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

Studio: Emi Music Distribution Release Date: 01/25/2006

A big-budget summer epic with money to burn and a scale worthy of its golden Hollywood predecessors, Ridley Scott's Gladiator is a rousing, grisly, action-packed epic that takes moviemaking back to the Roman Empire via computer-generated visual effects. While not as fluid as the computer work done for, say, Titanic, it's an impressive achievement that will leave you marveling at the glory that was Rome, when you're not marveling at the glory that is Russell Crowe. Starring as the heroic general Maximus, Crowe firmly cements his star status both in terms of screen presence and acting chops, carrying the film on his decidedly non-computer-generated shoulders as he goes from brave general to wounded fugitive to stoic slave to gladiator hero. Gladiator's plot is a whirlwind of faux-Shakespearean machinations of death, betrayal, power plays, and secret identities (with lots of faux-Shakespearean dialogue ladled on to keep the proceedings appropriately "classical"), but it's all briskly shot, edited, and paced with a contemporary sensibility. Even the action scenes, somewhat muted but graphic in terms of implied violence and liberal bloodletting, are shot with a veracity that brings to mind—believe it or not—Saving Private Ryan, even if everyone is wearing a toga. As Crowe's nemesis, the evil emperor Commodus, Joaquin Phoenix chews scenery with authority, whether he's damning Maximus's popularity with the Roman mobs or lusting after his sister Lucilla (beautiful but distant Connie Nielsen); Oliver Reed, in his last role, hits the perfect notes of camp and gravitas as the slave owner who rescues Maximus from death and turns him into a coliseum star. Director Scott's visual flair is abundantly in evidence, with breathtaking shots and beautiful (albeit digital) landscapes, but it's Crowe's star power that will keep you in thrall—he's a true gladiator, worthy of his legendary status. Hail the conquering hero! —Mark Englehart

A college professor who's been divorced three times and hasn't been able to overcome writer's block, gets his boss's wife, the college chancellor, pregnant.
Genre: Feature Film-Drama
Rating: R
Release Date: 8-AUG-2006
Media Type: DVD

Russian sniper, Vassili Zaitsev becomes a hero fighting the Nazis during the battle of Stalingrad, and comes face to face with Major Konig, a Nazi sniper bent on stopping him.
Genre: Feature Film-Drama
Rating: R
Release Date: 29-DEC-2004
Media Type: DVD

A sweet natured man with an IQ of 70 personally experiences all of the important events of three decades of American life.
No Track Information Available
Media Type: DVD
Artist: HANKS/FIELD/WRIGHT/WILLIAMSON/
Title: FORREST GUMP
Street Release Date: 08/28/2001
Domestic
Genre: DRAMA

Inspired by the popular video game franchise, Hironobu Sakaguchi's Final Fantasy: The Spirits Within is a completely computer-generated film which, unlike Toy Story and Shrek, is also a serious science fiction drama with astonishingly human digital actors. Aki, the female lead, appeared in a full-page spread in Maxim magazine's Hot 100 list—and was indistinguishable from the real-life models. The setting and conflict make for incredible action, but it's the larger issues, character interaction and human elements that really make the movie shine. The Spirits Within is not simply a science fiction movie, in the same way that Crouching Tiger, Hidden Dragon is not simply a kung-fu flick. The result is a fantastic summer movie with better action and more emotion than Pearl Harbor and actors more lifelike than those in that other video game movie, Tomb Raider.—Mike Fehlauer, Amazon.com

On the DVD: disc one includes an interesting, if a little flat, director's commentary. Better is the isolated score with a superb and fascinating commentary from composer Elliot Goldenthal. Other options allow you to access more information about the film. The menus are clear and feature full CGI effects and specially created sequences. Disc two is where you will find the real meat, with literally hours of documentaries and technical promos to plough through covering every aspect of the filmmaking process, along with music videos and an alternative opening sequence. You can re-edit a short sequence from the film and there's also a wealth of DVD-ROM material offering the complete screenplay and an interesting tour of Square Pictures, makers of the film. Features like the FHM-style photo shoot of CGI heroine Aki give an indication of the target audience for this movie. Add all this extra material to the superb picture quality—which almost leaves you convinced that you are watching a live action movie—and crystal sharp sound and you have one of the most technically impressive discs to hit the market so far. Any DVD buff will need this just to prove that the format is a worthwhile investment.—Jon Weir

The Beatles Anthology was initially broadcast as a TV miniseries to run alongside the series of three Anthology double-CD albums. This set of eight documentaries has the heft and scope of one of Ken Burns' expansive projects. Still, you may find yourself with more material—particularly about the Beatles' early lives as lads in Liverpool—than you'll want to watch. The documentary material is copious, including early performance films and tapes, at the point before they found their true voices. The actual Beatlemania years—beginning in 1963 and concluding in 1970—feature extensive performance films, as well as home movies and archival material. The best parts, of course, are the interviews with the Beatles themselves, who produced the entire thing. Along with reworking two previously unreleased John Lennon tracks as "new Beatles songs", the Anthology includes some unseen Lennon interview tapes so that his acerbic voice can be heard as well. This stands as a comprehensive document of that heady period, the second coming of rock & roll, as the Beatles took what Elvis had started and expanded upon it exponentially. This box set gives a solid sense of the historical context and the way these four musicians changed the world around them in the 1960s. —Marshall Fine

Story of Frank Abagnale Jr., a young con artists who passes himself off as a pilot, doctor, lawyer, and cashes in millions of dollars of fraudulent checks, with the FBI hot on his trail.
Genre: Feature Film-Comedy
Rating: PG13
Release Date: 10-APR-2007
Media Type: DVD

Donnie Darko is a thought-provoking, touching and distinctive offering from relative newcomer, Richard Kelly (II). It's 1988 in small-town America and Donnie, a disturbed teenager on medication and undergoing psychoanalysis for his blackouts and personality disorders, is being visited by a being in a rabbit suit whom he calls Frank. It's this anti-Harvey that saves Donnie from being crushed to death when an airplane engine falls from the sky onto his house. This is the beginning of their escalating relationship, which, as Donnie follows Frank's instructions, becomes increasingly violent and destructive. Added to this is Frank's warning of the impending apocalypse and Donnie's realisation that he can manipulate time, leading to a startling denouement where nearly everything becomes clear.

"Nearly everything", because Donnie Darko is a darkly comic, surreal journey in which themes of space, time and morality are interwoven with a classic coming-of-age story of a teenage boy's struggle to understand the world around him. The film leaves the viewer with more questions than it answers, but then that's part of its charm. Performances are superb: Jake Gyllenhaal underplays the mixed-up kid role superbly and Donnie's episodes of angst positively erupt out of the screen. There are also some starry cameos from Mary McDonnell as Donnie's long-suffering mother, Patrick Swayze as Jim Cunningham, the personal-development guru with a terrible secret, and Noah Wyle and Drew Barrymore as Donnie's progressive teachers. Undoubtedly too abstruse for some tastes, Donnie Darko's balance of outstanding performances with intelligent dialogue and a highly inventive story will reward those looking for something more highbrow than the average teenage romp. —Kristen Bowditch

After narrowly escaping the horrors of the underground Hive facility Alice (Milla Jovovich) is quickly thrust back into a war raging above ground between the living and the Undead. As the city is locked down under quarantine Alice joins a small band of elite soldiers led by Valentine (Sienna Guillory Love Actually) and Carlos (Oded Fehr The Mummy Returns) enlisted to rescue the missing daughter of Dr. Ashford the creator of the mutating T-virus. It s a heart-pounding race against time as the group faces off against hordes of blood- thirsty zombies stealthy Lickers mutant canines and the most sinister foe yet. Written and produced by the visionary director of Resident Evil Paul W. S. Anderson (Alien Vs. Predator) and directed by Alexander Witt RESIDENT EVIL: Apocalypse is a superior sci-fi suspense sequel.System Requirements:Running Time: 94 Min.Format: DVD MOVIE Genre: ACTION/ADVENTURE Rating: R UPC: 043396037953 Manufacturer No: 03795

Fairy tales come vividly to life in The Brothers Grimm, a long-delayed fantasy/horror comedy that greatly benefits from the ingenuity of director Terry Gilliam. In lesser hands, the ambitious screenplay by prolific horror specialist Ehren Kruger (who wrote the American versions of The Ring and The Ring 2) might have turned into an erratic monster mash like Van Helsing. But Gilliam's maverick sensibility makes the film more closely comparable to Tim Burton's Sleepy Hollow and Neil Jordan's The Company of Wolves, with the added benefit of impressive CGI effects and lavish (though cost-efficient) production design, making the most of a challenging $75 million budget. Kruger's clever conceit is to turn "folklore collectors" Wilhem and Jacob Grimm (Matt Damon and Heath Ledger, respectively) into 19th-century con artists who perform bogus exorcisms of "evil enchantments" while traveling from village to village in French-occupied Germany. The two soon find themselves ensnared in a genuinely supernatural crisis involving the curse of the Mirror Queen (Monica Bellucci) and such fantastical marvels as the Big Bad Wolf, the Gingerbread Man, and a host of other truly enchanted (and not altogether friendly) flora and fauna. It's kind of a mess, switching from over-the-top humor (mostly from Peter Stormare as a manic villain) to serious fantasy involving the beautiful Angelika (Lena Headey), who proves to be the Grimm Brothers' most reliable ally. And like many of Gilliam's films, Grimm suffered from production delays (during which Gilliam filmed Tideland), distributor fallout, and several changes in its theatrical release date, but none of these issues prevent the film from being a welcomed addition to Gilliam's remarkable list of credits. —Jeff Shannon

Academy Award-winners Cate Blanchett Geoffrey Rush and Richard Attenborough lead a distinguished cast in Elizabeth - the critically acclaimed epic of the Queen's turbulent and treacherous rise to power!Before the Golden Age Elizabeth was a passionate and na ve girl who came to reign over a land divided by bloody turmoil. Amidst palace intrigues and attempted assassinations the young Queen is forced to become a cunning strategist while weighing the counsel of her mysterious advisors thwarting her devious rivals and denying her own desires for the good of her country.Relive the majesty and drama of one of history's greatest monarchs in this stunning production that was honored with 7 Academy Award nominations including Best Picture!System Requirements:Running Time: 124 Mins.Format: DVD MOVIE Genre: DRAMA Rating: R UPC: 025195015455 Manufacturer No: 61101937

Underworld

Underneath the city streets, amid the labyrinth of subway tunnels and gothic ruins, the two most notorious creatures of the night are embroiled in an all-out war that has been going on for centuries. It is the culmination of a blood-thirsty battle between the vampires and their mortal enemies, the werewolves. Stars: Kate Beckinsale (Pearl Harbor, My Life Without Me), Scott Speedman (My Life Without Me, TV's Felicity).

 

Underworld: Evolution

The saga continues as the battle rages on between the death dealers (vampires) & the lycans (werewolves) in this fast-paced modern-day tale of deadly action ruthless intrigue & forbidden love all leading to the battle to end all wars as the immortals finally face their retribution.

 

Underworld: Rise of the Lycans

Underworld: Rise of the Lycans delves into the origins of the centuries-old blood feud between the aristocratic vampires, known as Death Dealers, and the barbaric Lycans (werewolves). A young Lycan, Lucian (Michael Sheen), emerges as a powerful leader who rallies the werewolves to rise up against Viktor (Bill Nighy), the cruel vampire king who has persecuted them for hundreds of years. Lucian is joined by his secret lover, the beautiful vampire Sonja (Rhona Mitra), in his battle to free the Lycans from their brutal enslavement.

