaming table, and when a bartender asks if he wants his martini "shaken or stirred," he disdainfully replies, "Do I look like I give a damn?" There's no Moneypenny or "Q," but Dame Judi Dench is back as the exasperated M, who one senses, admires Bond's "bloody cheek." A Bond film is only as good as its villain, and Mads Mikkelsen as Le Chiffre, who weeps blood, is a sinister dandy. From its punishing violence and virtuoso action sequences to its romance, "Casino Royale" is a Bond film that, in the words of one character, makes you feel it, particularly during an excruciating torture sequence. Double-0s, Bond observes early on, "have a short life expectancy." But with Craig, there is new life in the old franchise yet, as well as genuine anticipation for the next one when, at last, the signature James Bond theme kicks in following the best last line ever in any Bond film. To quote Goldie Hawn in "Private Benjamin", now I know what I've been faking all these years. "--Donald Liebenson "













Stills from " Casino Royale" (click for larger image)




























































Beyond "Casino Royale" on Amazon.com










On Blu-ray





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Why We Love Daniel Craig
















The Amazon.com James Bond Store








"Where Have I Seen Daniel Craig?"








"Bond on Set: Filming Casino Royale " Book

Theatrical: 2002

Studio: Dreamworks Video

Genre: Action & Adventure

Duration: 141

Summary: An enormously entertaining (if somewhat shallow) affair from blockbuster director Steven Spielberg. Leonardo DiCaprio stars as Frank Abagnale, Jr., a dazzling young con man who spent four years impersonating an airline pilot, a doctor, and a lawyer--all before he turned 21. All the while he's pursued by a dedicated FBI agent named Carl Hanratty (Tom Hanks), whose dogged determination stays one step behind Abagnale's spontaneous wits. Both DiCaprio and Hanks turn in enjoyable performances and the movie has a bouncy rhythm that keeps it zipping along. However, it never gets under the surface of Frank's drive to lose himself in other identities, other than a simplistic desire to please his father (Christopher Walken, excellent as always), nor does it explore the complex mechanics of fraud with any depth. By the movie's end, it feels like one of Frank's pilot uniforms--appearance without substance. "--Bret Fetzer"

Theatrical: 2001

Studio: Warner Home Video

Genre: Comedy

Duration: 87

Summary: How can you hate a movie that features ninja Siamese cats wreaking havoc with their kung fu prowess? That's one of the highlights in "Cats & Dogs", an effects-laden family film that mystifies cat fanciers by casting dogs as the undisputed heroes in all-out warfare with nefarious felines. Hidden headquarters and high-tech gadgets are featured on both sides of this age-old battle. On the feline side, the longhaired Persian Mr. Tinkles (voice of Sean Hayes) plots to sabotage the efforts of Professor Brody (Jeff Goldblum) to discover a cure for human allergies to dogs. On the canine side, stalwart shepherd Butch (voice of Alec Baldwin) trains the mistakenly recruited beagle puppy Lou (voice of Tobey Maguire) to foil Mr. Tinkles's scheme--a mission that begins when Mrs. Brody (Elizabeth Perkins) adopts Lou for her son Scott (Alexander Pollock).
Using combinations of live animals, animatronic puppets, and digital wizardry, "Cats & Dogs" has just enough imagination to match its effects, climaxing with a feline global-domination scheme involving mice sprayed with chemicals that will make all humans allergic to dogs. Goldblum and Perkins gamely play second fiddles to this menagerie of mayhem, and as madcap "realism" gives way to cartoonish fantasy, the movie escalates into utter chaos, burdened by lame jokes but highlighted by a furry supporting cast including a Saluki hound (voice of Susan Sarandon), a shaggy sheepdog (voice of Michael Clarke Duncan), and a Chinese hairless techno-geek named Peek (voice of Joe Pantoliano). Though never as charming as the "Babe" movies, "Cats & Dogs" is harmless fun--especially for dog lovers. "--Jeff Shannon"

