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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Doug Liman Widescreen/ Blu-Ray PG 13. Jumper

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

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

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

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

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

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

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

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

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

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

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

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

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

Two disc set- two all new workouts!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Halloween is as pure and undiluted as its title. In the small town of Haddonfield, Illinois, a teenage baby sitter tries to survive a Halloween night of relentless terror, during which a knife-wielding maniac goes after the town's hormonally charged youths. Director John Carpenter takes this simple situation and orchestrates a superbly mounted symphony of horrors. It's a movie much scarier for its dark spaces and ominous camera movements than for its explicit bloodletting (which is actually minimal). Composed by Carpenter himself, the movie's freaky music sets the tone; and his script (cowritten with Debra Hill) is laced with references to other horror pictures, especially Psycho. The baby sitter is played by Jamie Lee Curtis, the real-life daughter of Psycho victim Janet Leigh; and the obsessed policeman played by Donald Pleasence is named Sam Loomis, after John Gavin's character in Psycho. In the end, though, Halloween stands on its own as an uncannily frightening experience—it—it's one of those movies that had audiences literally jumping out of their seats and shouting at the screen. ("No! Don't drop that knife!") Produced on a low budget, the picture turned a monster profit, and spawned many sequels, none of which approached the 1978 original. Curtis returned for two more installments: 1981's dismal Halloween II, which picked up the story the day after the unfortunate events, and 1998's occasionally gripping Halloween H20, which proved the former baby sitter was still haunted after 20 years. —Robert Horton

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Transplanted from England to the not-so-mean streets of Chicago, the screen adaptation of Nick Hornby's cult-classic novel High Fidelity emerges unscathed from its Americanization, idiosyncrasies intact, thanks to John Cusack's inimitable charm and a nimble, nifty screenplay (cowritten by Cusack). Early-thirtysomething Rob Gordon (Cusack) is a slacker who owns a vintage record shop, a massive collection of LPs, and innumerable top-five lists in his head. At the opening of the film, Rob recounts directly to the audience his all-time top-five breakups—which doesn't include his recent falling out with his girlfriend Laura (Iben Hjejle), who has just moved out of their apartment. Thunderstruck and obsessed with Laura's desertion (but loath to admit it), Rob begins a quest to confront the women who instigated the aforementioned top-five breakups to find out just what he did wrong.

Low on plot and high on self-discovery, High Fidelity takes a good 30 minutes or so to find its groove (not unlike Cusack's Grosse Pointe Blank), but once it does, it settles into it comfortably and builds a surprisingly touching momentum. Rob is basically a grown-up version of Cusack's character in Say Anything (who was told "Don't be a guy—be a man!"), and if you like Cusack's brand of smart-alecky romanticism, you'll automatically be won over (if you can handle Cusack's almost-nonstop talking to the camera). Still, it's hard not to be moved by Rob's plight. At the beginning of the film he and his coworkers at the record store (played hilariously by Jack Black and Todd Louiso) seem like overgrown boys in their secret clubhouse; by the end, they've grown up considerably, with a clear-eyed view of life. Ably directed by Stephen Frears (Dangerous Liaisons), High Fidelity features a notable supporting cast of the women in Rob's life, including the striking, Danish-born Hjejle, Lisa Bonet as a sultry singer-songwriter, and the triumphant triumvirate of Lili Taylor, Joelle Carter, and Catherine Zeta-Jones as Rob's ex-girlfriends. With brief cameos by Tim Robbins as Laura's new, New Age boyfriend and Bruce Springsteen as himself. —Mark Englehart

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

One Night Only (DTS)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

TRACK LISTINGS:

1. Super Freak

2. Give It To Me Baby

3. Standing On The Top

4. Ebony Eyes

5. Glow

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

Read our interview with Frank Miller.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

More Rent

Movie soundtrack

Original Broadway cast recording

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

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

WWE Legends presents The American Dream: The Dusty Rhodes Story

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Beyond Van Wilder 2: The Rise of Taj

More National Lampoon Movies

More from Kal Penn

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

Stills from Van Wilder 2: The Rise of Taj

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

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

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

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

Beyond Blades of Glory

More "Blades" on DVD

More DVDs with Will Ferrell

The Soundtrack

Stills from Blades of Glory (click for larger image)

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

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

DVD Features: 

Audio Commentary

Featurette

Interviews

Other

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

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

More Than Meets the Eye

The Original Movie

Transformers Mania

The Soundtrack

Transformers Image Gallery (click for larger image)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

QUID PRO QUO (DVD MOVIE)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Brad Armstrong

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

John Mallory Asher

John Bacchus

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

Ralph Bakshi

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Beyond Black Snake Moan

The Soundtrack

More Music Stars on DVD

More DVDs with Samuel L. Jackson

Stills from Black Snake Moan (click for larger image)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Beyond Borat

All things Sacha Baron Cohen

Borat Apparel

Borat Soundtrack

Stills from Borat (click for larger image)

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

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

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

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

Jim Clark (II)