Paul W.S. Anderson Something rotten is brewing beneath the industrial mecca known as Raccoon City. Unknown to its millions of residents a huge underground bioengineering facility known as The Hive has accidentally unleashed the deadly and mutating T-virus killing all of its employees. To contain the leak the governing supercomputer Red Queen has sealed all entrances and exits. Now a team of highly-trained super commandos including Rain (Michelle Rodriguez - The Fast and the Furious Girlfight) Alice (Milla Jovovich - The Fifth Element) and Matt (Eric Mabius - Cruel Intentions) must race to penetrate The Hive in order to isolate the T-virus before it overwhelms humanity. To do so they must get past the Red Queen's deadly defenses face the flesh-eating undead employees fight killer mutant dogs and battle The Licker a genetically mutated savage beast whose strength increases with each of its slain victims.System Requirements:Running Time: 100 Min.Format: DVD MOVIE Genre: ACTION/ADVENTURE Rating: R UPC: 043396015340 Manufacturer No: 01534

Jean-Jacques Annaud If it hadn't been for Brad Pitt signing on to play the lead role of obsessive Austrian mountain climber Heinrich Harrer, there's a good chance this lavish $70 million film would not have been made. It was one of two films from 1997 (the other being Martin Scorsese's exquisite Kundun) to view the turmoil between China and Tibet through the eyes of the young Dalai Lama. But with Pitt onboard, this adaptation of Harrer's acclaimed book focuses more on Harrer, a Nazi party member whose life was changed by his experiences in Tibet with the Dalai Lama. Having survived a treacherous climb on the challenging peak of Nanga Parbat and a stint in a British POW camp, Harrer and climbing guide Peter Aufschnaiter (nicely played by David Thewlis) arrive at the Tibetan city of Lhasa, where the 14-year-old Dalai Lama lives as ruler of Tibet. Their stay is longer than either could have expected (the "seven years" of the title), and their lives are forever transformed by their proximity to the Tibetan leader and the peaceful ways of the Buddhist people. China looms over the land as a constant invasive threat, but Seven Years in Tibet is more concerned with viewing Tibetan history through the eyes of a visitor. The film is filled with stunning images and delightful moments of discovery and soothing, lighthearted spirituality, and although he is somewhat miscast, Pitt brings the requisite integrity to his central role. What's missing here is a greater understanding of the young Dalai Lama and the culture of Tibet. Whereas Kundun tells its story purely from the Dalai Lama's point of view, Seven Years in Tibet is essentially an outsider's tale. The result is the feeling that only part of the story's been told here—or maybe just the wrong story. But Harrer's memoir is moving and heartfelt, and director Jean-Jacques Annaud has effectively captured both sincerity and splendor in this flawed but worthwhile film. —Jeff Shannon

Jean-Jacques Annaud From the novel of the same namewhich has sold over one million copies in 43 languagesthis "sophisticated adaptation of Marguerite Duras' best-selling memoirs" (Variety) smolders on the screen. "Masterfully acted and beautifully photographed" (Critics' Choice), The Lover brilliantly captures the essence of sexual awakening and forbidden desire like no other film has donebeforeor since. Jane March is mesmerizing in the role of a poor French teenager who engages in an illicit affair with a wealthy Chinese heir (Tony Leung) in 1920s Saigon. For the first time in her young life she has control, and she wields it deftly over her besotted lover throughout a series of clandestine meetings and torrid encounters. But though the lovers are able to transcend their differences in age, race and class'theirs is a future that French colonial Vietnamese society will never allow.

Jean-Jacques Annaud Jean-Jacques Annaud's The Name of the Rose is a flawed attempt to adapt Umberto Eco's highly convoluted medieval bestseller for the screen, necessarily excising much of the esoterica that made the book so compelling. Still, what's left is a riveting whodunit set in a grimly and grimily realistic 14th-century Benedictine monastery populated by a parade of grotesque characters, all of whom spend their time lurking in dark places or scuttling, half-unseen, in the omnipresent gloom. A series of mysterious and gruesome deaths are somehow tied up with the unwelcome attention of the Inquisition, sent to root out suspected heretical behavior among the monastic scribes whose lives are dedicated to transcribing ancient manuscripts for their famous library, access to which is prevented by an ingenious maze-like layout.

Enter Sean Connery as investigator-monk William of Baskerville (the Sherlock Holmes connection made explicit in his name) and his naive young assistant Adso (a youthful Christian Slater). The Grand Inquisitor Bernado Gui (F. Murray Abraham) suspects devilry; but William and Adso, using Holmesian forensic techniques, uncover a much more human cause: the secrets of the library are being protected at a terrible cost. A fine international cast and the splendidly evocative location compensate for a screenplay that struggles to present Eco's multifaceted story even partially intact; Annaud's idiosyncratic direction complements the sinister, unsettling aura of the tale ideally. —Mark Walker

Michael Apted Codebreaking is an inherently fascinating but not especially cinematic endeavour, which is why Enigma spices up the true story of Bletchley Park and its eclectic group of Nazi code-cracking geniuses with some fictional romance and intrigue. Dougray Scott plays gaunt mathematician Tom Jericho, haunted by the spectre of his missing girlfriend Claire (self-consciously gorgeous Saffron Burrows). Tom turns to Claire's frumpy housemate Hester Wallace (dressed-down Kate Winslet) to help him find her, but their search unexpectedly reveals the presence of a spy at Bletchley Park. Matters are further complicated by an investigating secret service agent (imperturbable Jeremy Northam) and the hostility of Jericho's superiors.

Based on the novel by Robert Harris and adapted for the screen by Tom Stoppard, Enigma is unsurprisingly a literate and accomplished piece, unfussily directed by Michael Apted who keeps the various current and flashback story threads moving neatly in parallel, helped along by a languid score from veteran John Barry and a vividly realised wartime setting ("Have you heard the latest? Utility knickers—one yank and they're off!"). The contrived plot, however, distracts from the real drama, which is to be found in the desperate struggle to decipher the Enigma machine codes and the sometimes terrible ethical dilemmas involved. A little like that other Kate Winslet film, Titanic, this is another example of the factual background being far more compelling than the fiction grafted on top.

On the DVD: Engima arrives on disc in an extras-free package, with only scene selection and subtitles. More than one excellent documentary has been made about Alan Turing and his team of Bletchley Park codebreakers, so it's doubly disappointing to have nothing here on the real-life events depicted in the movie. Picture is widescreen 1.78:1 and sound Dolby 5.1 surround.—Mark Walker

Gillian Armstrong

Richard Attenborough A critical masterpiece, GANDHI is an intriguing story about activism, politics, religious tolerance and freedom. But at the center of it all is an extraor- dinary man who fought for a nonviolent, peaceful existence, and set an entire nation free. Winner of 8 Academy Awards® including Best Picture, Best Director (Lord Richard Attenborough) and Best Actor (Sir Ben Kingsley), GANDHI’s highly acclaimed cast also includes Candice Bergen, Edward Fox, Sir John Gielgud, Roshan Seth and Martin Sheen.

The extras include more than 90 minutes of new material, including interviews with director Lord Richard Attenborough; actors Geraldine James, Saeed Jaffrey, and Edward Fox; Diana Hawkins (Director of Publicity), Terry Clegg (Executive in charge of production), Billy Williams (Cinematographer) and Stuart Craig (Production Designer). The DVD includes a Director’s commentary with Attenborough, who also filmed a personal introduction to the film. The featurettes include In Search of Gandhi, Reflections on Ben, Madeleine Slade: An Englishwoman Abroad, The Funeral, Shooting an Epic In India, Looking Back, Designing Gandhi (3 mini featurettes) and From the Director’s Chair (2 mini featurettes).

Wolfgang Becker Contemporary comedies rarely stretch themselves beyond a bickering romantic couple or a bickering couple and a bucket of bodily fluids, which makes the ambition and intelligence of Goodbye, Lenin! not simply entertaining but downright refreshing. The movie starts in East Germany before the fall of communism; our hero, Alex (Daniel Bruhl), describes how his mother (Katrin Sass), a true believer in the communist cause, has a heart attack when she sees him being clubbed by police at a protest. She falls into a coma for eight months—during which the Berlin Wall comes down. When she awakens, her fragile health must avoid any shocks, so Alex creates an illusive reality around his bedridden mother to convince her that communism is still alive. Goodbye, Lenin! delicately balances wry satire with its rich investment in the lives of Alex, his mother, and other characters around them.

On the DVD: Though the DVD extras for Goodbye Lenin! include a detailed featurette on the digital effects used in the movie (particularly intriguing because they had to be completely invisible—many viewers won't realize there were digital effects until they see this featurette) and a convivial cast commentary (in German with English subtitles) with Daniel Bruhl, Katrin Sass, and Alexander Beyer, the star of the DVD is director Wolfgang Becker himself. Not only is his commentary rich with historical information and thoughtful notes about the making of the movie, for the deleted scenes (including two lovely scenes that expand on the relationship between Alex and his girlfriend Lara) he and Tom Tykwer (director of Run Lola Run and part of the X Filme collective that produced Goodbye Lenin!) have an insightful conversation about the editing process, storytelling, and the essence of watching a movie. Utterly fascinating, and invaluable to any aspiring filmmaker. —Bret Fetzer

Bernardo Bertolucci

Luc Besson Ancient curses, all-powerful monsters, shape-changing assassins, scantily-clad stewardesses, laser battles, huge explosions, a perfect woman, a malcontent hero—what more can you ask of a big-budget science fiction movie? Luc Besson's high-octane film The Fifth Element incorporates presidents, rock stars and cab drivers into its peculiar plot, traversing worlds and encountering some pretty wild aliens. Bruce Willis stars as a down-and-out cabbie who must win the love of Leeloo (Milla Jovovich) to save Earth from destruction by Jean-Baptiste Emmanuel Zorg (Gary Oldman) and a dark, unearthly force that makes Darth Vader look like an Ewok. —Geoff Riley

Jan de Bont Lara Croft Tomb Raider: The Cradle of Life may be an improvement on its 2001 predecessor, but its appeal is mostly aimed at fans of the video games that inspired both movies. That pretty much leaves you with some fun but familiar action sequences, and the ever-alluring sight of Angelina Jolie (reprising her title role) as she swims, swings, kicks, shoots, flies, jet-skis, motorcycles, and free-falls her way toward saving the world, this time by making sure that a grimacing villain (Ciaran Hinds) doesn't open Pandora's Box (yes, the actual mythological object) and unleash a deadly plague that will "weed out" the global population. Exotic locations add to Jolie's own coolly erotic appeal, but we're left wondering if this franchise has anywhere else to go. —Jeff Shannon

Tim Burton Edward Scissorhands achieves the nearly impossible feat of capturing the delicate flavour of a fable or fairy tale in a live-action movie. The story follows a young man named Edward (Johnny Depp), who was created by an inventor (Vincent Price, in one of his last roles) who died before he could give the poor creature a pair of human hands. Edward lives alone in a ruined Gothic castle that just happens to be perched above a pastel-coloured suburb inhabited by breadwinning husbands and frustrated housewives straight out of the 1950s. One day, Peg (Dianne Wiest), the local Avon lady, comes calling. Finding Edward alone, she kindly invites him to come home with her, where she hopes to help him with his pasty complexion and those nasty nicks he's given himself with his razor-sharp fingers. Soon Edward's skill with topiary sculpture and hair design make him popular in the neighbourhood—but the mood turns just as swiftly against the outsider when he starts to feel his own desires, particularly for Peg's daughter Kim (Winona Ryder). Most of director Tim Burton's movies (such as Pee Wee's Big Adventure, Beetlejuice and Batman) are visual spectacles with elements of fantasy but Edward Scissorhands is more tender and personal than the others. Edward's wild black hair is much like Burton's, suggesting that the character represents the director's own feelings of estrangement and co-option. Johnny Depp, making his first successful leap from TV to film, captures Edward's child-like vulnerability even while his physical posture evokes horror icons like the vampire in Nosferatu and the sleepwalker in The Cabinet of Dr. Caligari. Classic horror films, at their heart, feel a deep sympathy for the monsters they portray; simply and affectingly, Edward Scissorhands lays that heart bare. —Bret Fetzer

On the DVD: Tim Burton is famed for his visual style not his ability as a raconteur, so it's no surprise to find that his directorial commentary is a little sparse. When he does open up it is to confirm that Edward Scissorhands remains his most personal and deeply felt project. The second audio commentary is by composer and regular Burton collaborator Danny Elfman, whose enchanting, balletic score gets an isolated music track all to itself with his remarks in-between cues. Again, for Elfman this movie remains one of his most cherished works, and it is a real musical treat to hear the entire score uninterrupted by dialogue and sound effects but illuminated by Elfman's lucid interstitial remarks. Also on the disc are some brief interview clips, a "making of" featurette and a gallery of conceptual artwork. The anamorphic widescreen print looks simply gorgeous. —Mark Walker

Danny Cannon In a future world where Judges hold the authority of police and the legal system, a former judge plots an overthrow of the government and battles against Dredd (Stallone) in his efforts.
Genre: Feature Film-Action/Adventure
Rating: R
Release Date: 3-SEP-2002
Media Type: DVD

Ethan Coen, Joel Coen The Big Lebowski, a casually amusing follow-up from the prolifically inventive Coen brothers (Ethan and Joel), seems like a bit of a lark and the result was a box-office disappointment. It's lazy plot is part of its laidback charm. After all, how many movies can claim as their hero a pot-bellied, pot-smoking loser named Jeff "The Dude" Lebowski (Jeff Bridges) who spends most of his time bowling and getting stoned? And where else could you find a hair-netted Latino bowler named Jesus (John Turturro) who sports dazzling purple footgear, or an erotic artist (Julianne Moore) whose creativity consists of covering her naked body in paint, flying through the air in a leather harness, and splatting herself against a giant canvas? Who else but the Coens would think of showing you a camera view from inside the holes of a bowling ball, or an elaborate Busby Berkely-styled musical dream sequence involving a Viking goddess and giant bowling pins?