Theatrical: 1998

Studio: Miramax

Genre: Comedy

Duration: 113

Summary: Woody Allen's portrait of the celebrity life--as seen through the eyes of a newly divorced couple--is a black-and-white, New York-style "La Dolce Vita" that's a chillier flip side to Allen's earlier New York valentine, "Manhattan". Despite a few missteps, though, it's an admirable (if dark) and worthy addition to the Allen pantheon. Kenneth Branagh and Judy Davis (both boasting American accents) star as the once-marrieds, each struggling to build new, separate lives in a media-saturated, celebrity-driven world. He tries his hands at celebrity profiles (while peddling a screenplay to any star that will listen) and falls into the lap of a bosomy starlet (Melanie Griffith), the first in a long line of briefly attainable women. She runs into a producer (Joe Mantegna) who offers her a job as a TV personality as well as a loving relationship. This seemingly simple double plot is punctuated with twists and turns in the form of flashbacks and innumerable side trips, all ravishingly photographed in black and white by the legendary Sven Nykvist, and populated by one of Allen's largest casts ever; if you blink you'll miss countless cameos by Isaac Mizrahi, Donald Trump, Hank Azaria, and a host of others.
While Davis is splendid as usual (aside from the requisite nervous breakdown scene she's done one too many times), somebody should have told Branagh to put a kibosh on his Woody Allen imitation, which is so impeccable as to become irritating. His failure in the role, however, isn't entirely his fault, as it's also another in a long line of unlikable male protagonists that Allen has created, as if daring audiences to hate his main characters after loving them in such movies as "Manhattan" and "Annie Hall". He's never more unlikable than in a painful sequence in which he tags along with a spoiled, temperamental teen idol (a shrewd and clever Leonardo DiCaprio) and proves himself the quintessential noodge. Far more enjoyable misadventures with Branagh include Charlize Theron in the film's best performance as a libidinous supermodel with a penchant for echinacea; a stunning Famke Janssen as a successful book editor Branagh almost moves in with; and Winona Ryder, acting like an adult for the first time, as an aspiring actress who catches Branagh's eye more than once. All manage to slip through Branagh's fingers by the end of the film.
Despite the film's lack of focus, Allen aficionados will want this film for at least two wonderful moments, one in which Davis seeks solace from a streetwise fortune teller after she's fleeing her own wedding, and a beautiful nighttime scene in which Branagh romances a captivated Ryder at a subway kiosk. Both episodes prove that Allen, despite the fitful period he's moved into, still has that movie magic. "--Mark Englehart"

Theatrical: 2003

Studio: Comedy Central

Genre: Comedy

Duration: 275

Summary: Dave Chappelle's shrewd parodies, stinging satires, and boldly imaginative fantasias simply pour from the second season of his Comedy Central show, in every respect as funny as his well-received debut year. The structure is the same: a relaxed Chappelle introduces each sketch to an enthusiastic, studio audience (some of these introductions amount to stand-up routines), and then the madness begins. Among the many highlights from the 13 episodes on this boxed set's three discs is a mock ad for Samuel L. Jackson beer, featuring Chappelle's hilarious impression of Jackson's stern, overbearing persona from "Pulp Fiction", and a dozen other features. Chappelle, considering a career in politics, floats a couple of trial campaign commercials, including one that promises to solve America's health care crisis by giving every citizen a fake Canadian I.D. Chappelle also suggests an effective program for teaching sexual abstinence to high school students: Forcing them to watch their principals have sex with the oldest female teachers on staff.
There's a good bit, too, about black soothsayer Negrodamus, whose ability to foresee events is limited to the fortunes of celebrities. Coming under fire (amusingly) are those McDonald's commercials suggesting that burger-flipping employment for African Americans can overhaul inner city communities. But, as with season 1, there are several masterpieces in this collection as well, such as Chappelle's vision of what the Internet would look like if it was a place you could actually, physically visit (with the equivalents of pop-up ads, porn sites, etc.). Equally inspired is a sketch in which a freeloading Chappelle, having impregnated the ultra-rich Oprah Winfrey, indulges his every whim. Best of all is Chappelle's take on what President Bush's administration would look like if the Chief Executive were, in fact, a black man. "--Tom Keogh"

