Simon Fellows When an experienced thief accidentally makes off with a van gogh his partner is kidnapped by gangsters in pursuit of the painting forcing the criminal to hatch a rescue plan. Studio: Sony Pictures Home Ent Release Date: 09/25/2007 Starring: Wesley Snipes Dhobi Oparei Run time: 96 minutes Rating: R

Steven Spielberg

Paul W.S. Anderson

Andrew Davis

Charles Barton

Michael Mann

An interesting feature of Alien, Aliens, Alien 3, and Alien Resurrection, worth watching together if only for the chance to see how different directors handle essentially the same idea. The results are decidedly mixed. Ridley Scott's Alienis the most traditional of the bunch, essentially a haunted-house picture set on a space freighter, where a monster is picking off crew members one by one. James Cameron's Aliensis the all-out adrenaline bath, a pulse-pounding action thriller from start to finish. It plays a little like a Western in outer space, where the settlers are waiting for a cavalry that never comes—and the Indians are acid-veined aliens. And David Fincher's Alien 3is the rock-video version, in which substance and storytelling are sacrificed to editing and imagery, as the aliens attempt to take over a space penal colony. —Marshall Fine

Ridley Scott Ridley Scott puts on his "sweeping saga" gameface again, this time not for the sci-fi vistas of Blade Runner or the ancient world of Gladiator but for an urban epic. American Gangster gives the story of Frank Lucas (Denzel Washington), a real-life Harlem crime lord who built an empire on Southeast Asian heroin in the 1970s. Running parallel to Lucas's somewhat standard story is the investigation led by a persistent New Jersey cop, Richie Roberts (Russell Crowe). Roberts is a more interesting character than Lucas—too honest for his own good, unlucky in his personal life—and this kind of character, easily patronized by others, fits Crowe like a polyester shirt. Scott's tendency to hit his points square on the noggin is much in evidence here, including the typecasting of the supporting roles and the predictable Serpico atmosphere of the whole thing. (And speaking of supporting actors, the film needs more Chiwetel Ejiofor, whose role as a Lucas sidekick feels cut down.) It succeeds as a kind of chewy entertainment, fueled by the presence of two big stars working their muscles. Both Washington and Crowe look pretty brawny here. —Robert Horton

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Paul Weitz Chris Weitz

James B. Rogers (II)

Harold Ramis Cast Robert De Niro and Billy Crystal together in a film and it should be a sucker's bet as to who's going to be funnier and who's going to give the more nuanced performance. Somehow, though, De Niro walks away with most of the laughs in Analyze This, a buddy action-comedy about a mob boss (De Niro, natch) suffering from panic attacks who makes a nebbishy shrink (Crystal, natch) an offer he can't refuse—actually, it's not really an offer, it's a command. The good doctor is forced to help the gangster get in touch with his feelings. Had the brilliant TV series The Sopranosnot underscored how thin and watery and shticky director-cowriter Harold Ramis's approach to such potentially rich material actually is, the movie—a hit in theaters and De Niro's biggest film ever—would seem more fresh and kicky. De Niro's definitely a hoot as the ever milder menace, and Crystal actually concentrates on giving a credible performance opposite the acting legend (alas, he doesn't turn his character's fear of his patient into inspired comedy, as Alan Arkin did in Grosse Pointe Blank). The conclusion devolves into the requisite gunplay, and Chazz Palminteri and Lisa Kudrow are criminally wasted as an opposing mob boss and Crystal's fiancée, respectively, but overall, it's breezy fun. —David Kronke

Denzel Washington

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

Christian Duguay Covert united nations operative wesley snipes relies on all the deadly tricks of his trade to outwit conpsirators bent on destroying the international organizations credibility. Special features: trailer cast and director film highlights and more. Studio: Warner Home Video Release Date: 09/25/2007 Starring: Wesley Snipes Donald Sutherland Run time: 117 minutes Rating: R Director: Christian Duguay

Jay Roach Secret agent Austin Powers is thawed back into action after being frozen for thirty years. The time-warped swinger has to battle with his archenemy Dr. Evil and stop his plot to control the world.
Genre: Feature Film-Comedy
Rating: PG13
Release Date: 12-SEP-2006
Media Type: DVD

Jay Roach "I put the grrr in swinger, baby!" a deliciously randy Austin Powers coos near the beginning of The Spy Who Shagged Me, and if the imagination of Austin creator Mike Myers seems to have sagged a bit, his energy surely hasn't. This friendly, go-for-broke sequel to 1997's Austin Powers: International Man of Mysteryfinds our man Austin heading back to the '60s to keep perennial nemesis Dr. Evil (Myers again) from blowing up the world—and, more importantly, to get back his mojo, that man-juice that turns Austin into irresistible catnip for women, especially American spygirl Felicity Shagwell (a pretty but vacant Heather Graham). The plot may be irreverent and illogical, the jokes may be bad (with characters named Ivana Humpalot and Robin Swallows, née Spitz), and the scenes may run on too long, but it's all delivered sunnily and with tongue firmly in cheek.

Myers's true triumph, though, is his turn as the neurotic Dr. Evil, who tends to spout the right cultural reference at exactly the wrong time (referring to his moon base as a "Death Star" with Moon Units Alpha and Zappa—in 1969). Myers teams Dr. Evil with a diminutive clone, Mini-Me (Verne J. Troyer), who soon replaces slacker son Scott Evil (Seth Green) as the apple of the doctor's eye; Myers and Troyer work magic in what could plausibly be one of the year's most affecting (and hysterically funny) love stories. Despite a stellar supporting cast—including a sly Rob Lowe as Robert Wagner's younger self and Mindy Sterling as the forbidding Frau Farbissina—it—it's basically Myers's show, and he pulls a hat trick by playing a third character, the obese and disgusting Scottish assassin Fat Bastard. Many viewers will reel in disgust at Mr. Bastard's repulsive antics and the scatological bent Myers indulges in, including one showstopper involving coffee and—shudder—a stool sample. Still, Myers's good humor and dead-on cultural references win the day; Austin is one spy who proves he can still shag like a minx. —Mark Englehart

Jay Roach

John Singleton

Filmmaker Robert Zemeckis topped his breakaway hit Romancing the Stonewith Back to the Future, a joyous comedy with a dazzling hook: what would it be like to meet your parents in their youth? Billed as a special-effects comedy, the imaginative film (the top box-office smash of 1985) has staying power because of the heart behind Zemeckis and Bob Gale's script. High schooler Marty McFly (Michael J. Fox, during the height of his TV success) is catapulted back to the '50s where he sees his parents in their teens, and accidentally changes the history of how Mom and Dad met. Filled with the humorous ideology of the '50s, filtered through the knowledge of the '80s (actor Ronald Reagan is president, ha!), the film comes off as a Twilight Zoneepisode written by Preston Sturges. Filled with memorable effects and two wonderfully off-key, perfectly cast performances: Christopher Lloyd as the crazy scientist who builds the time machine (a DeLorean luxury car) and Crispin Glover as Marty's geeky dad. —Doug Thomas

Critics and audiences didn't seem too happy with Back to the Future, Part II, the inventive, perhaps too clever sequel. Director Zemeckis and cast bent over backwards to add layers of time-travel complication, and while it surely exercises the brain it isn't necessarily funny in the same way that its predecessor was. It's well worth a visit, though, just to appreciate the imagination that went into it, particularly in a finale that has Marty watching his own actions from the first film. —Tom Keogh

Shot back-to-back with the second chapter in the trilogy, Back to the Future, Part IIIis less hectic than that film and has the same sweet spirit of the first, albeit in a whole new setting. This time, Marty ends up in the Old West of 1885, trying to prevent the death of mad scientist Christopher Lloyd at the hands of gunman Buford "Mad Dog" Tannen (Thomas F. Wilson, who had a recurring role as the bully Biff). Director Zemeckis successfully blends exciting special effects with the traditions of a Western and comes up with something original and fun. —Tom Keogh

Michael Bay

Tim Story

Tim Burton Thanks to the ambitious vision of director Tim Burton, the blockbuster hit of 1989 delivers the goods despite an occasionally spotty script, giving the caped crusader a thorough overhaul in keeping with the crime fighter's evolution in DC Comics. Michael Keaton strikes just the right mood as the brooding "Dark Knight" of Gotham City; Kim Basinger plays Gotham's intrepid reporter Vicki Vale; and Jack Nicholson goes wild as the maniacal and scene-stealing Joker, who plots a takeover of the city with his lethal Smilex gas. Triumphant Oscar-winning production design by the late Anton Furst turns Batmaninto a visual feast, and Burton brilliantly establishes a darkly mythic approach to Batman's legacy. Danny Elfman's now-classic score propels the action with bold, muscular verve. —Jeff Shannon

Christopher Nolan Batman Beginsdiscards the previous four films in the series and recasts the Caped Crusader as a fearsome avenging angel. That's good news, because the series, which had gotten off to a rousing start under Tim Burton, had gradually dissolved into self-parody by 1997's Batman & Robin. As the title implies, Batman Beginstells the story anew, when Bruce Wayne (Christian Bale) flees Western civilization following the murder of his parents. He is taken in by a mysterious instructor named Ducard (Liam Neeson in another mentor role) and urged to become a ninja in the League of Shadows, but he instead returns to his native Gotham City resolved to end the mob rule that is strangling it. But are there forces even more sinister at hand?

Co-written by the team of David S. Goyer (a veteran comic book writer) and director Christopher Nolan (Memento), Batman Beginsis a welcome return to the grim and gritty version of the Dark Knight, owing a great debt to the graphic novels that preceded it. It doesn't have the razzle dazzle, or the mass appeal, of Spider-Man 2(though the Batmobile is cool), and retelling the origin means it starts slowly, like most "first" superhero movies. But it's certainly the best Bat-film since Burton's original, and one of the best superhero movies of its time. Bale cuts a good figure as Batman, intense and dangerous but with some of the lightheartedness Michael Keaton brought to the character. Michael Caine provides much of the film's humor as the family butler, Alfred, and as the love interest, Katie Holmes (Dawson's Creek) is surprisingly believable in her first adult role. Also featuring Gary Oldman as the young police officer Jim Gordon, Morgan Freeman as a Q-like gadgets expert, and Cillian Murphy as the vile Jonathan Crane. —David Horiuchi

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Joel Schumacher When Tim Burton and Michael Keaton announced that they'd had enough of the Batmanfranchise, director Joel Schumacher stepped in (with Burton as coproducer) to make this action-packed extravaganza starring Val Kilmer as the caped crusader. Batman is up against two of Gotham City's most colorful criminals, the Riddler (a role tailor-made for funnyman Jim Carrey) and the diabolical Two-Face (Tommy Lee Jones), who join forces to conquer Gotham's population with a brain-draining device. Nicole Kidman plays the seductive psychologist who wants to know what makes Batman tick. Boasting a redesigned Batmobile and plenty of new Bat hardware, Batman Foreveralso introduces Robin the Boy Wonder (Chris O'Donnell) whose close alliance with Batman led more than a few critics to ponder the series' homoerotic subtext. No matter how you interpret it, Schumacher's take on the Batmanlegacy is simultaneously amusing, lavishly epic, and prone to chronic sensory overload. —Jeff Shannon

Roger Christian

Harold Ramis

John Moore

Martin Brest

Tony Scott

Stephen Norrington The recipe for Bladeis quite simple; you take one part Batman, one part horror flick, and two parts kung fu and frost it all over with some truly campy acting. What do you get? An action flick that will reaffirm your belief that the superhero action genre did not die in the fluorescent hands of Joel Schumacher. Bladeis the story of a ruthless and supreme vampire slayer (Wesley Snipes) who makes other contemporary slayers (Buffy et al.) look like amateurs. Armed with a samurai sword made of silver and guns that shoot silver bullets, he lives to hunt and kill "Sucker Heads." Pitted against our hero is a cast of villains led by Deacon Frost (Stephen Dorff), a crafty and charismatic vampire who believes that his people should be ruling the world, and that the human race is merely the food source they prey on. Born half-human and half-vampire after his mother had been attacked by a blood-sucker, Blade is brought to life by a very buff-looking Snipes in his best action performance to date. Apparent throughout the film is the fluid grace and admirable skill that Snipes brings to the many breathtaking action sequences that lift this movie into a league of its own. The influence of Hong Kong action cinema is clear, and you may even notice vague impressions of Japanese animesprinkled innovatively throughout. Dorff holds his own against Snipes as the menacing nemesis Frost, and the grizzly Kris Kristofferson brings a tough, cynical edge to his role as Whistler, Blade's mentor and friend. Ample credit should also go to director Stephen Norrington and screenwriter David S. Goyer, who prove it is possible to adapt comic book characters to the big screen without making them look absurd. Indeed, quite the reverse happens here: Blade comes vividly to life from the moment you first see him, in an outstanding opening sequence that sets the tone for the action-packed film that follows. From that moment onward you are pulled into the world of Blade and his perpetual battle against the vampire race. —Jeremy Storey

Guillermo del Toro

Ridley Scott When Ridley Scott's cut of Blade Runnerwas finally released in 1993, one had to wonder why the studio hadn't done it right the first time—11 years earlier. This version is so much better, mostly because of what's been eliminated (the ludicrous and redundant voice-over narration and the phony happy ending) rather than what's been added (a bit more character development and a brief unicorn dream). Star Harrison Ford originally recorded the narration under duress at the insistence of Warner Bros. executives who thought the story needed further "explanation"; he later confessed that he thought if he did it badly they wouldn't use it. (Moral: Never overestimate the taste of movie executives.) The movie's spectacular futuristic vision of Los Angeles—a perpetually dark and rainy metropolis that's the nightmare antithesis of "Sunny Southern California"—is still its most seductive feature, an otherworldly atmosphere in which you can immerse yourself. The movie's shadowy visual style, along with its classic private-detective/murder-mystery plot line (with Ford on the trail of a murderous android, or "replicant"), makes Blade Runnerone of the few science fiction pictures to legitimately claim a place in the film noir tradition. And, as in the best noir, the sleuth discovers a whole lot more (about himself and the people he encounters) than he anticipates.... With Sean Young, Edward James Olmos, Daryl Hannah, Rutger Hauer, and M. Emmet Walsh. —Jim Emerson