The plot—which finds Lebowski involved in a kidnapping scheme after he's mistaken for a rich guy with the same name—is almost beside the point. What counts here is a steady cascade of hilarious dialogue, great work from Coen regulars John Goodman and Steve Buscemi, and the kind of cinematic ingenuity that puts the Coens in a class all their own. —Jeff Shannon

Joel Coen, Ethan Coen Only Joel and Ethan Coen, masters of quirky and ultra-stylish genre subversion, would dare nick the plotline of Homer's Odyssey for O Brother, Where Art Thou?, their comic picaresque saga about three cons on the run in 1930s Mississippi. Our wandering hero in this case is one Ulysses Everett McGill, a slick-tongued wise guy with a thing for hair pomade (George Clooney, blithely sending up his own dapper image) who talks his chain-gang buddies (Coen-movie regular John Turturro and newcomer Tim Blake Nelson) to light out after some buried loot he claims to know of. En route they come up against a prophetic blind man on a railroad truck, a burly one-eyed baddie (the ever-magnificent John Goodman), a trio of sexy singing ladies, a blues guitarist who's sold his soul to the devil, a brace of crooked politicos on the stump, a manic-depressive bank robber, and—well, you get the idea. Into this, their most relaxed film yet, the Coens have tossed a beguiling ragbag of inconsequential situations, a wealth of looping, left-field dialogue and a whole stash of gags both verbal and visual. O Brother (the title's lifted from Preston Sturges' classic 1941 comedy Sullivan's Travels) is furthermore graced with glowing, burnished photography from Roger Deakins and a masterly soundtrack from T-Bone Burnett that pays loving homage to American 30s folk-styles: blues, gospel, bluegrass, jazz and more. And just to prove that the brothers haven't lost their knack for bad-taste humour, we get a Ku Klux Klan rally choreographed like something between a Nuremberg rally and a Busby Berkeley musical. —Philip Kemp

On the DVD: This two-disc set duplicates the original single-disc release of the film which included a handful of cast and crew interviews, and adds an additional disc with more interviews, two brief behind-the-scenes featurettes about the production design and the post-production digital colouring of the film, a couple of storyboard-to-scene comparisons and a music video of "Man of Constant Sorrow". There's also a 16-minute documentary to promote the companion Down from the Mountain concert. Frankly there's not a lot here to justify spreading it across two discs: a more pleasing not to say generous offering would have been to cram all these extras onto Disc 1 and give us Down from the Mountain as the second disc. —Mark Walker

Kerry Conran

Sharlto Copley, Jason Cope, Neill Blomkamp A provocative science fiction drama, District 9 boasts an original story that gets a little lost in blow-'em-up mayhem. Set in Johannesburg, South Africa, District 9 begins as a mock documentary about the imminent eviction of extraterrestrials from a pathetic shantytown (called District 9). The creatures, it turns out, have been on Earth for years, having arrived sickly and starving. Initially received by humans with compassion and care, the aliens are now mired in blighted conditions typical of long-term refugee camps unwanted by a hostile, host society. With the creatures' care contracted out to a for-profit corporation, the shantytown has become a violent slum. The aliens sift through massive piles of junk while their minders secretly research weapons technology that arrived on the visitors' spacecraft. Against this backdrop is a more personal story about a bureaucrat named Wikus (Sharlto Copley) who is accidentally exposed to a DNA-altering substance. As he begins metamorphosing into one of the creatures, Wikus goes on the run from scientists who want to harvest his evolving, new parts and aliens who see him as a threat. When he pairs up with an extraterrestrial secretly planning an escape from Earth, however, what should be a fascinating relationship story becomes a series of firefights and explosions. Nuance is lost to numbing violence, and the more interesting potential of the film is obscured. Yet, for a while District 9 is a powerful movie with a unique tale to tell. Seamless special effects alone are worth seeing: the (often brutal) exchanges between alien and human are breathtaking. —Tom Keogh

Francis Ford Coppola Francis Ford Coppola's passable 1986 comedy stars Kathleen Turner as an unhappy, middle-aged woman who goes back in time to her high school years and meets her future husband (Nicolas Cage) all over again. A lightweight entry from Coppola, the film has some clever, backward-looking jokes; and the lead actress does bring intelligence and searching emotions to her role. Cage (Coppola's nephew)—who specialised in these dumb-guy roles back then (see Raising Arizona)—is in sharp, raw form. Worth a visit, but don't expect to be bowled over this time by the legendary director.—Tom Keogh, Amazon.com

David Cronenberg The Dead Zone is based on a novel by Stephen King, directed by David Cronenberg (Scanners, The Fly) and produced by Debra Hill (Halloween, The Fog). Such a trio of horror vets would be expected to come up with an evening of shocks and gore, but The Dead Zone is a surprise. While it has great atmospheric eeriness and undeniably scary moments, The Dead Zone is at heart a sensitive and thoughtful portrayal of main character Johnny Smith's dilemma. Christopher Walken, king of the vaguely creepy, plays Smith, a man who awakens from a five-year coma with the very mixed blessing of second sight. At the mere touch of a hand, Smith is unwillingly launched into scenes of past and future terror. (Director Cronenberg is said to have fired blanks from a .357 Magnum just out of camera range to keep Walken's flinching spontaneous.) The Dead Zone wisely takes its time telling the story, and thus allows for some great performances. Walken gives a rich portrayal of the conflicted Smith, and Colleen Dewhurst and Tom Skerritt both do welcome turns in smaller roles. The most fun of all, though, is clearly being had by Martin Sheen, who gives a spirited performance as a complete sleazebag. —Ali Davis

John Dahl A little drunk on its own arcane exotica as a gambling movie, Rounders is a film that takes us inside a world of high-stakes card players but falls short on such essentials as character development and relationships. Still, it is a real curiosity, written by a couple of guys (David Levien and Brian Koppelman) who appear to know something about the dark underbelly of card hustling for fun and profit. Matt Damon stars as a reluctant law student who can't put aside his subterranean career of playing poker and blackjack for big money. After he loses his post-grad nest egg to a weird Russian kingpin (John Malkovich)—and also loses his disgusted girlfriend (Gretchen Mol) in the process—Damon's character turns to an unreliable old buddy (Edward Norton) for a dangerous game of sharking wherever there happens to be a game underway: frat boys, cops, bad dudes, you name it. Norton appears to be living out every young actor's fantasy of re-creating Robert De Niro's prot! otypical head case in Martin Scorsese's Mean Streets, and while his performance is burdened by obvious quotation marks, his estimable talent still shines through. Damon's charm and intelligence bring some oomph to the curiously flat proceedings, and while his hushed, soul-bearing scenes with Martin Landau (as a law professor who takes a shine to the kid) seem gratuitous, they're still nice to watch. Behind all this is director John Dahl (Red Rock West), who is not exactly at the top of his game here but who brings his distinctive toughness to the crime-noir tone.—Tom Keogh, Amazon.com

Frank Darabont A prominent banker unjustly convicted of murder spends many years in the Shawshank prison. He is befriended by a convict who knows the ropes and helps him to cope with the frightning realities of prison life.

Frank Darabont Oscar nomimated best picure adaptation of a Stephen King novel about a gentle giant of a prisoner with supernatural powers, who brings a sense of spirit and humanity to his guards and fellow inmates. Oscar award winning actor Tom Hanks heads the cast in this emotionally riveting story.

DVD Features:
Documentary
Featurette

Jonathan Demme Philadelphia wasn't the first movie about AIDS (it followed such worthy independent films as Parting Glances and Longtime Companion), but it was the first Hollywood studio picture to take AIDS as its primary subject. In that sense, Philadelphia is a historically important film. As such, it's worth remembering that director Jonathan Demme (Melvin and Howard, Something Wild, The Silence of the Lambs) wasn't interested in preaching to the converted; he set out to make a film that would connect with a mainstream audience. And he succeeded. Philadelphia was not only a hit, it also won Oscars for Bruce Springsteen's haunting "The Streets of Philadelphia," and for Tom Hanks as the gay lawyer Andrew Beckett who is unjustly fired by his firm because he has AIDS. Denzel Washington is another lawyer (functioning as the mainstream-audience surrogate) who reluctantly takes Beckett's case and learns to overcome his misconceptions about the disease, about those who contract it, and about gay people in general. The combined warmth and humanism of Hanks and Demme were absolutely essential to making this picture a success. The cast also features Jason Robards, Antonio Banderas (as Beckett's lover), Joanne Woodward, and Robert Ridgely, and, of course, those Demme regulars Charles Napier, Tracey Walter, and Roger Corman. —Jim Emerson

Troy Duffy With the advent of satellite broadcasting resurrecting the art of the TV movie, films like the invigorating The Boondock Saints are becoming more frequent. Made for Sky, the movie eschews big-screen production values but is still good value for money. Although the story of two Irish-American brothers who set out on a believed divine mission to wipe out the worst of the criminal element of Boston at times seems like an imitation of the superb Dogma, both films were actually made in the same year. The film is not without its faults, notably the poor performances of Sean Patrick Flanery and Norman Reedus as the two brothers—both of whom adopt ludicrous Irish accents. Far better is Willem Dafoe, who steals the show as FBI agent Smecker, and the manic David Della Rocco. Still, The Boondock Saints is highly watchable and keeps the viewer interested throughout with a strong story, frequent black humour and arresting visuals. And there aren't many places where you will come across Billy Connolly as a Mafia contract killer. —Phil Udell

Christian Duguay Starring Robert Carlyle as the Nazi dictator, Hitler: The Rise of Evil is a lavish made-for-TV two-parter that traces Adolf Hitler's early life, including his boyhood in Austria and impoverished period as a struggling artist in Vienna, culminating in 1934, by which time he had assumed the chancellorship of Germany. We bear witness to the rhetoric, ruthlessness and obsessive determination that propelled him to power, despite the best efforts of opponents like Matthew Modine's campaigning journalist. His inadequate but despotic relationships with women, such as his tragic half-niece Geli Raubal, are also examined.