Theatrical: 2003

Studio: Comedy Central

Genre: Comedy

Duration: 283

Summary: The 2003 debut of "Chappelle's Show" on Comedy Central marked a high point for the cable channel, and now the entire, wildly creative first season can be seen, with hundreds of bleeps removed. That's not to say "Chappelle's Show" is perfect entertainment: there are too many moments among the 12 episodes here that descend into pointless scatology and booty fever. But for the most part, Chappelle, a talented comic slowly growing into greatness, is trying to push the sketch-humor envelope and succeeds at surprising us with original concepts and merciless execution.
The merely clever material includes "National Geography's Third World Girls Gone Wild," basically an update on those topless-native-women gags of yore, and Chappelle's "Educated Guess Line," in which the sage comic eschews psychic powers to logically deduce racial insights from his callers' questions. Far more wicked is an in-your-face satire on such autobiographical film fare as "Antwone Fisher" and "8 Mile", in which Chappelle plays himself ascending from street hustler to rapper-comedian to bona fide savior of America. The best thing here, however, is a parallel-universe version of "The Real World", in which the usual racial proportions on MTV's workhorse series are reversed, thrusting a token white guy into a Hoboken houseful of crazy African Americans. There are also laughs in "Ask a Gay Guy with Mario Cantoned," as well as a sketch about an "inner-thoughts cam" and a nasty piece about Chappelle's Make-a-Wish visit to a dying child, which decays into a cruel video game competition. Overlooking the series' weaker material, this is outstanding television comedy. "--Tom Keogh"

Theatrical: 1963

Studio: Criterion

Genre: Comedy

Duration: 114

Summary: A trio of crooks relentlessly pursues a young American (Audrey Hepburn) through Paris for the fortune her dead husband stole from them. The only person she can trust is a suave, mysterious stranger (Cary Grant). A deliciously dark comedic thriller, Stanley Donen's "Charade" dazzles with style and macabre wit to spare. Unavailable for nearly three years, The Criterion Collection is proud to re-release this '60s spy classic in a gorgeous new
anamorphic transfer.

Theatrical: 2005

Studio:

Genre: Kids & Family

Summary: Mixed reviews and creepy comparisons to Michael Jackson notwithstanding, Tim Burton's splendidly imaginative adaptation of "Charlie and the Chocolate Factory" would almost surely meet with Roald Dahl's approval. The celebrated author of darkly offbeat children's books vehemently disapproved of 1971's "Willy Wonka and the Chocolate Factory" (hence the change in title), so it's only fitting that Burton and his frequent star/collaborator, Johnny Depp, should have another go, infusing the enigmatic candyman's tale with their own unique brand of imaginative oddity. Depp's pale, androgynous Wonka led some to suspect a partial riff on that most controversial of eternal children, Michael Jackson, but Burton's film is too expansively magnificent to be so narrowly defined. While preserving Dahl's morality tale on the hazards of indulgent excess, Burton's riotous explosion of color provides a wondrous setting for the lessons learned by Charlie Bucket (played by Freddie Highmore, Depp's delightful costar in "Finding Neverland"), as he and other, less admirable children enjoy a once-in-a-lifetime tour of Wonka's confectionary wonderland. Elaborate visual effects make this an eye-candy overdose (including digitally multiplied Oompa-Loompas, all played by diminutive actor Deep Roy), and the film's underlying weirdness is exaggerated by Depp's admirably risky but ultimately off-putting performance. Of course, none of this stops Burton's "Charlie" from being the must-own family DVD of 2005's holiday season, perhaps even for those who staunchly defend Gene Wilder's portrayal of Wonka from 34 years earlier. "--Jeff Shannon"