Adam Shankman

Gary Hardwick Think of it as a male version of Waiting to Exhale. The Brotherssimilarly features four good friends who offer each other advice and support as they navigate the strange and treacherous waters of romantic relationships. Jackson (Morris Chestnut) is a doctor with serious commitment problems; he has dreams about a woman in a bridal gown aiming a gun at him. Brian (Bill Bellamy) is a lawyer with a caustic view of the opposite sex, inspired in large part by his untrusting and unaffectionate mother; he also has commitment problems. Upwardly mobile professional Terry (Shemar Moore) is a well-muscled womanizer who's finally decided to settle down, but as the wedding draws close it becomes clear that he, too, has commitment problems. Fortunately, the fourth member of the quartet, Derrick (D.L. Hughley), is married and devoted to his family—except that his wife refuses to engage in anything but straight missionary sex, which Derrick sees as manipulative. The Brothersdepicts a glamorous world in which everyone is good-looking and well dressed; the number of characters makes it hard to delve into anyone's life with any depth, but the actors are engaging and the script makes an effort to look at the "battle of the sexes" from both sides. The immensely charming Gabrielle Union (from Bring It On) plays the girl who just might convince Jackson to give up his single ways. —Bret Fetzer

Tinto Brass Bob Guccione Caligula may very well be the most controversial film in history. Only one movie dares to show the perversion behind Imperial Rome, and that movie is "Caligula," the epic story of Rome's mad emperor. All the details of his cruel, bizarre reign are revealed right here: his unholy sexual passion for his sister, his marriage to Rome's most infamous prostitute, his fiendishly inventive means of disposing of those who would oppose him, and more. The combined talents of cinematic giants Malcolm McDowell, Peter O'Toole, John Gielgud and Shakespearean actress Helen Mirren, along with an acclaimed international cast and a bevy of beautiful Penthouse Pets, make this unique historical drama a masterwork of the screen. Not for the squeamish, not for the prudish, "Caligula" will shock and arouse you as it reveals the deviance and decadence beneath the surface of the grandeur that once was Rome.

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

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

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Jack Hill In the opening minutes of Coffy, Pam Grier's star-making role, she blasts the skull of a sleazy drug pusher into pulp like a watermelon and shoots his junkie assistant with an overdose of heroin. Jack Hill knows how to open a movie, and he never lets up on the down-and-dirty action. Coffy is an emergency room nurse by day and vigilante by night, targeting the dealers who made her sister a comatose junkie. She works her way up to the Italian mobsters muscling into the ghetto drug trade while she's romanced by glib, smooth-talking politician Booker Bradshaw and wooed by nice-guy cop William Elliot, whose refusal to sell out to the corrupt force earns him a crippling beating.

There's plenty of sex, a catty girl-fight that leaves the losers topless, and car chases and shootouts galore, but what makes Coffya blaxploitation classic is Grier's Amazonian presence and fiery charisma, and the gritty, low-budget action scenes marked by visceral, wincing violence. Mob strong-arm Sid Haig (Spider Baby) cackles while dragging his victim (a strutting peacock pimp played by Nashville's Robert DoQui) behind a speeding car in a sadistic lynching, and Grier runs down one bad guy with a speeding car and takes care of another with a shotgun to the groin. Hill had previously directed Grier in The Big Doll Houseand The Big Bird Cage. Their next and last picture together, Foxy Brown, was originally written as the sequel to Coffy. —Sean Axmaker

Michael Mann Collateral offers a change of pace for Tom Cruise as a ruthless contract killer, but that's just one of many reasons to recommend this well-crafted thriller. It's from Michael Mann, after all, and the director's stellar track record with crime thrillers (Thief, Manhunter, and especially Heat) guarantees a rich combination of intelligent plotting, well-drawn characters, and escalating tension, beginning here when icy hit-man Vincent (Cruise) recruits cab driver Max (Jamie Foxx) to drive him through a nocturnal tour of Los Angeles, during which he will execute five people in a 10-hour spree. While Stuart Beattie's screenplay deftly combines intimate character study with raw bursts of action (in keeping with Mann's directorial trademark), Foxx does the best work of his career to date (between his excellent performance in Ali and his title-role showcase in Ray), and Cruise is fiercely convincing as an ultra-disciplined sociopath. Jada Pinkett-Smith rises above the limitations of a supporting role, and Mann directs with the confidence of a master, turning L.A. into a third major character (much as it was in the Mann-produced TV series Robbery Homicide Division). Collateral is a bit slow at first, but as it develops subtle themes of elusive dreams and lives on the edge, it shifts into overdrive and races, with breathtaking precision, toward a nail-biting climax. —Jeff Shannon

John Landis Half of the characters in this 1988 John Landis potboiler seem to be played either by Eddie Murphy or costar Arsenio Hall, swaddled in elaborate Rick Baker makeup appliances that render them unrecognizable but also weirdly immobile. As a pampered African prince who journeys incognito to Queens, New York, to find a bride who will love him just for himself, Murphy manages to look smug and naive at the same time. There are enjoyable sequences of Murphy's Prince Akeem applying his lordly manner to his new job in a fast-food emporium, and falling for the boss's spirited daughter (Shari Headley), who teaches him how to party down, American style. But the fish-out-water premise is never fully exploited. Star spotters will have a field day locating Cuba Gooding Jr., Donna Summer, Louie Anderson, Vondie Curtis Hall, E.R.'s Eriq La Salle, and Samuel L. Jackson in their minuscule supporting roles. —David Chute

Michael Schultz Cooley Highhas frequently been compared to American Graffiti, and for good reason. Like that classic, Cooley Highhas a loose, multicharacter structure, autobiographical origins, and the rich texture of its time. Set in Chicago in 1964, the movie follows aspiring writer Preach (Glynn Turman) and local basketball star Cochise (Lawrence-Hilton Jacobs, who went on to star in Welcome Back, Kotter) as they wander their neighborhood, drifting in and out of their classes at Cooley Vocational High School. The two friends pull pranks, crash parties, commit petty crimes, and generally try to enjoy their lives in an impoverished urban environment. Preach falls in love with a smart girl named Brenda (Cynthia Davis), whom he wins over by reciting poetry—leading to one of the silliest and sweetest love scenes you'll ever see. When Preach and Cochise go on a joy ride with a pair of young hoods, they end up arrested. Their history teacher, Mr. Mason (a superb Garrett Morris), gets them off, but the hoods think the boys sold them out and come seeking revenge. Cooley Highdepicts the rough life of African Americans in the 1960s with honesty and humor, offering no easy solutions or pat lessons. It's a roughly made movie, but Turman and Jacobs are both excellent, and there's an attention to reality that makes it engaging, refreshing, and ultimately moving. The soundtrack is a great compilation of 1960s soul, including the Supremes, Martha and the Vandellas, Stevie Wonder, the Four Tops, and Smokey Robinson. An unjustly neglected film that deserves rediscovery. —Bret Fetzer

Jon Amiel

David McNally (II) As a producer, Jerry Bruckheimer makes movies for guys, mostly action films like Top Gunand Gone in 60 Seconds. The ones he makes that feature women, such as Flashdanceand now Coyote Ugly, broaden their appeal with a fondness for "strong women." For Bruckheimer, that means self-determined, attractive women who don't need men to get what they want. Is there anything sexier than that? In Coyote Ugly, the charming young waif Piper Perabo stars as Violet, a New Jersey waitress who moves to New York to make it big as a songwriter. She has absolutely no idea how the music business works, relying instead on her faith in her own abilities. In order to make ends meet, she gets a job in a bar called Coyote Ugly, where the bartenders are scantily clad women who dance on the bar and order around their mostly male clientele. Really, they are strippers who don't have to take off their clothes. In fact, the owner (Maria Bello) orders them to enact the first rule of strip clubs: "Appear available but never be available." Bruckheimer is smart enough to focus on the naive girl instead of the seamier side of the story, following her as she realizes her dream and picks up a disposable but nice man along the way. Further "empowering" the female figures in the film, Zoe (Tyra Banks), the bartender whom Violet is replacing, leaves in order to go to law school. See? They're as smart as they are sexy! Then there's John Goodman, who turns in an absolutely charming performance as Violet's concerned father. This is a sweet and inoffensive film as long as you don't think too much about it. —Andy Spletzer

Paul Haggis They all live in Los Angeles. And in the next 36 hours, they will collide.

Ang Lee The Superbit titles utilize a special high bit rate digital encoding process which optimizes video quality while offering a choice of both DTS and Dolby Digital 5.1 audio. These titles have been produced by a team of Sony Pictures Digital Studios video, sound and mastering engineers and comes housed in a special package complete with a 4 page booklet that contains technical information on the Superbit process. By reallocating space on the disc normally used for value-added content, Superbit DVDs can be encoded at double their normal bit rate while maintaining full compatibility with the DVD video format.

Ron Howard Critics and controversy aside, The Da Vinci Codeis a verifiable blockbuster. Combine the film's huge worldwide box-office take with over 100 million copies of Dan Brown's book sold, and The Da Vinci Codehas clearly made the leap from pop-culture hit to a certifiable franchise. The leap for any story making the move from book to big screen, however, is always more perilous. In the case of The Da Vinci Code, the plot is concocted of such a preposterous formula of elements that you wouldn't envy screenwriter Akiva Goldsman, the man tasked with making this story filmable. The script follows Dan Brown's book as closely as possible while incorporating a few needed changes, including a better ending. And if you're like most of the world, by now you've read the book and know how it goes: while lecturing in Paris, noted Harvard Professor of Symbology Robert Langdon (Tom Hanks) is summoned to the Louvre by French police to help decipher a bizarre series of clues left at the scene of the murder of the chief curator. Enter Sophie Neveu (Audrey Tautou), gifted cryptologist. Neveu and Langdon team up to solve the mystery, and from there the story is propelled across Europe, ballooning into a modern-day mini-quest for the Holy Grail, where secret societies are discovered, codes are broken, and murderous albino monks are thwarted… oh, and alternative theories about the life of Christ and the beginnings of Christianity are presented too, of course. It's not the typical formula for a stock Hollywood thriller. In fact, taken solely as a mystery, the movie almost works—despite some gaping holes—mostly just because it keeps moving. Brown's greatest trick was to have the entire story take place in one day, so the action is forced to keep moving, despite some necessary pauses for exposition. As a screen couple, Hanks and Tautou are just fine together but not exactly memorable; meanwhile Sir Ian McKellen's scenery-chewing as pivotal character Sir Leigh Teabing is just what the film needed to keep it from taking itself too seriously. The whole thing is like a good roller-coaster ride: try not to think too much about it—just sit back and enjoy the trip. —Daniel Vancini

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On The DVD
The DVD extras on a film as popular as The Da Vinci Codeshould be plentiful, and this version doesn't skimp. With over 90 minutes of special features, including ten behind-the-scenes featurettes, there's a lot here to explore beyond the film itself. The question is, is there anything new here that we haven't heard before, in all the hype, pseudo-documentaries, and controversy surrounding the movie, to make it worthwhile? For most viewers, the answer will be "yes." Essentially, if you like the movie, if you enjoyed the book, you will get a lot out of them.

Just as the movie is intended to make the book come to life, the DVD extras should make the film come to life by pointing the audience into the world of the filmmakers, connecting the dots between print and film, and for the most part they do just that. The extras here range from the typical look behind-the-scenes to more in-depth features on the supporting characters, the locations, and the Mona Lisaherself. "First Day on the Set with Ron Howard" features the director gushing about the opportunity to film in the Louvre and work with Tom Hanks again (the two worked together before on Splashand Apollo 13). It's a short piece that doesn't reveal much beyond making an attempt to share Howard's excitement (with the "Gee, I really loved working with him/her on this project" that you hear in every such featurette), but viewers might enjoy seeing how the stage was set up in the famous museum, down to the spike tape on the floor showing actors where to hit their marks. The Filmmaking Experience, Parts 1 and 2further explores the creative and technical aspects of the filmmaking process. A Conversation with Dan Brownstarts out feeling like a puff-piece (the man who wrote this book got started at age 5 with a story called The Giraffe, The Pig, and the Pants on Fire. "It was a thriller," he says.) and unfortunately it doesn't go very deep into much of anything of interest. But on the other hand, this isn't 60 Minuteshere; it's intended to give viewers a better sense of the man behind the franchise, which it does. Much of the footage from this interview is sprinkled throughout some of the other featurettes. Meanwhile, the character behind the franchise, Robert Langdon, is examined in his own featurette, as is Sophie Neveu. The cool thing here is getting under the skin of the actors to see how they approached the characters, knowing that most of the movie-going public already has formed their own ideas about the characters from the book.

The most interesting extras are the featurettes that focus on the history behind the mystery. Or is it the mystery behind the history? Either way, the first one on the Mona Lisa, and the second featurette on the many codes and symbols that are hidden throughout the movie balance out the remainder of the extras nicely by demonstrating the sense of intrigue, mystery, and game-playing adventure that made The Da Vinci Codeso popular in the first place. —Daniel Vancini

Beyond The Da Vinci Code

The Films of Tom Hanks

The Films of Ron Howard

The Da Vinci DVDs: Decoding "The Da Vinci Code"

More About The Artist

Stills from The Da Vinci Code(click for larger image)

Mark Steven Johnson

Roland Emmerich

Renny Harlin With a voracious trio of mako sharks wreaking havoc, Deep Blue Seadares to up the ante on Jaws, but director Renny Harlin trades the nuanced suspense of Spielberg's 1975 blockbuster for the trickery of the digital age. In other words, why build genuine terror when you can show ill-fated humans getting torn into bloody chunks? The aforementioned makos have been lab rats in an effort to harvest a miracle cure for Alzheimer's disease from the brains of sharks, but the research has an unfortunate side effect: the sharks get smarter, and they're determined to break out of Aquatica, the deep-sea complex where they've been penned.