Carlyle fares very well in what is traditionally considered the invidious task of bringing Hitler to dramatic life, conveying him plausibly as an impenetrably evil man, complex but irredeemable. However, this drama fails to explain just how and why such a pathetic, psychotic, unattractive individual such as Hitler could make such an immediate, profound impression on, for example, Ernst Hanfstangl and his wife Nina (ER's Julianne Margulies). Disproportionate attention is paid to Hitler's relationship to this American-born couple, perhaps as a sop to US audiences. In contrast, the social, cultural and political context of inter-war Germany is skimpily depicted here, making Hitler's ascendancy seem almost absurd.

On the DVD: Hitler: The Rise of Evil is, as you would expect, a decent transfer from the TV original, but there are no additional features. —David Stubbs

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

Nora Ephron By now, Tom Hanks and Meg Ryan have amassed such a fund of goodwill with moviegoers that any new onscreen pairing brings nearly reflexive smiles. In You've Got Mail, the quintessential boy and girl next door repeat the tentative romantic crescendo that made Sleepless in Seattle, writer-director Nora Ephron's previous excursion with the duo, a massive hit. The prospective couple do actually meet face to face early on but Mail otherwise repeats the earlier feature's gentle, extended tease of saving its romantic resolution until the final, gauzy shot.

The underlying narrative is an even more old-fashioned romantic pas de deux that is casually hooked to a newfangled device. The script, cowritten by the director and her sister, Delia Ephron, updates and relocates the Ernst Lubitsch classic, The Shop Around the Corner, to contemporary Manhattan, where Joe Fox (Hanks) is a cheerfully rapacious merchant whose chain of book superstores is gobbling up smaller, more specialized shops such as the children's bookstore owned by Kathleen Kelly (Ryan). Their lives run in close parallel in the same idealized neighbourhood yet they first meet anonymously, online, where they gradually nurture a warm, even intimate correspondence. As they begin to wonder whether this e-mail flirtation might lead them to be soul mates, however, they meet and clash over their colliding business fortunes.

It's no small testament to the two stars that we wind up liking and caring about them despite the inevitable (and highly manipulative) arc of the plot. Although their chemistry transcended the consciously improbable romantic premise of Sleepless, enabling director Ephron to attain a kind of amorous soufflé, this time around there's a slow leak that considerably deflates the affair. Less credulous viewers will challenge Joe's logic in prolonging the concealment of his online identity from Kathleen, and may shake their heads at Ephron's reinvention of Manhattan as a spotless, sun-dappled wonderland where everybody lives in million-dollar apartments and colour co-ordinates their wardrobes for cocktail parties. —Sam Sutherland

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.

Ian Fordyce

Milos Forman Gripping human drama. Sumptuous period epic. Glorious celebration of the music of Wolfgang Amadeus Mozart. This marvelous winner of eight Academy Awards(R) portrays the rivalry between the genius Mozart (Tom Hulce) and the jealous court composer (Best Actor Oscar(R) Winner F.Murray Abraham) who may have ruined Mozart's career and shortened his life.

Christophe Gans, Chris Sikorowski Based on the best-selling horror action game Silent Hill stars Radha Mitchell (Man on Fire) as Rose a desperate mother who takes her adopted daughter Sharon to the town of Silent Hill in an attempt to cure her of her ailment. After a violent car crash Sharon disappears and Rose begins her desperate search to get her back. She descends into a fog of smoldering ash and into the center of the twisted reality of a town's terrible secret. Pursued by grotesquely deformed creatures and a townspeople stuck in permanent purgatory Rose begins to uncover the truth behind the apocalyptic disaster that burned the town 30 years back. Dare to step inside the horrific town of Silent Hill where darkness preys on every soul and Hell's creations await around every corner. But know that once you enter...there is no turning back.System Requirements:Running Time: 125 MinutesFormat: DVD MOVIE Genre: HORROR Rating: R UPC: 043396138841 Manufacturer No: 13884

Robert Garofalo

Terry Gilliam A homeless, former history professor helps a shock radio dj find redemption in his search for the Holy Grail in modern day New York.
Genre: Feature Film-Comedy
Rating: R
Release Date: 28-AUG-2001
Media Type: DVD

Terry Gilliam, Terry Jones

Michel Gondry Screenwriters rarely develop a distinctive voice that can be recognized from movie to movie, but the ornate imagination of Charlie Kaufman (Being John Malkovich, Adaptation) has made him a unique and much-needed cinematic presence. In Eternal Sunshine of the Spotless Mind, a guy decides to have the memories of his ex-girlfriend erased after she's had him erased from her own memory—but midway through the procedure, he changes his mind and struggles to hang on to their experiences together. In other hands, the premise of memory-erasing would become a trashy science-fiction thriller; Kaufman, along with director Michel Gondry, spins this idea into a funny, sad, structurally complex, and simply enthralling love story that juggles morality, identity, and heartbreak with confident skill. The entire cast—Jim Carrey, Kate Winslet, Kirsten Dunst, Elijah Wood, Mark Ruffalo, Tom Wilkinson, and more—give superb performances, carefully pitched so that cleverness never trumps feeling. A great movie. —Bret Fetzer

David S. Goyer, Guillermo del Toro, Stephen Norrington Studio: New Line Home Video Release Date: 11/13/2007

Lasse Hallström This is the movie that Leonardo DiCaprio received an Oscar nomination for, five years before Titanic. And, in fact, this is the movie that should have made him a star, he's so good in it. Based on the novel by Peter Hedges (who adapted his own book) and directed by Lasse Hallström (My Life as a Dog), this is the funny, moody tale of a young man named Gilbert Grape (Johnny Depp) who lives at home in a small town with his 500-pound Momma (beautifully played by nonpro Darlene Cates), his mentally retarded younger brother Arnie (DiCaprio, utterly convincing), and his sisters. Not a lot happens—Arnie keeps climbing a water tower and getting stuck; Gilbert is involved with a married woman (Mary Steenburgen), then meets a nice new girl in town who's closer to his age (Juliette Lewis). And that's exactly what makes this movie so much more than your run-of-the-mill Hollywood product: it's not about some mechanical, formulaic plot; it's about these characters, and it allows you to spend some time with them and get to know them. Depp may have started out as a TV teen idol on 21 Jump Street, but his feature film choices since then—in such wonderfully offbeat and diverse movies as Cry-Baby, Edward Scissorhands, Benny & Joon, Donnie Brasco—have made him one of the most interesting, unpredictable, and risk-taking young actors in American movies. —Jim Emerson

Lasse Hallström Honored with two Academy Awards(R) — Best Supporting Actor, Michael Caine, and Best Adapted Screenplay, John Irving — THE CIDER HOUSE RULES tells a compelling and heartwarming story about how far a young man must travel to find the place where he truly belongs! Homer Wells (Tobey Macguire — PLEASANTVILLE, THE ICE STORM, WONDER BOYS) has lived nearly his entire life within the walls of St. Cloud's Orphanage in rural Maine. Though groomed by its proprietor, Dr. Larch (Caine), to be his successor, Homer nonetheless feels the need to strike out on his own and experience the world outside. Then, while working at an apple orchard, Homer falls for the beautiful Candy (Charlize Theron — REINDEER GAMES, THE DEVIL'S ADVOCATE) and learns some powerfully indelible lessons about life, love, and home! Based on John Irving's best-selling American classic and featuring a sensational all-star cast including Delroy Lindo and newcomer Erykah Badu, this entertaining motion picture earned raves from critics and moviegoers everywhere!

Lasse Hallström E Annie Proulx's "quirky" bestseller The Shipping News gets the Lasse Hallstrom treatment, but the results don't match Chocolat or The Cider House Rules. Lifelong loser Quoyle (Kevin Spacey) suffers in a terrible wig—abused by his bitter Dad, snoozing through dead-end jobs, overwhelmed by a mad Cate Blanchett. On the same day, his parents commit suicide and runaway Petal drowns in a car crash. With ominous Aunt Agnis (Judi Dench) and angelic daughter Bunny, Quoyle relocates to Quoyle Point, moving into a dilapidated family house tethered on a storm-wracked cliff. He takes a job as a reporter, fitting into a feud between owner (Scott Glenn) and editor (Pete Postlethwaite) and begins a tenuous romance with widow Wavey (Julianne Moore). Happiness threatens, but the weight of an awful past bears down, along with premonitions of doom, decapitation murders and a lot of bad weather...until a cathartic storm sorts it all out. Spare Spacey, miscast as the novel's obese hero, underplays to the point of invisibility. As a Gothic soap, it has a few laughs; but it's hard to take seriously. —Kim Newman

Renny Harlin Director Renny Harlin (Cutthroat Island) took the reins of this 1990 sequel, which places Bruce Willis's New York City cop character in harm's way again with a gaggle of terrorists. This time, Willis awaits his wife's arrival at Dulles Airport in Washington, DC, when he gets wind of a plot to blow up the facility. Noisy, overbearing and forgettable, the film has none of the purity of its predecessor's simple story; and it makes a huge miscalculation in allowing a terrible tragedy to occur rather than stretch out the tension. Where Die Hard set new precedents in action movies, Die Hard 2 is just an anything-goes spectacle. — Tom Keogh, Amazon.com

Brian Helgeland "A Knight's Tale" is the rousing story of lowborn William Thatcher's (Heath Ledger) quest to change his stars win the heart of an exceedingly fair maiden and rock his medieval world. Follow this fearless squire and his band of medieval misfits as they careen their way toward impossible glory that's part romance part road trip and part exuberant swashbuckler.Bonus Features: Audio Commentary Documentaries Featurette Deleted Scenes Music Videos Theatrical Trailer Production Notes Filmographies DVD-ROM FeaturesSystem Requirements:Starring: Heath Ledger Mark Addy Rufus Sewell Shannyn Sossamon Paul Bettany and Alan Tudyk. Directed By: Brian Helgeland. Running Time: 132 Min. Color. This film is presented in "Widescreen" format. Copyright 2001 Columbia TriStar Home Video.Format: DVD MOVIE Genre: ACTION/ADVENTURE Rating: PG-13 UPC: 043396061439 Manufacturer No: 06143

Scott Hicks This tearjerker by Australian filmmaker Scott Hicks is a surprising story about real-life classical pianist David Helfgott, an Australian who rose to international prominence at a very young age in the 1950s and '60s, and suffered a psychological collapse after enduring years of abuse from his father (Armin Mueller-Stahl). Hicks has three very fine actors portraying Helfgott at different stages of his life, including the adorably wry and goofy Noah Taylor (Flirting), who takes up the character's teen years, and Oscar winner Geoffrey Rush, giving a great performance playing the musician as a schizophrenic adult. Despite the Helfgotts' compromised psychological health, Shine is hardly a depressing experience. If anything, the story is really about how long one person's life can take to make glorious sense of itself. Sir John Gielgud, in golden form, plays Helfgott's teacher. The DVD release presents the film in its widescreen format, and also includes a Q&A with director Hicks and Rush's Golden Globes acceptance speech. —Tom Keogh

Walter Hill Best known for making movies about men and violence, director Walter Hill scored a misfire with this ambitious but ultimately dreary remake of Akira Kurosawa's samurai classic Yojimbo. The story's essentially the same but the setting has been switched to a dusty, almost ghostly Texas town in the 1930s, where two rival Chicago gangs are locked in an uneasy truce. Bruce Willis plays the lone drifter who allies himself with both gangs to his own advantage, working both sides against each other according to his own hidden agenda. The violence escalates to a bloody climax, of course, with Christopher Walken, David Patrick Kelly, and Michael Imperioli as trigger-happy lieutenants in a lonely, desolate war. Fans of gangster movies will want to see this, and, if nothing else, Hill has brought his polished style to a vaguely mythic story. It's far from being a classic, however, and although its action is at times masterfully choreographed, the movie's humorless attitude is unexpectedly oppressive. —Jeff Shannon

Agnieszka Holland This biographical account of the tempestuous, taboo-shattering love affair between two 19th-century French poets—Paul Verlaine (David Thewlis) and Arthur Rimbaud (Leonardo DiCaprio)—didn't do much at the box office when it was released in 1995. But after the success of Titanic, it became somewhat infamous when Playgirl magazine announced its intention to publish nude pictures of DiCaprio taken from the film. (Nobody much seemed to care that Thewlis, who also starred in Mike Leigh's Naked, also appears nude in Total Eclipse.) The truth is, the nudity in question only lasts for a few frames, but it's certainly in character for the young wild-man Rimbaud.