Theatrical: 2000

Studio: Sony Pictures

Genre: Action & Adventure

Duration: 99

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

Theatrical: 2003

Studio: Sony Pictures

Genre: Action & Adventure

Duration: 107

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

Theatrical: 1997

Studio: Criterion

Genre: Art House & International

Duration: 113

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

Theatrical: 2002

Studio: Miramax Home Entertainment

Genre: Musicals & Performing Arts

Duration: 113

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

Theatrical: 2007

Studio: Universal Studios

Genre: Action & Adventure

Duration: 110

Summary: Presenting a bleak, harrowing, and yet ultimately hopeful vision of humankind's not-too-distant future, "Children of Men" is a riveting cautionary tale of potential things to come. Set in the crisis-ravaged future of 2027, and based on the atypical 1993 novel by British mystery writer P.D. James, the anxiety-inducing, action-packed story is set in a dystopian England where humanity has become infertile (the last baby was born in 2009), immigration is a crime, refugees (or "fugees") are caged like animals, and the world has been torn apart by nuclear fallout, rampant terrorism, and political rebellion. In this seemingly hopeless landscape of hardscrabble survival, a jaded bureaucrat named Theo (Clive Owen) is drawn into a desperate struggle to deliver Kee (Clare-Hope Ashitey), the world's only pregnant woman, to a secret group called the Human Project that hopes to discover a cure for global infertility. As they carefully navigate between the battling forces of military police and a pro-immigration insurgency, Theo, Kee, and their secretive allies endure a death-defying ordeal of urban warfare, and director Alfonso Cuaron (with cinematographer Emmanuel Lubezki) capture the action with you-are-there intensity. There's just enough humor to balance the film's darker content (much of it coming from Michael Caine, as Theo's aging hippie cohort), and although "Children of Men" glosses over many of the specifics about its sociopolitical worst-case scenario (which includes Julianne Moore in a brief but pivotal role), it's still an immensely satisfying, pulse-pounding vision of a future that represents a frightening extrapolation of early 21st-century history. "--Jeff Shannon"

Theatrical: 2000

Studio: Miramax

Genre: Art House & International

Duration: 122

Summary: With movies like "Chocolat", it's always best to relax your intellectual faculties and absorb the abundant sensual pleasures, be it the heart-stopping smile of chocolatier Juliette Binoche as she greets a new customer, an intoxicating cup of spiced hot cocoa, or the soothing guitar of an Irish gypsy played by Johnny Depp. Adapted by Robert Nelson Jacobs from Joanne Harris's popular novel and lovingly directed by Lasse Hallström, the film covers familiar territory and deals in broad metaphors that even a child could comprehend, so it's no surprise that some critics panned it with killjoy fervor. Their objections miss the point. Familiarity can be comforting and so can easy metaphors when placed in a fable that's as warmly inviting as this one.
Driven by fate, Vianne (Binoche) drifts into a tranquil French village with her daughter Anouk (Victoire Thivisol, from "Ponette") in the winter of 1959. Her newly opened chocolatier is a source of attraction and fear, since Vianne's ability to revive the villagers' passions threatens to disrupt their repressive traditions. The pious mayor (Alfred Molina) sees Vianne as the enemy, and his war against her peaks with the arrival of "river rats" led by Roux (Depp), whose attraction to Vianne is immediate and reciprocal. Splendid subplots involve a battered wife (Lena Olin), a village elder (Judi Dench), and her estranged daughter (Carrie-Anne Moss), and while the film's broader strokes may be regrettable (if not for Molina's rich performance, the mayor would be a caricature), its subtleties are often sublime. "Chocolat" reminds you of life's simple pleasures and invites you to enjoy them. "--Jeff Shannon"

Theatrical: 1983

Studio: Warner Home Video

Genre: Comedy

Duration: 93

Summary: This delightfully funny holiday gem tells the story of Ralphie Parker (Peter Billingsly) a 1940's nine-year-old who pulls out all the stops to obtain the ultimate Christmas present.