Model-actress Saffron Burrows plays the researcher; Thomas Jane pulls double-duty as shark expert and action hunk; Samuel L. Jackson's the corporate sponsor who chooses the worsttime for an Aquatica tour; and rapper LL Cool J is nicely cast as Aquatica's cook and comic relief. Michael Rapaport, Jacqueline McKenzie, and Stellan Skarsgård round out the cast, most of whom are turned into shark food as the makos turn Aquatica into a floating junkyard. Harlin takes devilish pleasure in providing sudden, unexpected shocks—no small feat in such a derivative thriller—and as a series of action set-pieces, Deep Blue Seanever disappoints. It's inevitable that Burrows should end up in her underwear like Sigourney Weaver in Alien, but even then the movie offers a credible reason for the strip-down; that Deep Blue Seacan be simultaneously ridiculous and sensible is just another one of its shlocky charms. —Jeff Shannon

This is a widescreen edition, does not have cardboard slip sleeve just clam shell case.

Carl Franklin Despite rave reviews as one of the most stylish and intelligent detective pictures in a number of years, this 1995 adaptation of Walter Mosley's novel never found a mass audience. Too bad, because Carl Franklin's film is nearly perfect in every way, from its rich, shadowy look to its depiction of life in post-World War II black America (L.A.-style) to the acting of Denzel Washington, Don Cheadle, and others. Washington plays Easy Rawlins, an aircraft factory worker who is laid off only to find his true calling: as a private eye, albeit an unlicensed one. Hired to find a missing woman, he becomes entangled in a complex but satisfying case involving sex, corruption, racism, and of course money. Top-notch from top to bottom—and Cheadle is dangerously funny as Easy's best friend, a killer named Mouse. —Marshall Fine

Taylor Hackford Kevin Lomax (Reeves) an ambitious talented young district attorney joins a powerful New York law firm headed by the mysterious and charismatic John Milton (Pacino). as Lomax faces the intense seduction of success and money he is increasingly tempted.Running Time: 144 min.System Requirements:Produced by Arnon Milchan Arnold Kopelson; written by Jonathan Lemkin Tony Gilroy; DVD released on 12/01/1998; running time of 144 minutes; Closed Captioned. Copyright: 1997 Warner Bros.Format: DVD MOVIE Genre: DRAMA Rating: R UPC: 085391617228

Lee Tamahori

Frank Oz

Charles Stone III

Tony Scott Hot Hollywood favorite Will Smith (MEN IN BLACK, INDEPENDENCE DAY) stars with Academy Award(R)-winner Gene Hackman (Best Actor, 1971, THE FRENCH CONNECTION) in a high-powered suspense thriller where nonstop action meets cutting-edge technology! Robert Clayton Dean (Smith) is a successful Washington, D.C., attorney who — without his knowledge — is given a video that ties a top official of the National Security Agency (Oscar(R)-winner Jon Voight, Best Actor, 1978, COMING HOME) to a political murder! Instantly, every aspect of Dean's once-normal life is targeted by a lethal team of skilled NSA surveillance operatives who wage a relentless, ultra-high-tech campaign to discredit him and retrieve the incriminating evidence! Also featuring Regina King (JERRY MAGUIRE, BOYZ N THE HOOD) in an impressive, star-studded cast — get ready for the action to explode as Dean desperately races to reclaim his life and prove his innocence before it's too late!

Chuck Russell If you're going to submit yourself to a dazzling example of mainstream action, this thriller is as good a choice as any. Eraseris a live-action cartoon, the kind of movie in which Arnold Schwarzenegger can survive nail bombs, hails of bullets, an attack by voracious alligators ("You're luggage," he says, after killing one of the beasts), and still emerge from the mayhem relatively intact. Arnold plays an "eraser" from the Federal Witness Protection Program, so named because he can virtually erase the existence of anyone he's been assigned to protect. His latest beneficiary is an FBI employee (Vanessa Williams) who stumbled across a secret government group involved in the sale and export of an advanced weapon capable of shooting rounds at nearly the speed of light. Fantastic action sequences are handled with flair by director Charles Russell (The Mask), so it's easy to forgive the fact that this movie is almost completely ridiculous. —Jeff Shannon

Gregory Hoblit Although it received mixed reactions from critics and audiences alike when released in 1998, this supernatural thriller benefits from a sustained atmosphere of anticipation and dread, and its combination of detective mystery and demonic mischief is handled with ample style and intelligence. Under the direction of Gregory Hoblit (who fared better with Primal Fear), Denzel Washington plays detective John Hobbes, who witnesses the gas-chamber execution of a serial killer (Elias Koteas). But when another series of murders begins, Hobbes suspects that the killer's evil spirit has survived and is possessing the bodies of others to do its evil bidding. Even Hobbes's trusted partner (John Goodman) thinks the detective is losing his grip on reality, but the dire warnings of a noted linguist (Embeth Davidtz) confirm Hobbes's far-out theory, and his case intensifies toward a fateful showdown. Although its idea is better than its execution, and the story's film noir ambitions are never fully accomplished, this slickly directed thriller has some genuinely effective moments in which evil forces are entwined into the fabric of everyday reality. Among the highlights is a memorable scene in which Detective Hobbes must track the killer as the evil spirit is transferred between many people via physical contact. Even if the film is ultimately less than the sum of its parts, it's an intriguing hybrid that resides in the same cinematic neighborhood as Sevenand The Silence of the Lambswith a cast that also includes Donald Sutherland and James Gandolfini. Included on the DVD is a full-length audio commentary by director Hoblit, screenwriter Nicholas Kazan, and producer Charles Roven. —Jeff Shannon

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 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.

David Fincher All films take a certain suspension of disbelief. Fight Clubtakes perhaps more than others, but if you're willing to let yourself get caught up in the anarchy, this film, based on the novel by Chuck Palahniuk, is a modern-day morality play warning of the decay of society. Edward Norton is the unnamed protagonist, a man going through life on cruise control, feeling nothing. To fill his hours, he begins attending support groups and 12-step meetings. True, he isn't actually afflicted with the problems, but he finds solace in the groups. This is destroyed, however, when he meets Marla (Helena Bonham Carter), also faking her way through groups. Spiraling back into insomnia, Norton finds his life is changed once again, by a chance encounter with Tyler Durden (Brad Pitt), whose forthright style and no-nonsense way of taking what he wants appeal to our narrator. Tyler and the protagonist find a new way to feel release: they fight. They fight each other, and then as others are attracted to their ways, they fight the men who come to join their newly formed Fight Club. Marla begins a destructive affair with Tyler, and things fly out of control, as Fight Club grows into a nationwide fascist group that escapes the protagonist's control.

Fight Club, directed by David Fincher (Seven), is not for the faint of heart; the violence is no holds barred. But the film is captivating and beautifully shot, with some thought-provoking ideas. Pitt and Norton are an unbeatable duo, and the film has some surprisingly humorous moments. The film leaves you with a sense of profound discomfort and a desire to see it again, if for no other reason than to just to take it all in. —Jenny Brown

Gus Van Sant

Tony Bill World War I aviation action gets an impressive digital upgrade in Flyboys, a welcome addition to the "dogfight" sub-genre that includes such previous war-in-the-air films like Hell's Angels, Wings, and The Blue Max. While those earlier films had the advantage of real and genuinely dangerous flight scenes (resulting, in some cases, in fatal accidents during production), Flyboystakes full (and safe) advantage of the digital revolution, with intensely photo-realistic recreations of WWI aircraft, authentic period structures, and CGI environments requiring a total of 850 digital effects shots, resulting in an abundance of amazing images, many of them virtually indistinguishable from reality. Unfortunately, the film's technical achievement is more impressive than its screenplay, which conventionally and predictably tells the fact-based story, set in France in 1916, of the daring young pilots of the Lafayette Escadrille, a pioneering French air-combat unit that welcomed American enlistees prior to the United States' entry into the war.

There's a familiar cliché to match every thrilling scene of aerial combat, but director Tony Bill manages to keep it all interesting, from the romance between a young American maverick (James Franco) and a pretty French girl (newcomer Jennifer Decker) to the exciting action in the air, which includes a stock variety of heroes (many of them composites of real-life WWI pilots) and an intimidating villain known only as "The Black Falcon," whose Fokker Dr-1 triplane (one of many in the film) recalls the exploits of German "ace of aces" Manfred von Richtofen, the dreaded "Red Baron" of legend. With impeccable production values that will impress even the most nit-picking aviation buffs, Flyboys(like Superman Returnsand Apocalypto, also released in 2006) was also one of the first feature films to be shot with Panavision's state-of-the-art Genesis digital cameras, resulting in beautiful images that meet or exceed the visual nuance of film. Flyboysalso benefits from painstaking attention to physical detail, making it easier to forgive its shortcomings as a generic and formulaic slice of romanticized history. So while some viewers may have wished for a more realistic and grown-up depiction of the Lafayette Escadrille, it's safe to say that Flyboyswill be thrilling its target audience for many years to come. —Jeff Shannon

Jack Hill Pam Grier, the voluptuous queen of blaxploitation movies (and the foxy title character of Quentin Tarantino's Jackie Brown) reigns supreme in this kick-ass action flick. Bodacious nurse Foxy takes the law into her own hands after her main squeeze is murdered in cold blood. The standard revenge plot of Foxy Brownmoves along on fast-forward, and the violence ratio (some of it quite gruesome) is high. Director Jack Hill, a master of the low-budget drive-in movie (Switchblade Sisters), made Coffywith Pam Grier the year before. This one's not quite as much fun, but it is decidedly kinkier, and the parade of 1970s fashion crimes is mind expanding. At one crucial moment Foxy saves herself by pulling a concealed revolver out of her mighty Afro—absolutely one of the high points of blaxploitation cinema. —Robert Horton

Dean Parisot You don't have to be a Star Trekfan to enjoy Galaxy Quest, but it certainly helps. A knowingly affectionate tribute to Trekand any other science fiction TV series of the 1960s and beyond, this crowd-pleasing comedy offers in-jokes at warp speed, hitting the bull's-eye for anyone who knows that (1) the starship captain always removes his shirt to display his manly physique; (2) any crew member not in the regular cast is dead meat; and (3) the heroes always stop the doomsday clock with one second to spare. So it is with Commander Taggart (Tim Allen) and the stalwart crew of the NSEA Protector, whose intergalactic exploits on TV have now been reduced to a dreary cycle of fan conventions and promotional appearances. That's when the Thermians arrive, begging to be saved from Sarris, the reptilian villain who threatens to destroy their home planet.

Can actors rise to the challenge and play their roles for real? The Thermians are counting on it, having studied the "historical documents" of the Galaxy QuestTV show, and their hero worship (not to mention their taste for Monte Cristo sandwiches) is ultimately proven worthy, with the help of some Galaxygeeks on planet Earth. And while Galaxy Questserves up great special effects and impressive Stan Winston creatures, director Dean Parisot (Home Fries) is never condescending, lending warm acceptance to this gentle send-up of sci-fi TV and the phenomenon of fandom. Best of all is the splendid cast, including Sigourney Weaver as buxom blonde Gwen DeMarco; Alan Rickman as frustrated thespian Alexander Dane; Tony Shalhoub as dimwit Fred Kwan; Daryl Mitchell as former child-star Tommy Webber; and Enrico Colantoni as Thermian leader Mathesar, whose sing-song voice is a comedic coup de grâce. —Jeff Shannon

Jerry Zucker

Francis Ford Coppola

Takao Okawara Gaaaaaaaargh! The guy in the rubber suit is back with a vengeance. Godzilla's back in the nurturing hands of Toho Studios, and they've beefed up the big beast with more highly developed spinal fins, resembling large crystals, and more menacing teeth. But he's the same guy in the rubber suit who smashes Tokyo's buildings and cars and dukes it out in larger-than-life smackdowns with the universe's monstrous villains. The plot is familiar to anyone who was a 12-year-old boy: Godzilla erupts from the sea for reasons that are never made clear, proceeds to wreak havoc amongst the buildings of a model city, and meets and beats a monster his own size, thus saving humanity. His nemesis this time around is a 600-foot-long rock that scientists find at the bottom of the ocean and unwisely bring to the surface, where it proves to be an alien spacecraft bent on acquiring Godzilla's regenerative abilities. "A visitor from outer space?" exclaims one of the scientists, "My god, it's just too crazy to believe!" To which the lead scientist responds, "Right, like Godzilla's normal. Anyway, it's my theory that..."