Directed by Agnieszka Holland (Europa, Europa, The Secret Garden), Total Eclipse begins in 1870 when the newly married Verlaine is 24 and Rimbaud is 17. The volatile combination of their reckless passions, idiosyncratic talents, and obnoxious egos is a recipe for disaster—and l'amour fou—culminating in a two-year prison term for Verlaine who was convicted of sodomy. DiCaprio's work in this film (as well as This Boy's Life, What's Eating Gilbert Grape?, and The Basketball Diaries) proves he is a serious actor who's interested in risky, challenging work—not just the matinee idol he became in the wake of Titanic. —Jim Emerson, Amazon.com

Agnieszka Holland COPYING BEETHOVEN - DVD Movie

Gavin Hood THIS PREQUEL EXPLORES WOLVERINE'S PAST & EVENTS THAT INFLUENCED HIM BEFORE THE WEAPON X PROGRAM BONDED HIS SKELETON WITH ADAMANTIUM. AFTER THE DEATH OF HIS GIRLFRIEND, WOLVERINE SEEKD VENGEANCE.

Ron Howard A Beautiful Mind is an award-winning movie if ever there was one. This biopic of mathematician John Forbes Nash is two parts Shine to one part Good Will Hunting. Scripted by Akiva Goldsman (Lost in Space) and directed by Ron Howard (The Grinch)—both trying to get sincere and serious after previous movies—it showcases a big, compelling performance from Russell Crowe as a genius whose eccentricities turn out to be down to a genuine mental illness. Though his early work as a student offered a breakthrough that eventually won him the 1994 Nobel Prize, Nash goes off the deep end in later life.

The film works better in the early paranoid stretches—which include a wonderful 1950s spy movie parody as Nash is sucked into an imagined world of fighting commie atom spies—than it does with the inspirational ending, where Nash's handicaps are overcome so he can triumph at the end. Crowe's genuinely fine work still seems a bit Shine/Rain Man/Forrest Gump-ish in mannerism, yet experience shows this can be a powerful career move. Crowe gains sterling support from Jennifer Connelly, Ed Harris, Paul Bettany and Christopher Plummer—some playing a mere character in Nash's world. —Kim Newman

Brian G. Hutton A group of soldiers set out to rob a bank and almost win World War II.
Genre: Feature Film-Action/Adventure
Rating: PG
Release Date: 8-FEB-2005
Media Type: DVD

Peter Jackson This six-disc box set contains the three theatrical-release versions of The Lord of the Rings trilogy—that is, the films as they were originally seen in cinemas. The individual titles are all also available as separate two-disc sets: The Fellowship of the Ring, The Two Towers and The Return of the King.

Young-jun Kim

Michael Kitchen, Honeysuckle Weeks, Giles Foster, Jeremy Silberston

Michael Kitchen, Honeysuckle Weeks, Jeremy Silberston, David Thacker

Steve Kloves

Thomas Krag, Ole Bornedal The sixth-grade students of a small town begin to realize that their new substitute teacher is an alien. When their parents don't believe them, they are forced to take matters into their own hands.

Kasi Lemmons

Sergio Leone The so-called spaghetti Western achieved its apotheosis in Sergio Leone's magnificently mythic (and utterly outlandish) Once upon a Time in the West. After a series of international hits starring Clint Eastwood (from A Fistful of Dollars to The Good, The Bad, and The Ugly), Leone outdid himself with this spectacular, larger-than-life, horse-operatic epic about how the West was won. (And make no mistake: this is the wide, wide West, folks—so the widescreen/letter-boxed version is strongly recommended.) The unholy trinity of Italian cinema—Leone, Bernardo Bertolucci, and Dario Argento—concocted the story about a woman (Claudia Cardinale) hanging onto her land in hopes that the transcontinental railroad would reach her before a steely-eyed, black-hearted killer (Fonda) does. (The film's advertising slogan was: "There were three men in her life. One to take her ... one to love her ... and one to kill her.") Meanwhile, Leone shoots his stars' faces as if they were expansive Western landscapes, and their towering bodies as if they were looming rock formations in John Ford's Monument Valley. —Jim Emerson, Amazon.com

David Lynch

Ian MacNaughton And Now for Something Completely Different, Monty Python's first feature, is a reworking of their best skits from the first two seasons of the TV series. Originally made for the US market (where the show had yet to be aired), it was shot on film outside the usual studio sets ("Nudge Nudge", for example, is set in a tavern filled with passers-by). The writing and performances are fine and the film is packed with some of their best bits: "How to Avoid Being Seen", " Hell's Grannies", "Blackmail", "The Lumberjack Song" and "The Upper Class Twit of the Year", among others. Many of the sketches have been shortened, however, and the loss of the overly bright video sheen (the film has a muddy, dull look to it) and the invigorating presence of a live audience leaves the film sluggish at times. They're still feeling out the possibilities of the feature length, which they conquered with their next movie, Monty Python and the Holy Grail (1974). —Sean Axmaker

John Madden When Will Shakespeare needs passionate inspiration to break a bad case of writer's block, a secret romance with beautiful Lady Viola starts the words flowing like never before.
Genre: Feature Film-Comedy
Rating: R
Release Date: 3-MAY-2005
Media Type: DVD

James Mangold Joaquin Phoenix stars in this drama detailing early years in the life and career of music legend Johnny Cash whose work transcended musical boundaries to reach out to everyone. A testament to making art and music and being young the film explores the world he came from and his experiences beginning a career during the birth of rock and roll. It also is a love story detailing Cash's burgeoning relationship with June Carter.Format: DVD MOVIE Genre: DRAMA UPC: 024543224228 Manufacturer No: 2232422

Penny Marshall A perfect marriage of novel but incisive writing, acting, and direction, Big is the story of a 12-year-old boy who wishes he were older, and wakes up one morning as a 30-year-old man (Tom Hanks). The script by Gary Ross (Dave) and Anne Spielberg finds some unexpected ways of attacking obvious issues of sex, work, and childhood friendships, and in all of these things the accent is on classy humor and great sensitivity. Hanks is remarkable in the lead, at times hilarious (reacting to caviar just as a 12-year-old would) and at others deeply tender. Penny Marshall became a first-rate filmmaker with this 1988 work. —Tom Keogh

Joe Mazzello, James Badge Dale Unsurprising attracting awards attention, The Pacific is a ten-part series set in the midst of World War II, that follows the actions of three US Marines In the Pacific Theatre Of War. It’s a series not a million miles away from its spiritual predecessor, Band Of Brothers, which is understandable given the crossover of creative talent.

Yet The Pacific is still a show with an identity of its own. It boasts the same sky-high production values of Band Of Brothers, but it also has a broader canvas, and a slightly slower pace to it. It’s absorbing drama, though, and the standard of it is kept high right throughout the ten-episode run. During that time, it takes in many key events of the time, and presents them with staggering confidence and strength.

All of this, of course, makes you hope that the high definition transfer can do all of this justice. Fortunately, the news here is good. Few television shows have been treated to anywhere near the love that The Pacific has been in its 1080p transfer, and matched by surround sound work that’d put many blockbuster movies to shame,

Is it Band Of Brothers 2? Absolutely not. Instead, The Pacific is a wonderful drama series in its own right, and one well worth picking up. —Jon Foster

Fernando Meirelles The Constant Gardener is the kind of thriller that hasn't been seen since the 1970s: Smart, politically complex, cinematically adventurous, genuinely thrilling and even heartbreaking. Mild diplomat Justin Quayle (Ralph Fiennes, The English Patient, Schindler's List) has a loose cannon of a wife named Tessa (Rachel Weisz, The Shape of Things, The Mummy), who's digging into the dirty doings of a major pharmaceutical company in Kenya. Her brutal murder forces Justin to continue her investigation down some deadly avenues.

This simple plot description doesn't capture the rich texture and slippery, sinuous movement of The Constant Gardener, superbly directed by Fernando Meirelles (Oscar-nominated for his first film, City of God). Shifting back and forth in time, the movie skillfully captures the engaging romance between Justin and Tessa (Fiennes shows considerably more chemistry with Weisz than he had with Jennifer Lopez in Maid in Manhattan) and builds a vivid, gripping, and all-too-justified paranoia. And on top of it all, the movie is beautiful, due to both its incredible shots of the African landscape (which at times is haunting and unearthly) and the gorgeous cinematography. Featuring an all-around excellent cast, including Bill Nighy (Love Actually), Pete Postlethwaite (In the Name of the Father), and Danny Huston (Silver City).—Bret Fetzer

Sam Mendes In Road to Perdition, Tom Hanks plays a hit man who finds his heart. Michael Sullivan (Hanks) is the right-hand man of crime boss John Rooney (Paul Newman), but when Sullivan's son accidentally witnesses one of his hits, he must choose between his crime family and his real one. The movie has a slow pace, largely because director Sam Mendes (American Beauty) seems to be in love with the gorgeous period locations. Hanks gives a deceptively battened-down performance at first, only opening up toward the very end of the film, making his character's personal transformation all the more convincing. Newman turns in a masterful piece of work, revealing Rooney's advancing age but at the same time, his terrifying power. Jude Law is also a standout, playing a hit man-photographer with chilling creepiness. This movie requires a little patience, but the beautiful cinematography and moving ending make it well worth the wait. —Ali Davis

Sam Mendes From its first gliding aerial shot of a generic suburban street, American Beauty moves with a mesmerising confidence and acuity epitomised 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 neighbour (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 stylised pace without lapsing into transparent self-indulgence. Mendes has shrewdly insured his success with a solid crew of stage veterans, yet he has 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 colour of roses—and of blood. —Sam Sutherland

Roger Michell They don't really make many romantic comedies like Notting Hill anymore—blissfully romantic, sincerely sweet, and not grounded in any reality whatsoever. Pure fairy tale, and with a huge debt to Roman Holiday, Notting Hill ponders what would happen if a beautiful, world-famous person were to suddenly drop into your life unannounced and promptly fall in love with you. That's the crux of the situation for William Thacker (Hugh Grant), who owns a travel bookshop in London's fashionable Notting Hill district. Hopelessly ordinary (well, as ordinary as you can be when you're Hugh Grant), William is going about his life when renowned movie star Anna Scott (Julia Roberts) walks into his bookstore and into his heart. After another contrived meeting involving spilled orange juice, William and Anna share a spontaneous kiss (big suspension of disbelief required here), and soon both are smitten. The question is, of course, can William and Anna reconcile his decidedly commonplace bookseller existence and her lifestyle as a jet-setting, paparazzi-stalked celebrity? (Take a wild guess at the answer.) Smartly scripted by Richard Curtis (Four Weddings and a Funeral) and directed by Roger Michell (Persuasion), Notting Hill is hardly realistic, but as wish fulfilment and a romantic comedy, it's irresistible. True, Roberts doesn't really have to stretch very far to play a big-time actress who makes $15 million per movie, but she's more winning and relaxed than she's been in years, and Grant is sweetly understated as a man blindsided by love. Together, in moments of quiet, they're a charming couple, and you can feel her craving for real love and his awe and amazement at the wonderful person for whom he has fallen. The only blight on the film is its overbearing pop soundtrack, though Elvis Costello's heart-wrenching version of "She" gets poignant exposure. With Rhys Ifans as Grant's scene-stealing, slovenly housemate and Alec Baldwin in a sly, perfectly cast cameo. —Mark Englehart

Roger Michell Changing Lanes finds director Roger Michell (Notting Hill) going American but not Hollywood, working from a script written by Michael Tolkin (The Player) and newcomer Chip Taylor. The result is something like Falling Down squared.