Theatrical: 1989

Studio: Warner Home Video

Genre: Comedy

Duration: 97

Summary: You know exactly what you're getting in "National Lampoon's Christmas Vacation": another goofball, slapstick comedy of chaos and catastrophe with Clark Griswold (Chevy Chase) and family. This time, there's no traveling involved: Clark and Ellen (Beverly D'Angelo) prepare for a nice Christmas with the kids (played by none other than Juliette Lewis and "Roseanne" star Johnny Galecki), when their home is invaded by backwoods cousin Eddie (Randy Quaid) and his brood, along with assorted other crazy and/or stuffy relatives. Complications, of course, are inevitable. The film is preceded by "National Lampoon's Vacation" (1983) and "National Lampoon's European Vacation" (1985) and followed by "National Lampoon's Vegas Vacation" (1997). Directed by Jeremiah Chechik, who went on to do "Benny & Joon" and the Sharon Stone remake of "Diabolique". "--Jim Emerson"

Theatrical: 2005

Studio: Buena Vista Home Entertainment / Disney

Genre: Action & Adventure

Duration: 135

Summary: C.S. Lewis's classic novel "The Lion, the Witch, and the Wardrobe" makes an ambitious and long-awaited leap to the screen in this modern adaptation. It's a CGI-created world laden with all the special effects and visual wizardry modern filmmaking technology can conjure, which is fine so long as the film stays true to the story that Lewis wrote. And while this film is not a literal translation--it really wants to be so much more than just a kids' movie--for the most part it is faithful enough to the story, and whatever faults it has are happily faults of overreaching, and not of holding back. "The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe" tells the story of the four Pevensie children, Lucy, Peter, Edmund, and Susan, and their adventures in the mystical world of Narnia. Sent to the British countryside for their own safety during the blitz of World War II, they discover an entryway into a mystical world through an old wardrobe. Narnia is inhabited by mythical, anthropomorphic creatures suffering under the hundred-year rule of the cruel White Witch (Tilda Swinton, in a standout role). The arrival of the children gives the creatures of Narnia hope for liberation, and all are dragged into the inevitable conflict between evil (the Witch) and good (Aslan the Lion, the Messiah figure, regally voiced by Liam Neeson).
Director (and co-screenwriter) Andrew Adamson, a veteran of the "Shrek" franchise, knows his way around a fantasy-based adventure story, and he wisely keeps the story moving when it could easily become bogged down and tiresome. Narnia is, of course, a Christian allegory and the symbology is definitely there (as it should be, otherwise it wouldn't be the story Lewis wrote), but audiences aren't knocked over the head with it, and in the hands of another director it could easily have become pedantic. The focus is squarely on the children and their adventures. The four young actors are respectable in their roles, especially considering the size of the project put on their shoulders, but it's the young Georgie Henley as the curious Lucy who stands out. This isn't a film that wildly succeeds, and in the long run it won't have the same impact as the "Harry Potter" franchise, but it is well done, and kids will get swept up in the adventure. Note: "Narnia" does contain battle scenes that some parents may consider too violent for younger children. "--Dan Vancini"