The film is thoroughly entertaining, and not just for the breathtaking sequences of destruction that follow Godzilla's emergence and his battles with the alien space monster. These do have a preternatural beauty. But the human story, if you can call it that, holds your interest due to the shear preponderance of improbabilities it generates. You laugh at the "mistakes"—assuming they weren't planted there as amiable self-deprecation. —Jim Gay

Martin Campbell The 18th James Bond adventure was a runaway box-office success when released in 1995, thanks to the arrival of Pierce Brosnan as the fifth actor (following the departure of Timothy Dalton) to play the suave, danger-loving Agent 007. This James Bond is a bit more vulnerable and psychologically complex—and just a shade more politically correct—but he's still a formally attired playboy at heart, with a lovely Russian beauty (Izabella Scorupco) as his sexy ally against a cadre of renegade Russians bent on—what else?—global domination. There's also a seductive villainous with the suggestive name of Xenia Onatopp (Famke Janssen), and the great actress Judi Dench makes her first appearance as Bond's superior, M, who wisecracks about 007's "dinosaur" status as a globetrotting sexist. All in all, this action-packed Bond adventure provided a much-needed boost the long-running movie series, revitalizing the 007 franchise for the turn of the millennium. —Jeff Shannon

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

Eddie Murphy

Spike Lee As a filmmaker and passionate fan of basketball, Spike Lee was the perfect director for this ambitious and heartfelt sports drama, which brought out the best in both Lee and his well-chosen cast. In his third film for Lee, Denzel Washington plays Jake Shuttlesworth, who is in prison for the manslaughter of his wife. His estranged son Jesus (well played by Milwaukee Bucks basketball player Ray Allen) is the nation's best high school basketball star, and Jake receives a compelling offer from the state's governor: If Jake can convince Jesus to sign a letter of intent to attend Big State University, the governor will reduce his sentence. Lee turns this back-room bargain into a fascinating examination of capitalism in college and professional sports, but the film also works as the moving story of a father's desperate attempt to regain his son's respect. Lee handles the basketball angle with an insider's awareness, and takes a few stylistic risks (including a memorable final image) that pay off with considerable emotional effect. He Got Gamefully explores the visual poetry of basketball and the greed that fuels this particular vision of the American dream, but Lee never loses sight of the sport's inherent beauty, or the higher priorities of redemption and family that form the solid foundation of this exceptional film. —Jeff Shannon

Michael Mann

Mel Brooks

Andy Tennant Alex Hitchens, a dating couselor who has helped countless men woo the women of their dreams, has trouble forming his own romantic relationships.
Genre: Feature Film-Comedy
Rating: PG13
Release Date: 8-SEP-2006
Media Type: DVD

Xavier Gens It’s hard not to feel like one has entered a certain dimension of video-game logic while watching Hitman, a lightly enjoyable action-suspense movie indeed based on a popular and bloody game about a mysterious hired gun with a bar-code tattoo on his bald head and a number (47) in lieu of a name. Living like a chaste monk while slipping past borders to kill his targets, 47 (Timothy Olyphant of Deadwood) moves like a determined shark and speaks softly to his contact at the enigmatic "the Organization," which raises cast-off children to become well-paid assassins. Fruitlessly pursued by an Interpol cop (Dougray Scott) who can never get sovereign governments to cooperate, 47 has no trouble slipping in and out of countries to ply his trade. Until, that is, he’s set up to take a fall in Russia by shooting a national leader who is promptly replaced by a lookalike double. Suddenly on the run, 47 has to retrace his steps and formulate a lethal plan for extricating himself from a trap. Caught in the chaos is the lovely Nika (Olga Kurylenko), forced into sex slavery by 47’s new enemies and the one person who seems uniquely qualified to break through 47’s many personal barriers. Directed by France’s Xavier Gens, Hitmanfeatures loads of bloody mayhem and unabashed moments of pulp absurdity, such as a scene in which 47 and three other Organization killers agree to fight one another respectfully, then proceed to pulverize each other with swords and fists. As fodder for gamers, however, Hitmanis packed with visuals and dramatic moments that seem so odd on the big screen until one realizes they are basically placemarkers for the video-game edition. —Tom Keogh

Beyond Hitman

HitmanVideo Games

HitmanBooks and Game Guides

More from Timothy Olyphant

Stills from Hitman

Paul Verhoeven

Bill Duke A flawed but admirably ambitious gangster movie, Hoodlumaspires to be a kind of Harlem-based equivalent to The Godfather, and while it falls short of that lofty goal it's still got plenty of qualities to make it well worth seeing. It's the first film to tell the story of Ellsworth "Bumpy" Johnson (charismatically played by Laurence Fishburne), an ex-convict who dominated the Harlem numbers racket during the 1930s and '40s. As he rises to power he gains equally powerful enemies, including hotheaded Bronx gangster Dutch Schultz (Tim Roth) and the suave mobster Lucky Luciano (Andy Garcia). Determined to defend his Harlem turf against these invaders, Bumpy eclipses the "policy queen" Stephanie St. Clair (Cicely Tyson) and becomes a self-styled Robin Hood figure, attracting the attention of a community servant (Vanessa Williams) who must confront the brutality of Bumpy's business. A must-see for anyone who likes gangster movies, Hoodlumis certainly not a masterpiece, but sharp performances and some powerful scenes make it an interesting look at a little-known chapter in criminal history. —Jeff Shannon

Robert Redford After a terrible accident, Grace retreats into silence & her horse, Pilgrim, is driven mad by pain. Her mother gambles that a healer, a horse whisperer, can heal both Pilgrim and her daughter.
Genre: Feature Film-Drama
Rating: PG13
Release Date: 2-SEP-2003
Media Type: DVD

Alex Proyas As paranoid cop Del Spooner, Will Smith (Independence Day, Men in Black) displays both his trademark quips and some impressive pectoral muscles in I, Robot. Only Spooner suspects that the robots that provide the near future with menial labor are going to turn on mankind—he—he's just not sure how. When a leading roboticist dies suspiciously, Spooner pursues a trail that may prove his suspicions. Don't expect much of a connection to Isaac Asimov's classic science fiction stories;I, Robot, the action movie, isn't prepared for any ruminations on the significance of artificial intelligence. This likable, efficient movie won't break any new ground, but it does have an idea or two to accompany its jolts and thrills, which puts it ahead of most recent action flicks. Also featuring Bridget Moynahan (The Sum of All Fears), Bruce Greenwood (The Sweet Hereafter), and James Cromwell (Babe, LA Confidential). —Bret Fetzer

Roland Emmerich

Woo-ping Yuen

Ho-ping Yuen In Iron Monkey 2(only loosely related to its predecessor), Hong Kong martial arts star Donnie Yen plays Iron Monkey, who's a cross between Robin Hood and a superhero. However, it's hard to determine what exactly his goals are because the movie is virtually incomprehensible. The story line—something to do with revolutionaries battling arms smugglers—is disjointed, the camera work is excessively wild, scenes change abruptly and without explanation ("Iron Monkey! What are you doing here?""Never mind. Let's get the weapons."), the characters are broad and cartoonish, and the dubbing is unusually bad. Only the frequent appearance of astonishing hyperkinetic fight scenes—choreographed by the endlessly inventive Yuen Ho Ping, who came to fame as the fight choreographer of The Matrix—keep the viewer engaged. But the curious thing is that, after a while, this choppy movie starts to exert a perverse fascination. It doesn't become campy; instead, as it lurches from kung fu spectacle to strange moral pronouncements to out-of-nowhere high emotion, Iron Monkey 2grows strangely compelling. It's as if, through directorial incompetence, the movie has been distilled to the basic elements of cinematic storytelling. While avant-garde directors like Jean-Luc Godard struggle to discover just this kind of raw, jagged, yet potent narrative, Iron Monkey 2achieves it without even trying. —Bret Fetzer

John Terlesky

Steven Spielberg

Joe Johnston

Iain Softley

Movies don't come any bigger than Peter Jackson's King Kong, a three-hour remake of the 1933 classic that marries breathtaking visual prowess with a surprising emotional depth. Expanding on the original story of the blonde beauty and the beast who falls for her, Jackson creates a movie spectacle that matches his Lord of the Ringsfilms and even at times evokes their fantasy world while celebrating the glory of '30s Hollywood. Naomi Watts stars as Ann Darrow, a vaudeville actress down on her luck in Depression-era New York until manic filmmaker Carl Denham (a game but miscast Jack Black) entices her with a lead role. Dazzled by the genius of screenwriter Jack Driscoll (Adrien Brody), Ann boards the tramp steamer S.S. Venture, which she—and most of the wary crew—believes is headed for Singapore. Denham, however, is in search of the mythic Skull Island, hoping to capture its wonders on film and make a fortune. What he didn't count on were some scary natives who find that the comely Darrow looks like prime sacrifice material for a mysterious giant creature....

There's no point in rehashing the entire plot, as every movie aficionado is more than familiar with the trajectory of King Kong; the challenge facing Jackson, his screenwriters, and the phenomenal visual-effects team was to breathe new life into an old, familiar story. To that degree, they achieve what could be best called a qualified success. Though they've assembled a crackerjack supporting cast, including Thomas Kretschmann as the Venture's hard-bitten captain and young Jamie Bell as a plucky crewman, the first third of the movie is rather labored, with too much minute detail given over to sumptuous re-creations of '30s New York and the unexciting initial leg of the Venture's sea voyage. However, once the film finds its way to Skull Island (which bears more than a passing resemblance to LOTR's Mordor), Kongturns into a dazzling movie triumph, by turns terrifying and awe-inspiring. The choreography and execution of the action set pieces—including one involving Kong and a trio of Tyrannosaurus Rexes, as well as another that could be charitably described as a bug-phobic's nightmare—is nothing short of landmark filmmaking, and a certain Mr. Spielberg should watch his back, as Kongtrumps most anything that has come before it.

Despite the visual challenges of King Kong, the movie's most difficult hurdle is the budding romance between Ann and her simian soulmate. Happily, this is where Jackson unqualifiedly triumphs, as this unorthodox love story is tenderly and humorously drawn, by turns sympathetic and wondrous. Watts, whose accessibility balances out her almost otherworldly loveliness, works wonders with mere glances, and Andy Serkis, who digitally embodies Kong here much as he did Gollum in the LOTRfilms, breathes vibrant life into the giant star of the film without ever overplaying any emotions. The final, tragic act of the film, set mostly atop the Empire State Building, is where Kongearns its place in movie history as a work that celebrates both the technical and emotional heights that film can reach. —Mark Englehart

Michael Schultz Like its progenitors Beat Streetand Wild Style, Krush Grooveis a movie about hip-hop that in its rush to document an emergent culture ignores plot, acting, cinematography, and anything else that makes a movie watchable or worthwhile. That said, Krush Groovecontains some nifty performances from hip-hop legends Run-DMC, the always hilarious Fat Boys (see Disorderliesif you can't get enough of their weighty shtick), brilliant MC Kurtis Blow, and Prince protégé Sheila E. Also look out for soon-to-be L.A. Law-yer Blair Underwood in a lead role. Performances aside, Krush Grooveisn't def, it's just so-so. —Ethan Brown

Curtis Hanson In a time when it seems that every other movie makes some claim to being a film noir, L.A. Confidentialis the real thing—a gritty, sordid tale of sex, scandal, betrayal, and corruption of all sorts (police, political, press—and, of course, very personal) in 1940s Hollywood. The Oscar-winning screenplay is actually based on several titles in James Ellroy's series of chronological thriller novels (including the title volume, The Big Nowhere, and White Jazz)—a compelling blend of L.A. history and pulp fiction that has earned it comparisons to the greatest of all Technicolor noir films, Chinatown. Kim Basinger richly deserved her Supporting Actress Oscar for her portrayal of a conflicted femme fatale; unfortunately, her male costars are so uniformly fine that they may have canceled each other out with the Academy voters: Russell Crowe, Guy Pearce, Kevin Spacey, and James Cromwell play LAPD officers of varying stripes. Pearce's character is a particularly intriguing study in Hollywood amorality and ambition, a strait-laced "hero" (and son of a departmental legend) whose career goals outweigh all other moral, ethical, and legal considerations. If he's a good guy, it's only because he sees it as the quickest route to a promotion. —Jim Emerson

Simon West

Edward Zwick An epic adventure of brotherhood and betrayal Legends Of The Fall" is a powerful story about a close-knit family which is forever changed when the youngest of three brothers brings home his dazzling bride-to-be inadvertently sparking passions and creating a rivalry.System Requirements:Starring: Anthony Hopkins Brad Pitt Aidan Quinn Julia Ormond and Henry Thomas. Directed By: Edward Zwick. Running Time: 134 Min. Color. This film is presented in "Widescreen" format. Copyright 2000 Columbia TriStar Home Video.Format: DVD MOVIE Genre: DRAMA Rating: R UPC: 043396787278

Richard Donner In the fourth and reportedly final film of the Lethal Weaponseries, director Richard Donner reunites with Mel Gibson and Danny Glover, who reprise their roles as Martin Riggs and Roger Murtaugh for one last hurrah in a film that is decidedly better than the third and first chapters. This time the pair are pitted against Jet Li, who plays the leader of a Chinese organized crime unit. Li, a veteran of hundreds of Hong Kong action films, more than holds his own against the more established team of Gibson, Glover, Renee Russo, and Joe Pesci with his subtle yet strong portrayal of the quietly irrepressible Wah Sing Ku. As always with the Lethalseries, the plot is incredibly simple to follow: someone steals something, someone gets killed, and Murtaugh is reluctantly thrown into the mix while Riggs dives into the case with gleeful aplomb. As with the previous movies, we watch for the sheer action and chemistry alone. The action sequences throughout the fourth installment are exquisite, from the opening scene involving a flamethrower, a burning building, and a half-naked Murtaugh strutting like a chicken (don't ask, just watch), to the climactic showdown that pays genuine tribute to Jet Li's masterful martial art skills. As for chemistry, the bond between these characters is so strong by now that you sometimes feel like you're watching a TV series in its sixth season, such is the warm familiarity between the audience and the personalities on the screen. The humor is more fluid than ever, aided immeasurably by the casting of comedian Chris Rock, who like Li does a great job of making his presence known in some memorable verbal tirades that would bring a smile out of the Farrelly brothers. But it's the verbal and emotional jousting between Glover and Gibson that makes this fourth episode especially appealing; both are in peak form with great physical and verbal timing. One can only hope that if this is indeed the last of the Lethalfilms, that it won't be the last time we see Glover and Gibson together on screen. —Jeremy Storey

Len Wiseman Twelve years after Die Hard with a Vengeance, the third and previous film in the Die Hardfranchise, Live Free or Die Hardfinds John McClane (Bruce Willis) a few years older, not any happier, and just as kick-ass as ever. Right after he has a fight with his college-age daughter (Mary Elizabeth Winstead), a call comes in to pick up a hacker (Justin Long, a.k.a. the "Apple guy") who might help the FBI learn something about a brief security blip in their systems. Now any Die Hardfan knows that this is when the assassins with foreign accents and high-powered weaponry show up, telling McClane that once again he's stumbled into an assignment that's anything but routine. Once that wreckage has cleared, it is revealed that the hacker is only one of many hackers who are being targeted for extermination after they helped set up a "fire sale," a three-pronged cyberattack designed to bring down the entire country by crippling its transportation, finances, and utilities. That plan is now being put into action by a mysterious team (Timothy Olyphant, Deadwood, and Maggie Q, Mission: Impossible 3) that seems to be operating under the government's noses.