It all starts with a car collision in New York. An alcoholic insurance salesman Doyle Gipson (Samuel L Jackson), hurrying for a vital hearing at which he might lose access to his kids, is entangled with yuppie lawyer Gavin Banek (Ben Affleck), himself speeding to a court hearing at which he must present an important document to secure his firm's custodianship of a 100 million dollar foundation. Doyle wants to handle things by the book and spurns Gavin's offer of a blank cheque, which prompts the lawyer to drive off, leaving Doyle in the rain and doomed not to make the court in time, though he leaves behind the crucial document.

Over the course of the day, things escalate as Gavin tries to get the file back and an embittered Doyle refuses. In a game of deadly tit-for-tat, Gavin hires a hacker to wipe out Doyle's financial records, while Doyle resorts to sabotaging Gavin's car.

The script is carefully balanced: assuming our natural sympathy for the put-upon Jackson as opposed to the smooth Affleck, we are carefully shown that the picture is not that simple—Jackson wouldn't be in a custody hearing if this was the first time his life ran out of control, while the whole crisis forces Affleck (whose unethical bosses want him to forge the document) to reassess his fast-track life. It's fable-like rather than credible, but the suspense ratchets ever higher and there are some fine speeches well delivered by the stars. —Kim Newman

Frank Miller, Robert Rodriguez 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.

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, Amazon.com

Christopher Morahan Clockwise is a light-hearted farce that works because John Cleese is so effective as the tightly wound, punctilious headmaster whose well-organised life unravels in a series of disasters on his journey to a conference. Cleese is a master of fussy, fastidious characters in exasperating situations, bottling up his frustration under good manners and sardonic comments until he finally blows, but he's also startlingly vulnerable as he systematically loses all sense of himself. Dressed in monk's robes and stranded on a lonely country road, he looks down at his naked wrist and sighs, "I've even lost the time". Michael Fryan (the playwright of Noises Off) doesn't really have much of a story behind the situations, but he provides plenty of complications, and Cleese holds the film together with his brittle manner, single-minded drive, and hilarious headmaster's condescending haughtiness. While it will seem slight to many, Cleese fans will love it.—Sean Axmaker, Amazon.com

Hideo Nakata

Hideo Nakata, Kyle Jones (IV) Dark Water is Japanese horror auteur Hideo Nakata's return to the genre after his Ring cycle made you too scared to watch television ever again. Where Ring dealt with a supernatural force wreaking revenge via technology, Dark Water is a much more traditional ghost story. After winning a custody battle for her daughter, single mother Yoshimi moves into what she thinks is the perfect apartment with her daughter Hitomi. No sooner have they unpacked than strange things begin to disturb their new life. A water leak from the supposedly abandoned apartment above gets bigger and bigger, a child's satchel reappears even though Yoshimi throws it away several times, and she is haunted by the image of a child wearing a yellow mackintosh who bears a striking resemblance to a young girl who disappeared several years before.

The conventional narrative follows Yoshimi's increasingly desperate attempts to discover who or what force is haunting her daughter, but the story's execution is far from predictable. Nakata is the master of understated suspense: there's always a feeling of motiveless malignancy that runs like an undercurrent through his films—far more frightening than out and out shocks—and here he also practically drowns his audience in water imagery. The film is saturated; the relentless dripping in the apartment, the constant rain outside and the deliberately washed-out photography make any colour, such as the yellow coat, seem incongruous and unsettling. Nakata also clears the film of unnecessary characters—this is an almost deserted Tokyo—preferring to concentrate the action on Yoshimi's rising hysteria as she struggles to understand what is happening and how to save her daughter. Granted, the special effects are somewhat unconvincing and the ending confused, but even so the result is a stylish and disquieting chiller that will do for bathtubs what Ring did for video recorders. —Kristen Bowditch

Mike Nichols Academy Award® winners Tom Hanks, Julia Roberts and Philip Seymour Hoffman star in this compelling and witty film from Oscar®-winning director Mike Nichols and Primetime Emmy®-winning writer Aaron Sorkin (The West Wing). Based on the outrageous true story, Charlie Wilson's War shows how one congressman who loved a good time, one Houston socialite who loved a good cause and one renegade CIA agent who loved a good fight conspired to bring about the largest covert operation in history.

Stephen Norrington The heroes of 1899 are brought to life with the help of some expensive special effects in The League of Extraordinary Gentlemen. From the pages of Victorian literature come Captain Nemo, Dr Jekyll (and his alter ego Mr Hyde), Dorian Gray, Tom Sawyer, the Invisible Man, Mina Harker (from Dracula), and the hunter Allan Quatermain (Sean Connery), all assembled to combat an evil megalomaniac out to conquer the world.

It's hardly an original plot, but perhaps that's fitting for a movie sewn together like Frankenstein's monster. It rushes from one frenetic battle to another, replacing sense with spectacle—Nemo's submarine rising from the water, a warehouse full of zeppelins bursting into flame, Venice collapsing into its own canals. It's flashy, dumb, and completely incoherent. Fans of the original comic book will be disappointed. —Bret Fetzer

Gary Oldman, Jeroen Krabbé, Bernard Rose This thrilling, speculative story about the mystery woman whom Ludwig van Beethoven once identified in a letter as his "immortal beloved" is directed by Bernard Rose (Paperhouse). Gary Oldman plays the deaf genius with tragic brutality in a series of flashbacks that arise during a connect-the-dots investigation by Beethoven's secretary (Jeroen Krabbé), who is looking into the composer's love affairs to ascertain who held the key to his heart. Rose arrives at a moving if imperfect portrait of a complicated artist, and he pays gorgeous tribute to Beethoven's stolen innocence in childhood. (You may never hear the Ninth Symphony again without thinking of Rose's beautiful image of young Ludwig immersed in cosmic rapture.) Produced by Mel Gibson's company, Icon. —Tom Keogh

Niels Arden Oplev

Clive Owen, Ioan Gruffudd, Antoine Fuqua It's got a round table, some knights, and a noble warrior who rises to become King Arthur, but everything else about this revisionist legend is pure Hollywood. That's not such a bad thing if you enjoyed Rob Roy, Braveheart, Gladiator and Troy, and there's some intriguing potential in presenting the "real" Arthur (played by Clive Owen) as a 5th-century soldier of Rome, assigned to defend Roman-imperial England against a hoard of invading Saxons (led by Stellan Skarsgard in hairy villain mode). As revamped history and "archaeological findings" would have us believe, Guinevere (Keira Knightley) is a warrior babe in face-paint and Lancelot (Ioan Gruffudd) is a nonentity who fades into the woodwork. Never mind. Best to enjoy the harsh, gloomy atmosphere of Irish locations, the ruggedness of Owen and his hearty supporting cast, and the entertaining nonsense of a Jerry Bruckheimer production that strips battle-ready Guinevere down to leather-strap S&M gear while all the men sport full-body armor. Hail to the queen, indeed! —Jeff Shannon

Brian De Palma Eliot Ness and his band of prohibition-era law enforcement agents try to destroy Al Capone's criminal empire.
Genre: Feature Film-Drama
Rating: R
Release Date: 2-MAY-2006
Media Type: DVD

Alan Parker Remember that scene in Jerry Maguire where the title character suddenly realises the foolhardiness of his impulsively written manifesto? That's how director Alan Parker (The Commitments, Fame) ought to feel every day of his life since making this dopey, 1976 musical featuring an all-kid cast playing Prohibition-era gangsters and molls. What was Parker thinking? The cuteness of the concept never did hold up for more than 10 minutes, but the film extends it impossibly into a feature. Jodie Foster is on hand, lip-synching a Paul Williams song (Williams wrote the score), but even she can't detract from the film's overall silliness. It's a toss-up as to whether children will enjoy watching it, since the characters and the milieu are based on adult situations. —Tom Keogh, Amazon.com

Wolfgang Petersen Wolfgang Petersen's harrowing and claustrophobic U-boat thriller Das Boot was released as both a theatrical film and a six-hour mini-series, and remains the most expensive production ever made by a German studio. The expanded "Director's Cut" of the movie was re-released 1997 and it is this version that is available for home viewing. This epic story became an instant classic on its first release, provoking critical and audience acclaim worldwide for its sympathetic and entirely truthful portrayal of a German U-boat crew. Faithfully adapted from the bestselling novel by Lothar-Günther Buchheim, Petersen and his committed cast (led by the amazing Jürgen Prochnow) were concerned to ensure that every detail was rendered with painstaking accuracy—both physical and psychological—and the result is not only the best submarine drama ever made but also arguably the finest cinematic portrait of men at war and the terrible madness they must endure.

On the DVD: The 200-minute "Director's Cut" version of the movie not only has several major scenes restored that were not in the theatrical release but also has been digitally remastered with significantly improved sound (new sound effects have been added) and anamorphic picture. (The six-hour TV version has yet to be released.) Here, the viewer can watch the movie in the original German, with or without subtitles, or in an English dubbed version that uses the voices of many of the original cast. On the utterly engrossing commentary track, director Wolfgang Petersen and star Jürgen Prochnow talk animatedly and in great detail about every aspect of making this epic story—from model shots using Barbie dolls to meeting the Captain of the original U-boat. This is one of the most consistently rewarding commentaries on disc. Also included is a five-minute featurette that promotes this new version. —Mark Walker

Wolfgang Petersen Setting out for the one last catch that will make up for a lacklustre fishing season, Captain Billy Tyne (George Clooney) pushes his boat the Andrea Gail out to the waters of the Flemish Cap off Nova Scotia for what will be a huge swordfish haul. While his crew is gathering fish, three storm fronts (including a hurricane) collide to create a "perfect storm" of colossal force, and Billy's path back to Gloucester, Massachusetts, takes them right smack into the middle of it. Wolfgang Petersen's adaptation of Sebastian Junger's seafaring best-seller is a faithful if by-the-numbers true-story account of a monster storm that rocked New England in 1991, specifically Tyne's commercial fishing boat and its crew. Junger's tale fashioned a compelling if staid narrative out of seemingly disparate events, but this film adaptation tends to flatten out the story into a conventional if absorbing story of man vs nature, as the crew fights for survival against the awesome waves the storm kicks up. The central part of the film, which cuts between the Andrea Gail's fight to stay afloat and the attempts of the coast guard to rescue a yacht in peril, is suspenseful action of the first degree, aided by some awesome computer-generated waves.

Still, it's a long way to that action, with an extended first act that consists mainly of stoic men, crying women and a fair amount of "don't go out into the sea" dialogue—in other words, a compelling story has been shoehorned into standard summer movie fare. It's too bad, as Peterson assembled an excellent cast—including Mark Wahlberg, Diane Lane, John C. Reilly and William Fichtner among them—but seems to opt for only a surface exploration of these characters, though Clooney seems to have a touch of Captain Ahab in him. You may still be won over by the movie, but for a more in-depth portrait, go to Junger's book for the missing details. —Mark Englehart

Brad Pitt, Madeleine Stowe, Bruce Willis Inspired by Chris Marker's acclaimed short film La Jetée (which is included on the DVD Short 2: Dreams), 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. —Jeff Shannon

Harold Ramis Do you ever have deja vu? Didn't you just ask me that? Bill Murray is at his wry, wisecracking bestin this riotous romantic comedy about a weatherman caught in a personal time warp on the worst day of his life. Teamed with a relentlessly cheerful producer (Andie MacDowell) and a smart-aleck cameraman (Chris Elliott), TV weatherman Phil Connors (Bill Murray) is sent to Punxsutawney, Pennsylvania,to cover the annual Groundhog Day festivities. But on his way out of town, Phil is caught in a giant blizzard, which he failed to predict, and finds himself stuck in small-town hell. Just when thingscouldn't get worse, they get worse; Phil wakes the next morning to find it's Groundhog Day all overagain... and again... and again.

Kevin Reynolds A vicious high school student is dead. A gang hit? An act of sudden rage? Or did a once-idealistic teacher finally snap? The issues and the tension hit home when Samuel L. Jackson stars in a gritty urban-school thriller that's "gripping, high-octane entertainment" (Newhouse News Service).