Theatrical: 1950

Studio: Walt Disney Home Entertainment

Genre: Kids & Family

Duration: 76

Summary: Worry not, Disney fans--this special edition DVD of the beloved "Cinderella" won't turn into a pumpkin at the strike of midnight. One of the most enduring animated films of all time, the Disney-fied adaptation of the gory Brothers Grimm fairy tale became a classic in its own right, thanks to some memorable tunes (including "A Dream Is a Wish Your Heart Makes," "Bibbidi-Bobbidi-Boo," and the title song) and some endearingly cute comic relief.
The famous slipper (click for larger image) We all know the story--the wicked stepmother and stepsisters simply won't have it, this uppity Cinderella thinking she's going to a ball designed to find the handsome prince an appropriate sweetheart, but perseverance, animal buddies, and a well-timed entrance by a fairy godmother make sure things turn out all right. There are a few striking sequences of pure animation--for example, Cinderella is reflected in bubbles drifting through the air--and the design is rich and evocative throughout. It's a simple story padded here agreeably with comic business, particularly Cinderella's rodent pals (dressed up conspicuously like the dwarf sidekicks of another famous Disney heroine) and their misadventures with a wretched cat named Lucifer. There's also much harrumphing and exposition spouting by the King and the Grand Duke. It's a much simpler and more graceful work than the more frenetically paced animated films of today, which makes it simultaneously quaint and highly gratifying. "--David Kronke"
DVD Features
For another of its classic films, Disney delivers another dazzling DVD with a gorgeous, razor-sharp picture and 5.1 sound. (Note: the 1949 film is properly presented in full-screen format, 1.33 aspect ratio, because widescreen films weren't made until the '50s.) The best part of the supplemental features is the archival material, the absolute highlight of which is two unused songs, "Cinderella's Work Song" (in which Cinderella imagines multiplying herself à la the Sorcerer's Apprentice) and "Dancing on a Cloud."
Bippity-boppity-boo! (click for larger image) Because these numbers were never animated, they're accompanied by stylish illustrations from the Disney artists, and they're simply marvelous to look at. The artist of much of that material, Mary Blair, gets her due in a 15-minute featurette, while the better known "Nine Old Men" are the subject of a round-table discussion among some of today's top animators. In addition, a 38-minute documentary covers their contributions to specific characters of "Cinderella" as well as the film in general and the vocal cast. Also on the historical side is "The "Cinderella" That Almost Was," tracking the development of the project through decades of original Disney concepts, characters, and songs, including the 1922 silent "Laugh-o-Gram," which is also included in its entirety.
The pumpkin transformed (click for larger image)
Additional musical material includes three radio programs and a short promo of the movie by Perry Como, in which he summarizes the plot amid some songs by the Fontaine Sisters, star Ilene Woods, and the host himself. Seven other unused songs (17 minutes total) are available in audio-only. The material for kids is on the sparse side, consisting of two music videos, Disney Channel personality Sally (from "Mike's Super Short Show") learning how to become a princess with the help of the "Extreme Makeover: Home Edition" crew and others, a minor dancing-princess feature, and a DVD-ROM design studio. Oddest extra: ESPN's "top Cinderella stories," including the 1980 U.S. Olympic hockey team and Joe Namath's New York Jets, although stories on Mia Hamm and tennis's Williams sisters should appeal to the film's primary target audience of young girls. "--David Horiuchi"
"Cinderella" Throughout the Years
"Rodgers & Hammerstein's Cinderella" (1957 Television Production)
"Rodgers & Hammerstein's Cinderella" (1965)
"The Slipper and the Rose" (1976)
"Faerie Tale Theatre - Cinderella "(1982)
"Rodgers & Hammerstein's Cinderella" (1997)
"Ever After - A Cinderella Story"(1998)

Theatrical: 1998

Studio: Warner Home Video

Genre: Drama

Duration: 114

Summary: Some critics complained that "City of Angels" could never compare to Wim Wenders's exquisite German film "Wings of Desire", which served as the later film's primary inspiration. The better argument to make is that any such comparisons are beside the point, because "Wings of Desire" was a much more deeply poetic, artfully contemplative film, whereas "City of Angels" is an enchanting product of mainstream Hollywood. Meg Ryan stars as Dr. Maggie Rice, a heart surgeon who is grieving over a lost patient when an angel named Seth (Nicolas Cage) appears to comfort her. She can see him despite the "rule" that angels are invisible, and Seth's love for Maggie forces him to choose between angelic immortality and a normal human existence on earth with her. Featuring heavenly roles for TV veterans Andre Braugher and Dennis Franz, the film liberally borrows imagery from "Wings of Desire", but it also creates its own charming identity. Cage and Ryan give fine performances as lovers convinced they are soul mates, and although the plot relies on a last-minute twist that doesn't quite work, this earnest love story struck a chord with audiences and proved to be one of the surprise hits of 1998. The Special Edition widescreen DVD includes audio commentary by Nicolas Cage, producer Charles Roven, and director Brad Silberling in addition to deleted scenes, a behind-the-scenes documentary, a featurette about the film's special effects, and the theatrical trailer. "--Jeff Shannon"