Live Free or Die Harduses some of the cat-and-mouse elements of Die Hard with a Vengeancealong with some of the pick-'em-off-one-by-one elements of the now-classic original movie. And it's the most consistently enjoyable installment of the franchise since the original, with eye-popping stunts (directed by Len Wiseman of the Underworldfranchise), good humor, and Willis's ability to toss off a quip while barely alive. There was some controversy over the film's PG-13 rating—there might be less blood than usual, and McClane's famous tag line is somewhat obscured—but there's still has plenty of action and a high body count. Yippee-ki-ay! —David Horiuchi

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Peter Segal Adam Sandler is no Burt Reynolds, but his remake of The Longest Yardis amusing enough to stand on its own. Inheriting the role played by Reynolds played in the 1974 original, Sandler plays Paul Crewe, a scandalized former football star who violates his parole and winds up back in the slammer, where an ambitious, corrupt warden (James Cromwell) manipulates him into forming a convict football squad to compete with a team of bullying prison guards. But where the original (directed with characteristic ruggedness by Robert Aldrich) was a semi-comic study of inmate resistance against powerful oppressors, Sandler's version is a formulaic comedy about winning against the bad guys. That makes it a softer, less meaningful film, and Sandler (reuniting here with Peter Segal after Anger Managementand 50 First Dates) lacks the depth to convey anything more than amiable redemption, resulting in a movie that's easily enjoyed and easily forgotten. A co-starring role for Chris Rock could have been electrifying; instead it's just OK, as is Reynolds as the prison team's old-pro coach. That leaves us with a few good laughs on the football field and from Cloris Leachman as the warden's elderly, oversexed secretary, good work from rapper Nelly in a supporting role, and the lovely sight of Courteney Cox (as Crewe's nagging girlfriend) in a dazzling low-cut dress. In unnecessary remakes like this, fringe benefits count for a lot. —Jeff Shannon

Steven Spielberg

Stephen Hopkins

Tyler Perry, impresario of the gospel theater circuit, brings his gun-toting granny-drag persona Madea back to the big screen in Madea's Family Reunion, a sequel to the surprise hit Diary of a Mad Black Woman. In addition to being saddled with an unruly foster teen (Keke Palmer, The Wool Cap), Madea has two troubled nieces: Lisa (Rochelle Aytes, White Chicks), who's engaged to an abusive and controlling investment banker (Blair Underwood, Something New); and Vanessa (Lisa Arrindell Anderson, The Second Chance), who can't open herself to the affection of a bus driver/artist (Boris Kodjoe, The Gospel) because of childhood abuse. Wreaking havoc on both of their lives is their mother Victoria (Lynn Whitfield, Eve's Bayou, in delirious wicked witch mode). Like Madea's previous outing, Madea's Family Reunionmay induce mental whiplash—the movie zips from a discussion of flatulence to a jazz-backed poetry reading to domestic violence (Underwood, perhaps eager to leave his bland good-guy image behind, is genuinely scary), or from an act of horrific revenge to a staggeringly gaudy wedding. Though schizophrenic and morally questionable (beating an adult women is clearly wrong, but whipping a child with a belt in the name of tough love is apparently good), the movie is definitely unpredictable and never dull. Also featuring Cicely Tyson (Because of Winn-Dixie) and the poet Maya Angelou. —Bret Fetzer

Spike Lee

Andy Wachowski Larry Wachowski

Larry Wachowski Andy Wachowski

Andy Wachowski Larry Wachowski By following up their debut thriller Boundwith the 1999 box-office smash The Matrix, the codirecting Wachowski brothers—Andy and Larry—annihilated any suggestion of a sophomore jinx, crafting one of the most exhilarating sci-fi/action movies of the 1990s. Set in the not too distant future in an insipid, characterless city, we find a young man named Neo (Keanu Reeves). A software techie by day and a computer hacker by night, he sits alone at home by his monitor, waiting for a sign, a signal—from what or whom he doesn't know—until one night, a mysterious woman named Trinity (Carrie-Anne Moss) seeks him out and introduces him to that faceless character he has been waiting for: Morpheus (Laurence Fishburne). A messiah of sorts, Morpheus presents Neo with the truth about his world by shedding light on the dark secrets that have troubled him for so long: "You've felt it your entire life, that there's something wrong with the world. You don't know what it is, but it's there, like a splinter in your mind, driving you mad." Ultimately, Morpheus illustrates to Neo what the Matrix is—a reality beyond reality that controls all of their lives, in a way that Neo can barely comprehend.

Neo thus embarks on an adventure that is both terrifying and enthralling. Pitted against an enemy that transcends human concepts of evil, Morpheus and his team must train Neo to believe that he is the chosen champion of their fight. With mind-boggling, technically innovative special effects and a thought-provoking script that owes a debt of inspiration to the legacy of cyberpunk fiction, this is much more than an out-and-out action yarn; it's a thinking man's journey into the realm of futuristic fantasy, a dreamscape full of eye candy that will satisfy sci-fi, kung fu, action, and adventure fans alike. Although the film is headlined by Reeves and Fishburne—who both turn in fine performances—much of the fun and excitement should be attributed to Moss, who flawlessly mixes vulnerability with immense strength, making other contemporary female heroines look timid by comparison. And if we were going to cast a vote for most dastardly movie villain of 1999, it would have to go to Hugo Weaving, who plays the feckless, semipsychotic Agent Smith with panache and edginess. As the film's box-office profits soared, the Wachowski brothers announced that The Matrixis merely the first chapter in a cinematically dazzling franchise—a chapter that is arguably superior to the other sci-fi smash of 1999 (you know... the one starring Jar Jar Binks). —Jeremy Storey

Martin Brest

Jay Roach

Jay Roach

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

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

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

Barry Sonnenfeld

Barry Sonnenfeld

George Tillman Jr. Men of Honorpresents a great role model for younger viewers, yet it's rated R due to abundant use of the Fword. With appropriate discretion, parents should allow their preteen and teenaged children to see this rousing if altogether conventional biopic inspired by the life of Carl Brashear. Played with gravity and gumption by Cuba Gooding Jr., Brashear was the first African American to become a master diver in the U.S. Navy, despite the lingering effects of segregation, opposition from Navy brass, and the amputation of his left leg following a tragic on-duty accident. Robert De Niro adds marquee value and salty bluster as Billy Sunday, the drunken, redneck (and fictionalized) Master Chief who watches, with gradual admiration, as Brashear attains his ultimate goal through sheer force of will.

This is all quite uplifting on its surface, but in attempting to hit the requisite highlights of an inspiring biography, director George Tillman Jr. (Soul Food) reduces Brashear's achievement to a succession of clichés, forcing Gooding and De Niro to battle sentiment with their noteworthy performances. As Sunday's neglected wife, Charlize Theron is completely extraneous; Hal Holbrook's diving-school commander is a ranting caricature; and newcomer Aunjanue Ellis barely registers as Brashear's wife (in part because their obligatory romance is handled with an utter lack of finesse). There's no question that Brashear's efforts are heroic and worthy of recognition, so Men of Honorserves its basic purpose. Still, one can't help but wonder if Brashear's story would be even more impressive with a more authentic treatment. —Jeff Shannon

Clint Eastwood "I DON'T TRAIN GIRLS" trainer Frankie Dunn growls. But something's different about the spirited boxing hopeful who shows up daily at Dunn's gym. All she wants is a fighting chance. Clint Eastwood plays Dunn and directs produces and composes music for this acclaimed multi-award-winning tale of heart hope and family. Hilary Swank plays resilient Maggie determined not to abandon her one dream. And Morgan Freeman is Scrap gym caretaker and counterpoint to Dunn's crustiness. Grab your dreams and come out swinging.Running Time: 132 min.Format: DVD MOVIE Genre: DRAMA UPC: 012569593220

This 3pk includes Mission: Impossible SCE, Mission: Impossible 2, and Mission: Impossible 3 SCE.

John Woo

Brian De Palma If Brian De Palma directed Mission to Marsfor 10-year-olds who've never seen a science fiction film, he can be credited for crafting a marginally successful adventure. Isolated moments in this film serve the highest purpose of its genre, inspiring a sense of wonder and awe in the context of a fascinating future (specifically, the year 2020). But because most of us have seen a lot of science fiction films, it's impossible to ignore this one's derivative plot, cardboard characters, and drearily dumb dialogue. Despite an awesome and painstakingly authentic display of cool technology and dazzling special effects, Mission to Marsis light years away from 2001: A Space Odysseyon the scale of human intelligence.

After dispensing with a few space-jockey clichés, the movie focuses on a Mars-bound rescue mission commanded by Jim McConnell (Gary Sinise), whose team (Tim Robbins, Connie Nielsen, Jerry O'Connell) has been sent to retrieve the sole survivor (Don Cheadle) of a tragic Mars landing. During the sequence en route to Mars, De Palma's in his element with two suspenseful scenes (including a dramatic—albeit somewhat silly—space walk) that are technically impressive. But when this Missiongets to Mars, the movie grows increasingly unconvincing, finally arriving at an alien encounter that more closely resembles an astronomical CGI video game. But this is a $75 million Hollywood movie, and no amount of technical wizardry can lift the burden of a juvenile screenplay. Kudos to Sinise, his costars, and the special effects wizards for making the most of hoary material; shame on just about everyone else involved. —Jeff Shannon

Terry Jones "Blessed are the cheesemakers," a wise man once said. Or maybe not. But the point is Monty Python's Life of Brianis a religious satire that does not target specific religions or religious leaders (like, say, Jesus of Nazareth). Instead, it pokes fun at the mindless and fanatical among their followers—it—it's an attack on religious zealotry and hypocrisy—things that that fellow from Nazareth didn't particularly care for either. Nevertheless, at the time of its release in 1979, those who hadn't seen it considered it to be quite "controversial."

Life of Brian, you see, is about a chap named Brian (Graham Chapman) born December 25 in a hovel not far from a soon-to-be-famous Bethlehem manger. Brian is mistaken for the messiah and, therefore, manipulated, abused, and exploited by various religious and political factions. And it's really, really funny. Particularly memorable bits include the brassy Shirley Bassey/James Bond-like title song; the bitter rivalry between the anti-Roman resistance groups, the Judean People's Front and the People's Front of Judea; Michael Palin's turn as a lisping, risible Pontius Pilate; Brian urging a throng of false-idol worshippers to think for themselves—to which they reply en masse "Yes, we must think for ourselves!"; the fact that everything Brian does, including losing his sandal in an attempt to flee these wackos, is interpreted as "a sign."Life of Brianis not only one of Monty Python's funniest achievements, it's also the group's sharpest and smartest sustained satire. Blessed are the Pythons. —Jim Emerson

Stephen Sommers

Rowdy Herrington

David Zucker

David Zucker

Peter Segal

Jon Turteltaub Like a Hardy Boys mystery on steroids, National Treasureoffers popcorn thrills and enough boyish charm to overcome its rampant silliness. Although it was roundly criticized as a poor man's rip-off of Raiders of the Lost Arkand The Da Vinci Code, it's entertaining on its own ludicrous terms, and Nicolas Cage proves once again that one actor's infectious enthusiasm can compensate for a multitude of movie sins. The contrived plot involves Cage's present-day quest for the ancient treasure of the Knights Templar, kept secret through the ages by Freemasons past and present. Finding the treasure requires the theft of the Declaration of Independence (there are crucial treasure clues on the back, of course!), so you can add "caper comedy" to this Jerry Bruckheimer production's multi-genre appeal. Nobody will ever accuse director Jon Turtletaub of artistic ambition, but you've got to admit he serves up an enjoyable dose of PG-rated entertainment, full of musty clues, skeletons, deep tunnels, and harmless adventure in the old-school tradition. It's a load of hokum, but it's funhokum, and that makes all the difference. —Jeff Shannon

Mario Van Peebles Some pundits called it a flawed, exploitative action film that glamorized drug dealing and the luxury of a lucrative criminal lifestyle, spawning a trend of films that attracted youth gangs and provoked violence in theaters. Others hailed it as a breakthrough movie that depicted drug dealers as ruthless, corrupt, and evil, leading dead-end lives that no rational youth would want to emulate. However you interpret it, New Jack Cityis still one of the first and best films of the 1990s to crack open the underworld of cocaine and peer inside with its eyes wide open. It's also the film that established Wesley Snipes as an actor to watch, with enough charisma to bring an insidious quality of seduction to his role as coke-lord Nino Brown, and enough intelligence to portray a character deluded by his own sense of indestructible power. Director Mario Van Peebles stretched his otherwise-limited talent to bring vivid authenticity and urgency to this crime story, and subplots involving a pair of tenacious cops (Ice-T, Judd Nelson) and a recovering coke addict (Chris Rock) provide additional dramatic tension. Although some critics may hesitate to admit it, New Jack Citydeserves mention in any serious discussion about African American filmmakers and influential films. —Jeff Shannon

Steve Carr (III) Ice Cube wrote and stars as Craig in this sequel to Friday, which he also wrote. His nemesis from that film, neighborhood bully Debo (Tommy "Tiny" Lister Jr.), has just escaped from county jail and is out to get revenge. To protect Craig, Craig's father (John Witherspoon) sends his son to stay with his Uncle Elroy (Don "DC" Curry), who won the lottery and bought a house in Rancho Cucamonga. Craig expects the suburbs to be dull, but no sooner has he arrived than conflicts arise: The neighbors are hostile hoods, his cousin's girlfriend is out for blood and child support, and the house is about to be seized because of unpaid taxes. It's up to Craig and his cousin Day-Day (Mike Epps) to solve these problems before the day is over. It's a rambling, loose movie, but a genuinely entertaining one. Ice Cube doesn't write punch lines—though funny lines abound. He writes richly comic characters that speak in virtual arias of bragging, complaining, and scamming. Sure, some of the characters are stereotypes and many of the jokes are about drugs and scatology—but that's been the basis of humor since Plautus and Molière. The rhythmic energy of Ice Cube's dialogue and the easy charisma of his performance make Next Fridaythoroughly enjoyable. —Bret Fetzer

Joel Gallen

Peter Segal

Steven Soderbergh Danny Ocean likes his chances. All he asks is that his handpicked squad of 10 grifters and cons play the game like they have nothing to lose. If all goes right, the payoff will be a fat $150 million. Divided by 11. You do the math.