Phil Alden Robinson, Richard Loncraine, Mikael Salomon, David Nutter, Tom Hanks A genuinely epic achievement, the 10-part World War II drama Band of Brothers is a television series that makes big-screen Hollywood war movies look small in comparison. Based on the book by historian Stephen Ambrose, the series follows the US 101st Airborne Division's "Easy" E-Company from initial training through D-Day and across Holland, Belgium, Germany and Austria until the end of the war. Coproduced by Steven Spielberg and Tom Hanks, the series take its initial inspiration from Saving Private Ryan and borrows that film's visceral visual approach to combat scenes using hand-held camerawork and de-saturated photography. But where Band of Brothers excels is in its scrupulous attention to the realities of military life (retired US Marine Captain Dale Dye, who also co-stars, is the man to credit).

After the high drama of the parachute drop on D-Day, Easy's greatest trial comes during the Battle of the Bulge, when they are besieged at Bastogne in the depths of winter. In one of the most harrowing and credible depictions of war ever committed to film we see the men enduring the repeated artillery attacks of the German forces and experience, if only vicariously, some of the sheer terror of the assault, while being humbled by the soldiers' courage and determination. Such feelings are enhanced by the series' masterstroke—bookend interviews with the surviving members of Easy Company, who talk with barely suppressed emotion of the experiences we see recreated. The endorsement of these veterans elevates Band of Brothers beyond any mere "war film"—its extraordinary achievement is that it shows the horror and savagery of war without gloss or jingoism, and yet celebrates the fraternal bonds and dogged heroism of the men who fought.

On the DVD: Band of Brothers arrives handsomely packaged in a six-disc box set with two episodes on each of the first five discs. Sound (Dolby 5.1) and picture (1.78:1 widescreen) only enhance the series' epic credentials. Disc 6 contains all the extras, the meatiest of which is the marvellous 80-minute documentary "We Stand Alone Together" about the real men of Easy Company. There's also a first-rate, genuinely interesting 30-minute "making of" feature about actor boot camp, visual effects and blowing up fake trees among many other things. This is complemented by actor Ron Livingston's revealing Video Diaries of boot camp. Additionally there's a "Who's Who" section and footage of the HBO premiere at Utah Beach, plus a TV spot for car company Jeep. —Mark Walker

Gary Ross Proving that truth is often greater than fiction, the handsome production of Seabiscuit offers a healthy alternative to Hollywood's staple diet of mayhem. With superior production values at his disposal, writer-director Gary Ross (Pleasantville) is a bit too reverent towards Laura Hillenbrand's captivating bestseller, unnecessarily using archival material—and David McCullough's narration—to pay Ken-Burns-like tribute to Hillenbrand's acclaimed history of the knobbly-kneed thoroughbred who "came from behind" in the late 1930s to win the hearts of Depression-weary Americans. That caveat aside, Ross's adaptation retains much of the horse-and-human heroism that Hillenbrand so effectively conveyed; this is a classically styled "legend" movie like The Natural, which was also heightened by a lushly sentimental Randy Newman score. Led by Tobey Maguire as Seabiscuit's hard-luck jockey, the film's first-rate cast is uniformly excellent, including William H Macy as a wacky trackside announcer who fills this earnest film with a much-needed spirit of fun. —Jeff Shannon

David O. Russell A confident hybrid of M*A*S*H, Treasure of the Sierra Madre, and Dr. Strangelove, Three Kings is one of the most seriously funny war movies ever made. Improving the premise of Kelly's Heroes with scathing intelligence, it explores the odd connection between war and consumerism in the age of Humvees and cellular phones. Writer-director David O. Russell's third film (after Spanking the Monkey and Flirting with Disaster), it's a no-holds-barred portrait of personal conscience in the volatile arena of politics, played out by one of the most gifted filmmakers to emerge in the 1990s.

George Clooney, Mark Wahlberg, Ice Cube, and Spike Jonze (director of Being John Malkovich) play a quartet of U.S. soldiers who, disillusioned by Operation Desert Storm, decide to steal $23 million in gold hijacked from Kuwait by Saddam Hussein's army. Getting the bullion out of an Iraqi stronghold is easy; keeping it is a potentially lethal proposition. By the end of their mercenary mission, the Americans can no longer ignore wartime atrocities (and neither can we—the film is boldly unflinching), and conscience demands their aid to Iraqi rebels abandoned by President George Bush's fickle wartime policy. This is serious stuff indeed, but Russell infuses Three Kings with a keen sense of the absurd, and the entire film is an exercise in breathtaking visual ingenuity. Despite a conventional ending that's mildly disappointing for such a brashly original film, Three Kings conveys the brutal madness of war while making you laugh out loud at the insanity. —Jeff Shannon

Gus Van Sant Robin Williams won the Oscar for Best Supporting Actor, and actors Matt Damon and Ben Affleck nabbed one for Best Original Screenplay, but the feel-good hit Good Will Hunting triumphs because of its gifted director, Gus Van Sant. The unconventional director (My Own Private Idaho, Drugstore Cowboy) saves a script marred by vanity and clunky character development by yanking soulful, touching performances out of his entire cast (amazingly, even one by Williams that's relatively schtick-free). Van Sant pulls off the equivalent of what George Cukor accomplished for women's melodrama in the 1930s and 40s: He's crafted an intelligent, unabashedly emotional male weepie about men trying to find inner-wisdom.

Matt Damon stars as Will Hunting, a closet maths genius who ignores his gift in favour of nightly boozing and fighting with South Boston buddies (co-writer Ben Affleck among them). While working as a university janitor, he solves an impossible calculus problem scribbled on a hallway blackboard and reluctantly becomes the prodigy of an arrogant MIT professor (Stellan Skarsgård). Damon only avoids prison by agreeing to see psychiatrists, all of whom he mocks or psychologically destroys until he meets his match in the professor's former childhood friend, played by Williams. Both doctor and patient are haunted by the past and, as mutual respect develops, the healing process begins. The film's beauty lies not with grand climaxes, but with small, quiet moments. Scenes such as Affleck's clumsy pep talk to Damon while they drink beer after work, or any number of therapy session between Williams and Damon offer poignant looks at the awkward ways men show affection and feeling for one another. —Dave McCoy

Gus Van Sant

Martin Scorsese Almost obliged to be huge, Gangs of New York marks the return to work of three much-admired creatives missing-in-action for the past few years: director Martin Scorsese, Leonardo DiCaprio and Daniel Day-Lewis. Vast, impressive and challenging, it's unlike anything Scorsese has done in look and manner even as it is exactly the material he has obsessively turned over since his first films. A terrific 1846 prologue depicts a battle for supremacy over a district known as the Five Points between the "native-born American" mob led by William "Butcher" Cutting (Day-Lewis) and an Irish immigrant crew headed by "Priest" Vallon (Liam Neeson). The bloody outcome is the death of Priest and the rise to godfather-like prominence of the literally eagle-eyed Butcher (an eagle-marked marble replaces an eye he fished out in homage to his enemy!). Sixteen years later, Priest's son Amsterdam (DiCaprio) shows up intent on revenge, but finds himself distracted as he is drawn into the Butcher's inner circle much as another Scorsese Irishman hooked up with the mob in Goodfellas.

The film covers an array of New York historical topics—from the corrupt government of William "Boss" Tweed to the riots that rocked the community when President Lincoln tried to impose military conscription—while the actual plot wobbles slightly as Amsterdam gets involved with a winsome pickpocket (Cameron Diaz) and wavers in his vengeful resolve. DeCaprio and Diaz aren't quite strong enough characters or players to hold things together—as in a few other recent Scorsese films, heroes are let off easily though they seem guilty of as many appalling crimes as the villains—but they have to compete with an award-worthy study in moustachioed menace and corruption from Day-Lewis and an array of the best supporting actors from either side of the Atlantic (Jim Broadbent, John C Reilly, Brendan Gleeson, David Hemmings). —Kim Newman

On the DVD: Gangs of New York comes with a decent set of extras on this two-disc set. Most notable is Martin Scorsese's commentary, the first of its kind on DVD. Taking a concise approach with some moderate pauses, Scorsese avoids a scene-specific analysis, but his rich knowledge both of the historical period and of cinema history is phenomenal, as is the account of his 30-year struggle to get the film made. Documentaries include costume and set design; a tour of the set with Scorsese and production designer Dante Ferretti (with optional 360-degree view); and a well-researched and insightful historical Discovery Channel documentary. "The History of the Five Points" is accompanied by some study notes and a vocab guide, all adding to the rich historical background that this extra material provides. Less insightful and more glossy are the obligatory trailer and "Making of" documentary, complete with husky voiceover. A choice of Dolby or DTS mixes are on offer sound-wise and, as you'd expect from such a beautifully filmed epic, the transfer is superb. —Laura Bushell

Martin Scorsese

Ridley Scott Ridley Scott's Black Hawk Down conveys the raw, chaotic urgency of ground-force battle in a worst-case scenario. With exacting detail, the film re-creates the American siege of the Somalian city of Mogadishu in October 1993, when a 45-minute mission turned into a 16-hour ordeal of bloody urban warfare. Helicopter-borne U.S. Rangers were assigned to capture key lieutenants of Somali warlord Muhammad Farrah Aidid, but when two Black Hawk choppers were felled by rocket-propelled grenades, the U.S. soldiers were forced to fend for themselves in the battle-torn streets of Mogadishu, attacked from all sides by armed Aidid supporters. Based on author Mark Bowden's bestselling account of the battle, Scott's riveting, action-packed film follows a sharp ensemble cast in some of the most authentic battle sequences ever filmed. The loss of 18 soldiers turned American opinion against further involvement in Somalia, but Black Hawk Down makes it clear that the men involved were undeniably heroic. —Jeff Shannon

Ridley Scott One of Ridley Scott's most wrong-headed films, this one (like all of his movies) looks fabulous and sounds utterly ridiculous, almost from the beginning. His first mistake was casting the wonderful Gerard Dépardieu as Columbus and forcing him to speak English, which Dépardieu does with decided difficulty. After spending far too much time on the ocean with Columbus' three ships (you wish they would sail over the edge of the world), they arrive in the West Indies, only to turn around and sail back. The rest of the film deals with the not particularly comprehensible politics of Columbus' venture, which leads to the violent slaughter of trusting natives by a band of cardboard villains. Dépardieu, who radiates sympathy, looks as if he's at sea with this material. —Marshall Fine, Amazon.com

Bryan Singer Disc 1:X-Men: The Last StandWidescreen FeatureDirector & Writer Commentary by Brett Ratner Zack Pennand Simon KinbergDeleted & Extended Scenes (with optional commentary by Brett Ratner)3 Alternate Endings2 Menu Sets: X-Men and BrotherhoodInside Look- A Night a the MuseumThe World of Marvel TrailersUS Component #2237392Canadian Bilingual Component #2237393Refer to PIS for detailsDisc 2:X2Widescreen FeatureDeleted ScenesUS Component #2110485Canadian Bilingual Component #2110488Refer to PIS for detailsDisc 3:X-MenWidescreen FeatureUS Component #2110095Canadian Bilingual #2110098Refer to PIS sheet for detailsEpisode Description:Disc 1: X-Men: The Last StandDisc 2: X2Disc 3: X-MenFormat: DVD MOVIE Genre: ACTION/ADVENTURE Rating: PG-13 UPC: 024543374169 Manufacturer No: 2237416

John Singleton Samuel L. Jackson makes a gleefully updated John Shaft in John Singleton's homage (not remake) to the early 1970s action classic, picking up where Richard Roundtree's legendary Shaft left off. The Manhattan-set film features excellent performances, dynamic action scenes and witty one-liners (Jackson's Shaft: "It's my duty to please the booty"—although the line's deceptive: there's a surprising lack of sex in the film). Unfortunately, it's offset by a surprisingly uninspired, predictable, one-dimensional story, penned by Singleton, Richard Price and Shane Salerno. The story, in which Shaft investigates the murder of a young African American, is without suspense, since from the start the audience knows that rich white boy Walter Wade (Christian Bale) did the deed and that Shaft is going to kick his ass, big time. That said, charismatic performances—from Jackson (who, in keeping with the times, is more volatile and fiery than his predecessor), Toni Collette (as a frightened witness), the villainous Bale and the utterly amazing Jeffrey Wright (Basquiat)—make the film enticing and watchable. Look for a cameo by the original Shaft's director, the legendary Gordon Parks, and fans of the original should note that a still stunningly handsome Roundtree briefly appears as Jackson's uncle. —N.F. Mendoza, Amazon.com

Steven Spielberg When Steven Spielberg was an adolescent, his first home movie was a backyard war film. When he toured Europe with Duel in his 20s, he saw old men crumble in front of headstones at Omaha Beach. That image became the opening scene of Saving Private Ryan, his film of a mission following the D-day invasion that many have called the most realistic—and maybe the best—war film ever. With 1998 production standards, Spielberg has been able to create a stunning, unparalleled view of war as hell. We are at Omaha Beach as troops are slaughtered by Germans yet overcome the almost insurmountable odds.