Theatrical: 2002

Studio: Miramax Films

Genre: Art House & International

Duration: 130

Summary: Like cinematic dynamite, "City of God" lights a fuse under its squalid Brazilian ghetto, and we're a captive audience to its violent explosion. The titular "favela" is home to a seething army of impoverished children who grow, over the film's ambitious 20-year timeframe, into cutthroat killers, drug lords, and feral survivors. In the vortex of this maelstrom is L'il Z (Leandro Firmino da Hora--like most of the cast, a nonprofessional actor), self-appointed king of the dealers, determined to eliminate all competition at the expense of his corrupted soul. With enough visual vitality and provocative substance to spark heated debate (and box-office gold) in Brazil, codirectors Fernando Meirelles and Kátia Lund tackle their subject head on, creating a portrait of youthful anarchy so appalling--and so authentically immediate--that "City of God" prompted reforms in socioeconomic policy. It's a bracing feat of stylistic audacity, borrowing from a dozen other films to form its own unique identity. You'll flinch, but you can't look away. "--Jeff Shannon"

Theatrical: 1995

Studio: Sony Pictures

Genre: Art House & International

Duration: 112

Summary: The fantastic visions of Belgian filmmakers Marc Caro and Jean-Pierre Jeunet find full fruition in this fairy tale for adults. Evoking utopias and dystopias from "Brazil" to "Peter Pan", Caro and Jeunet create a vivid but menacing fantasy city in a perpetually twilight world. In this rough port town lives circus strongman One (Ron Perlman), who wanders the alleys and waterfront dives looking for his baby brother, snatched from him by a mysterious gang preying upon the children of the town. Rising from the harbor is an enigmatic castle where lives the evil scientist Krank (Daniel Emilfork), who has lost the ability to dream and robs the nocturnal visions of the children he kidnaps, but receives only mad nightmares from the lonely cherubs. Other wild characters include the Fagin-like Octopus--Siamese twin sisters who control a small gang of runaways-turned-thieves--Krank's six cloned henchmen (all played by the memorable Dominique Pinon from "Delicatessen"), and a giant brain floating in an aquarium (voiced by Jean-Louis Trintignant). Caro and Jeunet are kindred souls to Terry Gilliam (who is a vocal fan), creating imaginative flights of fancy built of equal parts delight and dread, which seem to be painted on the screen in rich, dreamy colors. "--Sean Axmaker"

Theatrical: 1980

Studio: Blue Underground

Genre: Horror

Duration: 93

Summary: In the small New England town of Dunwich, a priest commits suicide by hanging himself in the church cemetary which somehow opens the gates of hell allowing the dead to rise. Peter, a New York City reporter, teams up with a young psychic, named Mary, to travel to the town where they team up with another couple, psychiatrist Jerry and patient Sandra, to find a way to close the gates before All Saints Day or the dead all over the world will rise up and kill the living.

Theatrical: 2002

Studio: Ventura Distribution

Genre: Action

Duration: 54

Summary:

Theatrical: 2001

Studio: Ventura Distribution

Genre: Sports

Duration: 90

Summary: If you like your humor down and dirty--or just plain juvenile and scatological--then you'll want to see "CKY2K", which served in part as inspiration for MTV's "Jackass". The title stands for "Camp Kill Yourself 2000," and ringleaders Bam Margera and Brandon DiCamillo prove there's nothing they won't do for a laugh, whether it means destroying a rental car, riding furniture tied behind moving vehicles, or performing "Candid Camera"-style practical jokes. For good measure, you get lots of footage of Bam and buddies doing skateboard tricks as well as their bizarre trip to Iceland (where, at one point, they heckle the house of rock star Bjork). Extra features include raunchy bits that just as easily could have been part of the main menu and a pair of thrash-metal music videos with the "CKY2K" sensibility. "--Marshall Fine"

Theatrical: 1994

Studio: Miramax

Genre: Comedy

Duration: 92

Summary: Before Kevin Smith became a Hollywood darling wit