DVD Features:
Audio Commentary:Feature-length audio commentary with stars Matt Damon, Brad Pitt and Andy Garcia Feature-length audio commentary with director Steven Soderbergh and screenwriter Ted Griffin
DVD ROM Features:DVD-ROM enabled — "In or Out" Game and web links
Documentaries:Behind-the-scenes documentary HBO First Look: "The Making Of Ocean's Eleven" Behind-the-scenes documentary: "The Look Of the Con", an inside look at the fashion in Ocean's Eleven
Interactive Menus
Scene Access
Theatrical Trailer

James Wong (IV)

Carl Franklin Partly inspired by 1948's The Big Clockand its nominal 1987 remake No Way Out, the Denzel Washington thriller Out of Timeis quite enjoyable if you ignore its implausible plotting. Like those earlier films, this reunion of Washington and his Devil in a Blue Dressdirector Carl Franklin is about a man—in this case the police chief (Washington) of sleepy Banyan Key, Florida—who falls into a trap set by others, sinks into legal quicksand of his own making, and must race the clock to extricate himself from a series of incriminating setbacks. The Florida setting adds welcome character to the potboiler plot, and Washington's screen-cred makes it easy to overlook the absurdities of rookie writer David Collard's screenplay. Eva Mendes is sharp and sensible as Washington's estranged wife (do you think they'll reconcile for a happy ending?), and the talented John Billingsley—whose portrayal of "Dr. Phlox" on TV's Enterpriseis vastly underrated—is a constant delight as Washington's medical examiner, beer buddy and wily co-conspirator. It's hardly a classic, but Out of Timegoes well with a big tub of popcorn. —Jeff Shannon

David Fincher

Andrew Davis The husband (Michael Douglas) is a currency trader whose portfolio value is going right down the drain. The wife (Gwyneth Paltrow) is the heiress to a $100 million fortune. The marriage is not a happy one, but the promise of long-term affluence keeps them together. The wife pursues an affair with an artist (Viggo Mortenson) who gives her all the passion she doesn't get at home, and when the husband finds out, well ... someone's going to pay with their life. Who will the unlucky one be? We wouldn't dare spoil the elegant plot twists of this devious thriller, but it's well known that Douglas excels at portraying greedy characters with ice in their veins. Here, it's easy to assume that Douglas has pulled off, as the title implies, a killing that nobody will ever pin on him. But this is the kind of glossy thriller (loosely inspired by Alfred Hitchcock's Dial M for Murder) that delights in disrupting your expectations, so it grabs your attention right up to the final scene. It's a bit too cold to really draw you in (hey, these are not very nice people we're dealing with here!), but with its able cast and stylish direction by Andrew Davis, this less-than-perfect murder thriller is still definitely worth a look. The widescreen Special Edition DVD includes audio commentary by Michael Douglas, Andrew Davis, and producer Peter McGregor Scott, an alternate ending deleted from the finished film, and sketches by the film's costume designer. —Jeff Shannon

Wolfgang Petersen

Joel Schumacher

Martyn Burke This dramatization of the tangled history of Apple Computer and Microsoft, based on a book by Paul Frieberger, hits enough of the right notes to make its failures all the more frustrating. The script follows the entwined paths of Apple's Steve Jobs and Microsoft's Bill Gates with a pointed sense of the cultural divide between the hip, self-absorbed Apple cofounder and the brilliant alpha geek behind Microsoft's eventual software empire, contrasting the Mac's countercultural underpinnings with the PC's more strait-laced origins. But Pirates of Silicon Valleyseemingly can't decide whether it wants to be a serious-minded history of these key figures in the personal computer revolution or a trashy wallow in the more ignoble foibles of its principals. As a result, it falls short of exacting history while never achieving the guilty pleasure it might have.

If Gates has become synonymous with corporate conquest at its most striking, Pirates' interest lies more with Jobs, given a nervous energy and flashes of adolescent selfishness by Noah Wyle, who benefits from a reasonable physical resemblance to the Apple chief. Eyewear and a comb-over do nearly as well for Anthony Michael Hall, who also grafts some of Bill Gates's better-known mannerisms onto his performance and renders Gates as a smart if socially maladroit entrepreneur who, like Jobs, provides the ambition and business savvy to exploit his partner's computing talents. There are a few fanciful touches (Ballmer and Wozniak become Greek choruses, addressing the viewer as they comment on the principals), but the story plays out in straightforward fashion. It's tantalizing to consider how the Apple/PC melodrama might have fared with an edgier, more openly satirical script. —Sam Sutherland

David Twohy

John Hughes

Tim Burton

Ice Cube Ice Cube (Friday) makes his directorial debut with this comedy about the inhabitants and employees of a steamy Los Angeles strip club.

DVD Features:
Music Video
Production Notes
Theatrical Trailer

Gary Ross Life imitates art when two modern-day teenagers get sucked into the too-perfect black-and-white world of a 1950s sitcom. Trapped and trying to find a way home the two find themselves bringing color to the lives of pleasantvilles rigid naive townspeople. Studio: New Line Home Video Release Date: 12/11/2007 Starring: Tobey Maguire Joan Allen Run time: 124 minutes Rating: Pg13

John Singleton Director John Singleton (Boyz N the Hood, Rosewood) made an earnest effort in this, his second, film to say a great deal that is true and relevant about living and loving in a violent, difficult time in American history. Janet Jackson plays a beautician and poet who withdraws into herself after her boyfriend is murdered by gangsters. The late Tupac Shakur plays a postman who tries to get through to her, and the two travel on a course through urban America, connecting with family and community. Singleton has so much on his mind that the film comes out a terrible muddle, but there is a certain integrity peeking through the fog. Shakur makes a startlingly good impression in his film debut, and Jackson strips away her star veneer to play something like a real person—and entirely succeeds. Maya Angelou wrote the poems that pass as those penned by Jackson's character, and she also appears in the film. —Tom Keogh

Michael Addis

John McTiernan Rambomeets Alienin this terrific science-fiction thriller from 1987, directed by John McTiernan just a year before Die Hardmade him Hollywood's most sought-after director of action-packed blockbusters. Arnold Schwarzenegger leads an elite squad of U.S. Army commandos to a remote region of South American jungle, where they've been assigned to search for South American officials who've been kidnapped by terrorists. Instead they find a bunch of skinned corpses hanging from the trees and realize that they're now facing a mysterious and much deadlier threat. As the squad is picked off one by one, Arnold finds himself pitted against a hideous alien creature that's heavily armed and wearing a spacesuit enabling the creature to render itself invisible. The title says it all in describing the relentless, escalating action that follows, maintained by McTiernan with an abundance of visual flair. The film's special effects are still impressive, and stunning locations in the Mexican jungles create a combined atmosphere of verdant beauty and imminent danger. The plot doesn't hold up to much scrutiny, but the movie's so exciting and tightly paced that its weaknesses seem irrelevant. —Jeff Shannon

Gregory Mosher Vince Vaughn stars in this story of high-pressure boiler room telemarketing scams. Vaughn plays Pendelton "Penny" Wise (get it?), a small-time operator who's looking for a bigger score. He takes a "prime gig" with Kelly Grant (Ed Harris), a high-stakes player with a shady gold mine to sell. Prime Gigsets up an unusual tension: you want to root for Penny even though you know he may be bilking people out of their life savings and is most definitely a sleazebag. Harris does well, making what could have been a typical Gordon Gekko knockoff character a little more internalized and interesting, and Julia Ormond does a fine job of fleshing out a character who very well may have been named "Romantic Interest." Vaughn uses his onscreen persona well here—he deftly maintains the hero-scumball balance, never quite letting go of either. Prime Gigis not a perfectly realized movie, but a compelling watch nonetheless. —Ali Davis

The next chapter finds Rambo recruited by missionaries to protect them during a humanitarian aid effort on behalf of the persecuted Karen people of Burma. After the missionaries are taken prisoner by Burmese soldiers Rambo gets a second impossible job: rescue the missionaries in the midst of a civil war.System Requirements:Running Time: 93 minutesFormat: DVD MOVIE Genre: ACTION/ADVENTURE/HEROES Rating: R UPC: 031398232940 Manufacturer No: 23294

Six hours of monosyllabic John Rambo high jinks, best savored in surround sound (for the bone-rattling explosions) and with your brain on pause (for everything else). Sylvester Stallone's second signature character, after Rocky, a seething ex-Green Beret killing machine, went from Vietnam-vet victim in the original picture, First Blood, flipping out over the ingratitude of his beloved homeland, to a muscle-bound terminator in Rambo III, mowing down commies in the deserts of Afghanistan. You should consider bypassing the boxed set in favor of just the middle chapter, Rambo: First Blood Part 2, written by James Cameron and directed by George Pan Cosmotos. It's the most balanced and satisfying of the three films: Rambo is dropped back into Nam to rescue some POWs, and the action builds steadily in scale and ferocity. Each fireball seems to be bigger than the last. Of all the recent headbanger action movies, only the first Die Hardoffers more bang for the buck. The underrated character actor Richard Crenna (a standout sleazebag in Body Heat), as Rambo's military mentor and staunch defender, is the series' secret weapon, providing some welcome human ballast. —David Chute

Taylor Hackford Jamie Foxx's uncannily accurate performance isn't the only good thing about Ray. Riding high on a wave of Oscar buzz, Foxx proved himself worthy of all the hype by portraying blind R&B legend Ray Charles in a warts-and-all performance that Charles approved shortly before his death in June 2004. Despite a few dramatic embellishments of actual incidents (such as the suggestion that the accidental drowning of Charles's younger brother caused all the inner demons that Charles would battle into adulthood), the film does a remarkable job of summarizing Charles's strengths as a musical innovator and his weaknesses as a philandering heroin addict who recorded some of his best songs while flying high as a kite. Foxx seems to be channeling Charles himself, and as he did with the life of Ritchie Valens in La Bamba, director Taylor Hackford gets most of the period details absolutely right as he chronicles Ray's rise from "chitlin circuit" performer in the early '50s to his much-deserved elevation to legendary status as one of the all-time great musicians. Foxx expertly lip-syncs to Ray Charles' classic recordings, but you could swear he's the real deal in a film that honors Ray Charles without sanitizing his once-messy life. —Jeff Shannon

More on Ray Charles

Antony Hoffman

Paul W.S. Anderson

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

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

Columbia Pictures Rocky Balboa (Blu-Ray)

When he loses a highly publicized virtual boxing match to ex-champ "Rocky Balboa" (Sylvester Stallone), reigning heavyweighttitleholder Mason Dixon (Antonio Tarver) retaliates by challenging the Italian Stallion to a nationally televised, 10-round exhibition bout. To the surprise of his son (Milo Ventimiglia, TV's "Heroes") and friends, Rocky agrees to come out of retirement and face an opponent who's faster, stronger and thirty years his junior. With the odds stacked firmly against him, Rocky takes on Dixon in what will become the greatest fight in boxing history, ahard-hitting, action-packed battle of the ages!.

Brett Ratner The plot line may sound familiar: Two mismatched cops are assigned as reluctant partners to solve a crime. Culturally they are complete opposites, and they quickly realize they can't stand each other. One (Jackie Chan) believes in doing things by the book. He is a man with integrity and nerves of steel. The other (Chris Tucker) is an amiable rebel who can't stand authority figures. He's a man who has to do everything on his own, much to the displeasure of his superior officer, who in turn thinks this cop is a loose cannon but tolerates him because he gets the job done. Directed by Brett Ratner, Rush Hourdoesn't break any new ground in terms of story, stunts, or direction. It rehashes just about every "buddy" movie ever made—in fact, it makes films such as Tango and Cashseem utterly original and clever by comparison. So, why did this uninspired movie make over $120 million at the box office? Was the whole world suffering from temporary insanity? Hardly. The explanation for the success of Rush Houris quite simple: chemistry. The casting of veteran action maestro Jackie Chan with the charming and often hilarious Chris Tucker was a serendipitous stroke of genius. Fans of Jackie Chan may be slightly disappointed by the lack of action set pieces that emphasize his kung-fu craft. On the other hand, those who know the history of this seasoned Hong Kong actor will be able to appreciate that Rush Hourwas the mainstream breakthrough that Chan had deserved for years. Coupled with the charismatic scene-stealer Tucker, Chan gets to flex his comic muscles to great effect. From their first scenes together to the trademark Chan outtakes during the end credits, their ability to play off of one another is a joy to behold, and this mischievous interaction is what saves the film from slipping into the depths of pitiful mediocrity. —Jeremy Storey

Brett Ratner

Brian De Palma This sprawling epic of bloodshed and excess, Brian De Palma's update of the classic 1932 crime drama by Howard Hawks, sparked controversy over its outrageous violence when released in 1983. Scarfaceis a wretched, fascinating car wreck of a movie, starring Al Pacino as a Cuban refugee who rises to the top of Miami's cocaine-driven underworld, only to fall hard into his own deadly trap of addiction and inevitable assassination. Scripted by Oliver Stone and running nearly three hours, it's the kind of film that can simultaneously disgust and amaze you (critic Pauline Kael wrote "this may be the only action picture that turns into an allegory of impotence"), with vivid supporting roles for Steven Bauer, Michelle Pfeiffer, Mary Elizabeth Mastrantonio, and Robert Loggia. —Jeff Shannon

Keenen Ivory Wayans If you've seen Screamand I Know What You Did Last Summer, then you know the entire plot of Scary Movie. That's okay, though, because this is a parody, and it helps to know the story in order to be able to get the jokes. No, the biggest surprise here is not the story as much as the amount of full-frontal male nudity. Really, in addition to all the dick jokes (and the ass jokes and fart jokes), there's a couple of shots of the male member, one of which is erect and used as a weapon. Scary Moviesomehow ended up with an R rating, which in a sense is groundbreaking; perhaps our ratings board is loosening up after all.