A stalwart Tom Hanks plays Captain Miller, a soldier's soldier, who takes a small band of troops behind enemy lines to retrieve a private whose three brothers have recently been killed in action. It's a public relations move for the Army, but it has historical precedent dating back to the Civil War. Some critics of the film have labeled the central characters stereotypes. If that is so, this movie gives stereotypes a good name: Tom Sizemore as the deft sergeant, Edward Burns as the hotheaded Private Reiben, Barry Pepper as the religious sniper, Adam Goldberg as the lone Jew, Vin Diesel as the oversize Private Caparzo, Giovanni Ribisi as the soulful medic, and Jeremy Davies, who as a meek corporal gives the film its most memorable performance.

The movie is as heavy and realistic as Spielberg's Oscar-winning Schindler's List, but it's more kinetic. Spielberg and his ace technicians (the film won five Oscars: editing (Michael Kahn), cinematography (Janusz Kaminski), sound, sound effects, and directing) deliver battle sequences that wash over the eyes and hit the gut. The violence is extreme but never gratuitous. The final battle, a dizzying display of gusto, empathy, and chaos, leads to a profound repose. Saving Private Ryan touches us deeper than Schindler because it succinctly links the past with how we should feel today. It's the film Spielberg was destined to make. —Doug Thomas

Steven Spielberg Like an airport running at peak efficiency, The Terminal glides on the consummate skills of its director and star. Having refined their collaborative chemistry on Saving Private Ryan and Catch Me if You Can, Steven Spielberg and Tom Hanks mesh like the precision gears of a Rolex, turning a delicate, not-very-plausible scenario into a lovely modern-age fable (partly based on fact) that's both technically impressive and subtly moving. It's Spielberg in Capra mode, spinning the featherweight tale of Victor Navorski (Hanks, giving a finely tuned performance), an Eastern European who arrives at New York's Kennedy Airport just as his (fictional) homeland has fallen to a coup, forcing him, with no valid citizenship, to take indefinite residence in the airport's expansive International Arrivals Terminal (an astonishing full-scale set that inspires Spielberg's most elegant visual strategies). Spielberg said he made this film in part to alleviate the anguish of wartime America, and his master's touch works wonders on the occasionally mushy material; even Stanley Tucci's officious terminal director and Catherine Zeta-Jones's mixed-up flight attendant come off (respectively) as forgivable and effortlessly charming. With this much talent involved, The Terminal transcends its minor shortcomings to achieve a rare degree of cinematic grace. —Jeff Shannon

Roger Spottiswoode A detective who lives a neat and orderly life is forced to live with the only witness to a crime, a destructive slobbering junkyard dog, until the crime is solved.
Genre: Feature Film-Comedy
Rating: PG
Release Date: 2-MAR-2004
Media Type: DVD

Oliver Stone

Kristin Scott Thomas, Aaron Johnson, David Threlfall, Josh Bolt, Ophelia Lovibond, Kerrie Hayes, Angela Walsh, Paul Ritter, Richard Syms, Anne-Marie Duff United Kingdom released, Blu-Ray/Region A/B/C : it WILL NOT play on regular DVD player. You need Blu-Ray DVD player to view this Blu-Ray DVD: LANGUAGES: English ( Dolby Digital 5.1 ), English ( Dolby DTS-HD Master Audio ), English ( Subtitles ), ANAMORPHIC WIDESCREEN (2.35:1), SPECIAL FEATURES: Anamorphic Widescreen, Cast/Crew Interview(s), Commentary, Deleted Scenes, Featurette, Interactive Menu, Making Of, Scene Access, SYNOPSIS: The true story of John Lennon's troubled childhood and difficult relationship with his family is brought to the screen in this period drama. Young John (Alex Ambrose) is a bright but sharp-tongued boy living in the coastal town of Liverpool during the 1950s with his aunt Mimi (Kristin Scott Thomas) and uncle George (David Threlfall). John's father walked out on the family when he was four years old, and the boy was given to Mimi to raise, even though his mother, Julia (Anne-Marie Duff), was still alive. While Mimi's straight-laced nature runs counter to John's more reckless personality, they clearly love one another and the household is thrown into chaos when George dies suddenly. At the funeral, teenage John (now played by Aaron Johnson) sees Julia, and learns to his surprise that she lives only a few blocks away from Mimi. John pays her a visit, and Julia gratefully welcomes him back into her life. Julia's personality is a much closer fit to John than Mimi, and she encourages his love for writing and music, teaching him to play the banjo. However, John's renewed relationship with Julia brings up a number of unanswered questions, and causes new tensions between Mimi and John. And as rock & roll becomes the hot new sound of the day, John falls in love with the bold new music and makes a friend who is interested in forming a band, Paul (Thomas Brodie Sangster). The first feature film from artist-turned-director Sam Taylor-Wood, Nowhe

Fawlty Towers

Francis Veber

Gore Verbinski An unexpected marriage of big-budget production values and low-budget instincts, The Ring offers chills to be savoured. Usually when Hollywood indulges its cash-hungry game of remaking foreign films the result sacrifices much of what made the original so special. Clearly, the supremely eerie supernatural vibe that permeated the legendary 1998 Japanese horror film must have done something to those Hollywood suits, because Gore Verbinski's remake is actually rather good. Certainly, it's not superior to the original, but it's undoubtedly a cut above most modern horror efforts, expertly wringing every drop of suspense. The impressive Naomi Watts (Mullholland Drive) plays a journalist investigating an urban myth of a videotape that kills the viewer a week after watching it. Succumbing to curiosity, she watches it herself—big mistake—and has a week to solve the mystery or fall victim to its sinister power.

While transferring the action from Japan to modern-day Seattle may weaken the impact of the plot's mythological elements, and the film may be guilty of pointless padding (belying the original's lean format), Verbinski's effort is no less squirm-inducing, bolstered with a tremendous shocker of an ending. Exquisitely utilising the strong visual sense displayed in The Mexican, Verbinski creates a thick atmosphere of dread and suspense that never lets up, thankfully favouring old-fashioned scares, rather than retreating to blunt CG spectacle. In Watts, the film has a horror heroine who far exceeds the average wide-eyed scream queen, perfectly conveying the endless stream of bone-chilling moments. —Danny Graydon

Joseph Vilsmaier It's tempting to call the harrowing Stalingrad a World War II version of All Quiet on the Western Front, since both films take the perspective of ordinary German soldiers at ground level. Stalingrad surveys the misery of the battle of Stalingrad, the winter siege that cost the lives of almost one and a half million people—Russian defenders and German invaders alike. Not unlike Spielberg's approach to Saving Private Ryan, German director Joseph Vilsmaier rarely steps outside the action to comment on the higher purpose of the war, assuming the audience is aware of the evil of the Nazi regime. Instead, we simply follow a group of soldiers as they endure a series of gut-wrenching episodes, events that have the tang of authenticity and horror. Vilsmaier has a taste for symbolism and surreal touches, which only add to the unsettling sense of insanity this movie conjures up so well. —Robert Horton

Joe Walker, Simon Cellan Jones BEETHOVEN:EROICA - DVD Movie

Simon West Angelina Jolie is the first and best reason to watch Lara Croft Tomb Raider. She gives an extraordinarily committed, physically demanding performance, taking on the mantle of the video game heroine with real conviction and energy, and becoming the embodiment of every teenage boy's wish-fulfilment fantasy female. She's tough, sexy and tomboyish all at the same time, and even has a plummy English accent to give her a touch of class. It's a shame that the movie doesn't live up to Jolie's high standards. A soulless juggernaut of computer-generated effects and one-dimensional characters, the film falls into the same trap that has ensnared every other video game adaptation before it. The convoluted plot—which is concerned with a mysterious planetary alignment, a quasi-Masonic secret society known as the Illuminati and a mcguffin called the Triangle of Light—takes itself far too seriously. Oddly for a film with such a pedigree, the only humour is to be found in the endless repetition by Jolie of the word "bugger", which presumably is hilariously funny to American audiences. Director Simon West, an alumnus of the Brookheimer-Simpson school of filmmaking, choreographs the action sequences spectacularly enough, and their impact is boosted hugely by Jolie's ability to perform almost all the stunt work herself. But the end result is an empty experience that leaves the viewer with the feeling that this much-loved character and this dedicated actress could have been better served.

On the DVD: Eschewing the need for a second disc, this DVD still has plenty of additional material to keep fans happy. There's no single making-of documentary, but rather a series of shorter pieces on specific aspects of the production—the original game, the transition to the big screen, the special effects, the stunt work and the rigorous training endured by Jolie (apparently she got so good she could do the stunts better than any of the stunt doubles). There's also U2's "Elevation" video, some deleted scenes, DVD-ROM features and a chatty commentary from director Simon West. The widescreen picture and thumping surround soundtrack are impressive. —Mark Walker

Irwin Winkler

Sam Worthington, Sigourney Weaver, James Cameron After 12 years of thinking about it (and waiting for movie technology to catch up with his visions), James Cameron followed up his unsinkable Titanic with Avatar, a sci-fi epic meant to trump all previous sci-fi epics. Set in the future on a distant planet, Avatar spins a simple little parable about greedy colonizers (that would be mankind) messing up the lush tribal world of Pandora. A paraplegic Marine named Jake (Sam Worthington) acts through a 9-foot-tall avatar that allows him to roam the planet and pass as one of the Na'vi, the blue-skinned, large-eyed native people who would very much like to live their peaceful lives without the interference of the visitors. Although he's supposed to be gathering intel for the badass general (Stephen Lang) who'd like to lay waste to the planet and its inhabitants, Jake naturally begins to take a liking to the Na'vi, especially the feisty Neytiri (Zoë Saldana, whose entire performance, recorded by Cameron's complicated motion-capture system, exists as a digitally rendered Na'vi). The movie uses state-of-the-art 3D technology to plunge the viewer deep into Cameron's crazy toy box of planetary ecosystems and high-tech machinery. Maybe it's the fact that Cameron seems torn between his two loves—awesome destructive gizmos and flower-power message mongering—that makes Avatar's pursuit of its point ultimately uncertain. That, and the fact that Cameron's dialogue continues to clunk badly. If you're won over by the movie's trippy new world, the characters will be forgivable as broad, useful archetypes rather than standard-issue stereotypes, and you might be able to overlook the unsurprising central plot. (The overextended "take that, Michael Bay" final battle sequences could tax even Cameron enthusiasts, however.) It doesn't measure up to the hype (what could?) yet Avatar frequently hits a giddy delirium all its own. The film itself is our Pandora, a sensation-saturated universe only the movies could create. —Robert Horton

Ronny Yu

Robert Zemeckis Tom Hanks "gives one of the towering screen performances of all time" (New York Post) as Chuck Noland, a FedEx systems engineer whose ruled-by-the-clock existence abruptly ends when a harrowing plane crash leaves him isolated on a remote island. As Chuck

Ralph Ziman