But is it funny? That's the most important question, and the answer to that is yes. In the vein of Airplane!, with a dash of the Farrelly brothers, Scary Moviekeeps throwing jokes at you one after another. The law of averages says some of them have to hit, and enough of them do to keep the movie entertaining. Unlike the makers of Airplane!, however, the Wayans brothers aren't making this movie out of a love of the genre, and unlike the Farrelly brothers, they don't make fun of retarded people with any sort of respect, so the humor throughout feels a lot uglier. Still, there are enough funny scenes in Scary Movieto make the viewing experience worthwhile. Special credit must go to Lochlyn Munro as Greg, the over-the-top jock, who steals the movie up until the time he's gotta die.—Andy Spletzer

Keenen Ivory Wayans The Wayans Brothers return with another horror-flick parody, this one taking shots at The Exorcist, Hannibal, and House on Haunted Hill, along with non-horror fare like Charlie's Angels. In addition to gags (and I do mean gag) about innumerable bodily functions, there are slyer jabs at Thomas Jefferson and Raging Bull. As in Scary Movie, the strongest humor comes from making fun of the inane behavior of characters in horror movies. Assisting Shawn and Marlon Wayans are Anna Faris, Kathleen Robertson (in the Carmen Electra role, providing the T&A), and David Cross, as well as Tori Spelling, Chris Elliott, James Woods (as an exorcist with bowel trouble), Andy Richter, and poor Tim Curry, who probably never thought his career would come to this. —Bret Fetzer

David Zucker

Some comedy is like a scalpel; the Scary Movieseries is a hand grenade, spewing bodily fluids and big-breasted women in all directions as they lampoon the latest horror. In Scary Movie 4's case, the main targets are War of the Worlds, The Village, The Grudge, Saw, and Tom Cruise jumping all over Oprah's couch (the scariest of the lot). Along the way, potshots get taken at non-horror fare like Brokeback Mountainand Million Dollar Baby, as well as obvious targets like Michael Jackson and George W. Bush, among others. Anna Faris (Lost in Translation) and Regina Hall (The Honeymooners) return as the central characters wandering through a crazy quilt of horror scenarios, joined by Craig Bierko (Cinderella Man) doing a dead-on parody of Cruise at his most manic. Cameos include everyone from Charlie Sheen to Shaquille O'Neal to Carmen Electra. Some of it's funny, some of it's not, but there's a generally buoyant zaniness that comes from director David Zucker, one of the creators of Airplane!, which started the whole firehose-of-jokes aesthetic. —Bret Fetzer

Robert De Niro Frank Oz

A passenger with a deadly secret. Six rebels on the run. An assassin in pursuit. When the renegade crew of Serenity agrees to hide a fugitive on their ship, they find themselves in an action-packed battle between the relentless military might of a totalitarian regime who will destroy anything - or anyone - to get the girl back and the bloodthirsty creatures who roam the uncharted areas of space. But, the greatest danger of all may be on their ship. From the mind of Joss Whedon (Buffy the Vampire Slayer, Angel) comes a new edge-of-your-seat adventure loaded with explosive battles, gripping special effects and fantastic new worlds.

John Singleton

The Simpsonshad already ruled TV land for many years by the time they finally attempted to conquer the movie world as well. It was never any big secret that a Simpsonsmovie was in the works: Fox registered the domain name "Simpsonsmovie.com" in 1997, a full nine years before the film was finally greenlighted. When creator/producer Matt Groening's creation finally made it to the big screen in 2007, it only turned out to be the biggest hit of the summer, raking in over $100 million gross in box-office receipts in its first week, before heading on to do over $500 million worldwide, proving that the best joke in the movie was actually played on the audience: "Why pay for something when you can see it for free?" asks Homer at the movie's start. Naturally, all the trouble starts with him. When he adopts a pig ("Sir Oinks-A-Lot") destined for Krusty's slaughterhouse, it triggers an environmental catastrophe, forcing the government to seal Springfield into a dome and destroy the city. While the family manages to escape and flee to Alaska, they eventually decide to return and help save the city in more-or-less classic Simpson fashion. As Homer's joke about the audience shows, Groening and producer Al Jean are keenly aware that their franchise is first and foremost a TV show. Maybe a little too aware, as the movie fails to ever rise above anything more than an extended episode, and not even one of its best episodes at that. True, there are plenty of good jokes; the animation has been kicked up a notch to be particularly sharp and detailed; and there are some truly memorable moments such as Bart's nude skateboard ride and the "Spider-Pig" song. But when the film finally materialized, the payoff for long years of anticipation turned out to be small as the movie failed to live up to its potential; it's amusing but not truly funny. The Simpsons Movieleaves the impression that maybe the show's writers and producers had already spent their best ideas on the best years of the TV show. Had it been made years earlier… well, we can only wonder what could have been. —Daniel Vancini

Get to Know The Simpsons

"Oh, so they have internet on computers now!" — Homer Simpson

"I'd like to visit that Long Island Place, if only it were real." — Marge Simpson (drinking a Long Island Iced Tea)

"Aren't we forgetting the true meaning of Christmas? You know, the birth of Santa." — Bart Simpson

"If cartoons were meant for adults, they'd put them on in prime time." — Lisa Simpson

"Daddy" — Maggie Simpson

> More Simpsons Characters

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

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

Kerry Conran

Nora Ephron

Christina Peters

Paul W.S. Anderson Kurt Russell hits new heights in laconic action heroes with his portrayal of Sergeant Todd, born and bred to be a soldier in a futuristic army. Raised to kill mercilessly, living only for battle, he finds himself at the twilight of his career (and so-called life) when a regiment of genetically enhanced warriors threatens to make his brand of soldiering obsolete. Despite his extensive skills, he is no match for the best of breed of the new order, and he's left for dead on a planet that serves only as a junk heap. There he encounters a ragtag group of castaways, and in his own strange and silent way slowly begins to learn how to be less a killer and more a human. All is disrupted, though, when the genetic regiment arrives on the trash planet and decides to eradicate the local human "trespassers." Though Todd had been overmatched before, this time he has more than ever to fight for—a home, and friends. Soldieris one of those rare sci fi movies that relies more on plot and action than special effects (though the trash planet is effectively wrought). The pace of action in the last half of the film is relentless and exciting, and Russell's portrayal of the old warrior as he warms to human emotions relies more on expression than words—in fact, he barely utters more than a half-dozen lines. —Tod Nelson

Trey Parker

Mark A.Z. Dippé After being murdered for quitting his role as a ruthless yet moral government assassin, Al Simmons (Michael Jai White) is sent to Hell, where he makes a pact with the demon Malebolgia—if Simmons is allowed see his lover, Wanda, again, he will agree to lead the demon's armies to storm the gates of Heaven. Transformed into a superhuman entity with shape-shifting powers and quick regeneration capabilities, Simmons (soon to be dubbed "Spawn" by Malebolgia's crony, The Violator) returns to Earth and attempts to reunite with Wanda, not knowing that five years have passed. He also seeks revenge on his former boss and killer, Jason Wynn (Martin Sheen), who has made a deal with The Violator to develop a lethal virus to take over the world, where Wynn is promised to be king.

Spawn wages an inner battle between good and evil as he tries to come to terms with selling his soul and what it could mean for humankind. Despite excellent effects and great potential, Spawnseems to come up short. While White certainly displays verve in his characterization of the twisted hero, he cannot overcome some forced dialogue. On the flip side, the usually engaging John Leguizamo portrays the sinister Violator—an evil monster masquerading as a rotund, weird-looking clown—as an irritating lackey who spews overbearing sarcasm and incessantly banal one-liners. Admitted, many of Spawn's action sequences are fun, and the transitions effectively brisk, but more could have been done to explore how Simmons grapples with his humanity in these daunting circumstances. But if you want sizzling action sequences and digital effects, this film should keep you happy. —Bryan Reesman

Luis Llosa Just awful enough to qualify as someone's guilty pleasure, this convoluted thriller was supposed to cash in on the supposedly sexy teaming of Sylvester Stallone and Sharon Stone (then hot from her ample exposure in Basic Instinct), but their naked groping in a shower provides one of the film's unintentionally funny highlights. Ray Quick (Stallone) is a former CIA bomb expert whose former colleague (James Woods) is now in cahoots with a Miami drug cartel led by kingpin Joe Leon (Rod Steiger), who chews the scenery while his son Tomas (Eric Roberts) proceeds with a greedy hidden agenda. May Munro (Stone) hires Quick to kill off Roberts. The Specialist, featuring lots of explosions and redeemed by a dandy role for James Woods, is best suited for ardent Stallone and Stone fans. —Jeff Shannon

Barry Levinson From yet another derivative science fiction novel by Michael Crichton comes this equally derivative and flaccid movie, in which three top Hollywood stars struggle to squeeze tension and excitement out of material that doesn't match their talents. You're supposed to find awe and mystery in Crichton's story about a team of scientists and scholars who discover a 300-year-old alien spacecraft deep on the ocean floor, but mostly you feel that this is all much ado about nothing. The exploration team consists of a psychologist (Dustin Hoffman), mathematician (Samuel L. Jackson), biochemist (Sharon Stone), and an astrophysicist (Liev Schreiber), and when they enter the alien ship they discover a mysterious sphere inside. What they don't know is that the sphere has the power to manipulate their thoughts and perceptions, and before long the scientists' undersea habitat is a veritable haunted house of frightening visions and creeping paranoia. Who can be trusted? What is the sphere's purpose, and why is it on the ocean floor? Spheremakes some attempt to answer these questions, but the film is a mess, and it leads to one of the most anticlimactic endings of any science fiction film ever made. There are moments of high intensity and psychological suspense, and the stellar cast works hard to boost the talky screenplay. But it's clear that this was a hurried production (Hoffman and director Barry Levinson made Wag the Dogduring an extended production delay), and as a result Spherelooks and feels like a film that wasn't quite ready for the cameras. Though it's by no means a waste of time, it's undeniably disappointing. The special edition DVD includes audio commentary by Hoffman and Jackson and a behind-the-scenes featurette, Shaping the Sphere: The Art of the Special Effects Supervisor,exploring the alien ship's design and creation by special effects technicians. —Jeff Shannon

Sam Raimi

Sam Raimi More than a few critics hailed Spider-Man 2as "the best superhero movie ever," and there's no compelling reason to argue—thanks to a bigger budget, better special effects, and a dynamic, character-driven plot, it's a notch above Spider-Manin terms of emotional depth and rich comic-book sensibility. Ordinary PeopleOscar®-winner Alvin Sargent received screenplay credit, and celebrated author and comic-book expert Michael Chabon worked on the story, but it's director Sam Raimi's affinity for the material that brings Spidey 2to vivid life. When a fusion experiment goes terribly wrong, a brilliant physicist (Alfred Molina) is turned into Spidey's newest nemesis, the deranged, mechanically tentacled "Doctor Octopus," obsessed with completing his experiment and killing Spider-Man (Tobey Maguire) in the process. Even more compelling is Peter Parker's urgent dilemma: continue his burdensome, lonely life of crime-fighting as Spider-Man, or pursue love and happiness with Mary Jane Watson (Kirsten Dunst)? Molina's outstanding as a tragic villain controlled by his own invention, and the action sequences are nothing less than breathtaking, but the real success of Spider-Man 2is its sense of priorities. With all of Hollywood's biggest and best toys at his disposal, Raimi and his writers stay true to the Marvel mythology, honoring Spider-Mancreators Stan Lee and Steve Ditko, and setting the bar impressively high for the challenge of Spider-Man 3. —Jeff Shannon

Craig McCracken Unabashed, unredeemed, and most certainly unwholesome, Unprotectedis another perverse romp through the animated wastelands of Spike and Mike. The festivities begin with a round of "No-Neck Joe"'toons, featuring the stubby little hero in such everyday dilemmas as watching a tennis match (hard to do when you can't turn your head to follow the ball). "Meet the Beaters" is a sick sitcom taking family dysfunctionality to a bloody extreme. "Coco the Junkie Pimp" features clown marionettes who speak like monstrous street pimps, while "Stick Girl's Guide to Sex" is, let's say, an educational film about how to behave when a condom-less male member arrives unexpectedly at one's front door. The best thing on this disc, however, is not so much rude as it is clever: a terrific parody of the old Speed Racerseries, mocking the show's early anime style and crazy cadences. —Tom Keogh

Tony Scott

Jonathan Frakes Even-numbered Star Trek movies tend to be better, and this one (#8 in the popular movie series) is no exception—an intelligently handled plot involving the galaxy-conquering Borg and their attempt to invade Earth's past, alter history, and "assimilate" the entire human race. Time travel, a dazzling new Enterprise, and capable direction by Next Generationalumnus Jonathan Frakes makes this one rank with the best of the bunch. Capt. Picard (Patrick Stewart) and his able crew travel back in time to Earth in the year 2063, where they hope to ensure that the inventor of warp drive (played by James Cromwell) will successfully carry out his pioneering warp-drive flight and precipitate Earth's "first contact" with an alien race. A seductive Borg queen (Alice Krige) holds Lt. Data (Brent Spiner) hostage in an effort to sabotage the Federation's preservation of history, and the captive android finds himself tempted by the queen's tantalizing sins of the flesh! Sharply conceived to fit snugly into the burgeoning Star Trekchronology, First Contactleads to a surprise revelation that marks an important historical chapter in the ongoing mission "to boldly go where no one has gone before."—Jeff Shannon

Jonathan Frakes Star Trekfans were decidedly mixed in their reactions to this, the ninth big-screen feature in Paramount's lucrative Trekfranchise, but die-hard loyalists will appreciate the way this Next Generationadventure rekindles the spirit of the original TrekTV series while combining a tolerable dose of New-Agey philosophy with a lighthearted plot for the TNGcast. This time out, Picard (Patrick Stewart) and his executive crew must transport to a Shangri-la-like planet to see why their android crewmate Data (Brent Spiner) has run amuck in a village full of peaceful Ba'ku artisans who—thanks to their planet's "metaphasic radiation"—haven—haven't aged in 309 years.

It turns out there's a conspiracy afoot, masterminded by the devious, gruesomely aged Ru'afo (F. Murray Abraham, hamming it up under makeup resembling a cosmetic surgeon's worst nightmare), who's in cahoots with a renegade Starfleet admiral (Anthony Zerbe, in one of his final screen roles). They covet the fountain-of-youth power of the Ba'ku planet, but because their takeover plan violates Starfleet's Prime Directive of noninterference, it's up to Picard and crew to stop the scheme. Along the way, they all benefit from the metaphasic effect, which manifests itself as Worf's puberty (visible as a conspicuous case of Klingon acne), Picard's youthful romance with a Ba'ku woman (the lovely Donna Murphy), the touching though temporary return of Geordi's natural eyesight, and a moment when Troi asks Dr. Crusher if she's noticed that her "boobs are firming up."

Some fans scoffed at these humorous asides, but they're what make this Trekfilm as entertaining as it is slightly disappointing. Without the laughs (including Data's rousing excerpt from Gilbert & Sullivan's HMS Pinafore), this is a pretty routine entry in the franchise, with no real surprises, a number of plot holes, and the overall appearance of a big-budget TV episode. As costar and director, Jonathan Frakes proves a capable carrier of the Star Trekflame—and it's nice to see women in their 40s portrayed as smart and sexy—but while this is surely an adequate Trekadventure, it doesn't quite rank with the best in the series. —Jeff Shannon

Stuart Baird

David Carson There were only two ways for "classic Trek" cast members to appear in a movie with the cast of Star Trek: The Next Generation: either Capt. Kirk and his contemporaries would have to be very, very old, or there would be some time travel involved in the plot. Since geriatric heroes aren't very exciting (despite a welcomed cameo appearance by the aged Dr. McCoy), Star Trek: Generationsunites Capt. Kirk (William Shatner) and Capt. Jean-Luc Picard (Patrick Stewart) in a time-jumping race to stop a madman's quest for heavenly contentment. When a mysterious energy coil called the Nexus nearly destroys the newly christened U.S.S. Enterprise-B, the just-retired Capt. Kirk is lost and presumed dead. But he's actually been happily trapped in the timeless purgatory of the Nexus—an idyllic state of being described by the mystical Guinan (Whoopi Goldberg) as "pure joy." Picard must convince Kirk to leave this artificial comfort zone and confront Dr. Soran (Malcolm McDowell), the madman who will threaten billions of lives to be reunited with the addictive pleasure of the Nexus. With subplots involving the android Data's unpredictable "emotion chip" and the spectacular crash-landing of the starship Enterprise, this crossover movie not only satisfied Trekfans, but it also gave them something they'd never had to confront before: the heroic and truly final death of a beloved Star Trekcharacter. Passing the torch to the Next Generation with dignity and entertaining adventure, the movie isn't going to please everyone with its somewhat hokey plot, but it still ranks as a worthy big-screen launch for Picard and his stalwart crew. —Jeff Shannon

Nicholas Meyer

Leonard Nimoy

Leonard Nimoy

William Shatner

Nicholas Meyer Star Trek Vleft us nowhere to go but up, and with the return of Star Trek IIdirector Nicholas Meyer, Star Trek VIrestored the movie series to its classic blend of space opera, intelligent plotting, and engaging interaction of stalwart heroes and menacing villains. Borrowing its subtitle (and several lines of dialogue) from Shakespeare, the movie finds Admiral Kirk (William Shatner) and his fellow Enterprisecrew members on a diplomatic mission to negotiate peace with the revered Klingon Chancellor Gorkon (David Warner). When the high-ranking Klingon and several officers are ruthlessly murdered, blame is placed on Kirk, whose subsequent investigation uncovers an assassination plot masterminded by the nefarious Klingon General Chang (Christopher Plummer) in an effort to disrupt a historic peace summit. As this political plot unfolds, Star Trek VItakes on a sharp-edged tone, with Kirk and Spock confronting their opposing views of diplomacy, and testing their bonds of loyalty when a Vulcan officer is revealed to be a traitor. With a dramatic depth befitting what was to be the final movie mission of the original Star Trekcrew, this film took the veteran cast out in respectably high style. With the torch being passed to the crew of Star Trek: The Next Generation, only Kirk, Scotty, and Chekov would return, however briefly, in Star Trek: Generations. —Jeff Shannon

George Lucas

George Lucas

George Lucas Irvin Kershner Richard Marquand Was George Lucas's Star Wars Trilogy, the most anticipated DVD release ever, worth the wait? You bet. It's a must-have for any home theater, looking great, sounding great, and supplemented by generous bonus features.

The Movies

The Star Wars Trilogyhad the rare distinction of becoming a cultural phenomenon, a defining event for its generation. On its surface, George Lucas's story is a rollicking and humorous space fantasy that owes debts to more influences than one can count on two hands, but filmgoers became entranced by its basic struggle of good vs. evil "a long time ago, in a galaxy far, far away," its dazzling special effects, and a mythology of Jedi knights, the Force, and droids. Over the course of three films—A New Hope(1977), The Empire Strikes Back(1980), and Return of the Jedi(1983)—Luke Skywalker (Mark Hamill), Princess Leia (Carrie Fisher), and the roguish Han Solo (Harrison Ford) join the Rebel alliance in a galactic war against the Empire, the menacing Darth Vader (David Prowse, voiced by James Earl Jones), and eventually the all-powerful Emperor (Ian McDiarmid). Empireis generally considered the best of the films and Jedithe most uneven, but all three are vastly superior to the more technologically impressive prequels that followed, Episode I, The Phantom Menace(1999) and Episode II, Attack of the Clones(2002).

How Are the Picture and Sound?

In a word, spectacular. Thanks to a new digital transfer, you've never seen C-3PO glow so golden, and Darth Vader's helmet is as black as the Dark Side. And at the climactic scene of A New Hope, see if the Dolby 5.1 EX sound doesn't knock you back in your chair. Other audio options are Dolby 2.0 Surround in English, Spanish, and French. (Sorry, DTS fans, but previous Star WarsDVDs didn't have DTS either.) There have been a few quibbles with the audio on A New Hope, however. A few seconds of Peter Cushing's dialogue ("Then name the system!") are distorted, and the music (but not the sound effects) is reversed in the rear channels. For example, in the final scene, the brass is in the front right channel but the back left channel (from the viewer's perspective), and the strings are in the left front and back right. The result feels like the instruments are crossing through the viewer.

What's Been Changed?

The rumors are true: Lucas made morechanges to the films for their DVD debut. Hayden Christensen (Anakin Skywalker) has been added to a scene in Jedi, Ian McDiarmid (the Emperor) replaces Clive Revill with slightly revised lines in Empire, Temuera Morrison has rerecorded Boba Fett's minimal dialogue, and some other small details have been altered. Yes, these changes mean that the Star Warsfilms are no longer the ones you saw 20 years ago, but these brief changes hardly affect the films, and they do make sense in the overall continuity of the two trilogies. It's not like a digitized Ewan McGregor has replaced Alec Guiness's scenes, and the infamous changes made for the 1997 special-edition versions were much more intrusive (of course, those are in the DVD versions as well).

How Are the Bonus Features?

Toplining is Empire of Dreams: The Story of the Star Wars Trilogy, a 150-minute documentary incorporating not only the usual making-of nuts and bolts but also the political workings of the movie studios and the difficulties Lucas had getting his vision to the screen (for example, after resigning from the Directors' Guild, he lost his first choice for director of Jedi: Steven Spielberg). It's a little adulatory, but it has plenty to interest any fan. The three substantial featurettes are "The Characters of Star Wars" (19 min.), which discusses the development of the characters we all know and love, "The Birth of the Lightsaber" (15 min.), about the creation and evolution of a Jedi's ultimate weapon, and "The Force Is with Them: The Legacy of Star Wars" (15 min.), in which filmmakers such as Peter Jackson, Ridley Scott, and James Cameron talk about how they and the industry were affected by the films and Lucas's technological developments in visual effects, sound, and computer animation.

The bonus features are excellent and along the same lines as those created for The Phantom Menaceand Attack of the Clones. Each film has a commentary track, recorded by Lucas, Ben Burtt (sound design), Dennis Muren (visual effects), and Carrie Fisher, with Irvin Kershner joining in on the film he directed, The Empire Strikes Back. Recorded separately and skillfully edited together (with supertitles to identify who is speaking), the tracks lack the energy of group commentaries, but they're enjoyable and informative, with a nice mix of overall vision (Lucas), technical details (Burtt, Muren, Kershner), and actor's perspective (Fisher). Interestingly, they discuss some of the 1997 changes (Mos Eisley creatures, the new Jabba the Hutt scene) but not those made for the DVDs.

There's also a sampler of the Xbox game Star Wars: Battlefront, which lets the player reenact classic film scenarios (blast Ewoks in the battle of Endor!); trailers and TV spots from the films' many releases; and a nine-minute preview of the last film in the series, Episode III, Revenge of the Sith(here identified by an earlier working title, The Return of Darth Vader). Small extra touches include anamorphic widescreen motion menus with dialogue, original poster artwork on the discs, and a whopping 50 chapter stops for each film.

"The Force Is Strong with This One"

The Star Wars Trilogyis an outstanding DVD set that lives up to the anticipation. There will always be resentment that the original versions of the films are not available as well, but George Lucas maintains that these are the versions he always wanted to make. If fans are able to put this debate aside, they can enjoy the adventures of Luke, Leia, and Han for years to come. —David Horiuchi

George Lucas The Star Wars saga is now complete on DVD with Episode III REVENGE OF THE SITH. Torn between loyalty to his mentor Obi-Wan Kenobi and the seductive powers of the Sith Anakin Skywalker ultimately turns his back on the Jedi thus completing his journey to the dark side and his transformation into Darth Vader. Experience the breathtaking scope of the final chapter in spectacular clarity and relive all the epic battles including the final climactic lightsaber duel between Anakin and Obi-Wan.System Requirements:Starring: Ewan McGregor Natalie Portman Hayden Christensen Ian McDiarmid Samuel L. Jackson Christopher Lee Directed By: George Lucas Running Time: 140 Min.Format: DVD MOVIE Genre: SCI-FI/FANTASY Rating: PG-13 UPC: 024543203094 Manufacturer No: 2230309

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

Dominic Sena When the DEA shut down its dummy corporation operation codenamed SWORDFISH in 1986 they had generated $400 million which they let sit around; fifteen years of compound interest has swelled it to $9.5 billion. A covert counter-terrorist unit called Black Cell headed by the duplicitious and suave Gabriel Shear wants the money to help finance their raise-the-stakes vengeance war against international terrorism but it's all locked away behind super-encryption. He brings in convicted hacker Stanley Jobson who only wants to see his daughter Holly again but can't afford the legal fees to slice into the government mainframes and get the money.Running Time: 99 min.System Requirements:Starring: John Travolta Hugh Jackman Halle Berry Don Cheadle Vinnie Jones and Sam Shepard. Directed By: Dominic Sena. Running Time: 99 Min. Color. This film is presented in "Widescreen" format. Copyright 2001 Warner Home Video.Format: DVD MOVIE Genre: ACTION/ADVENTURE/THRILLERS Rating: R UPC: 085392132225 Manufacturer No: 21322DVD

James Cameron

James Cameron

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

James Cameron This is the film that cemented Schwarzenegger's spot in the action-brawn firmament, and it was well deserved. He's chilling as the futuristic cyborg who kills without fear, without love, without mercy. James Cameron's story and direction are pared to the bone and all the more creepy. But don't overlook the contributions of Linda Hamilton, who more than holds her own as the Terminator's would-be victim, Sarah Connor—thus creating, along with Sigourney Weaver in Alien, a new generation of rugged, clear-thinking female action stars. It's surprising how well this film holds up, and how its minimalist, malevolent violence is actually way scarier than that of its far more expensive, more effects-laden sequel. —Anne Hurley

Steve Beck

James Cameron

Roger Spottiswoode Pierce Brosnan returns for his second stint as James Bond (after GoldenEye), and he's doing it in high style with an invigorating cast of costars. It's only appropriate that a Bond film from 1997 would find Agent 007 pitted against a media mogul (Jonathan Pryce) who's going to start a global war (beginning with stolen nuclear missiles aimed at China) to create attention-grabbing headlines for his latest multimedia news channel. It's the information age run amok, and Bond must team up with a lovely and lethal agent from the Chinese External Security Force (played by Honk Kong action star Michelle Yeoh) to foil the madman's plot of global domination. Luckily for Bond, the villain's wife (Teri Hatcher) is one of his former lovers, and at the behest of his superior M (Judi Dench), 007 finds ample opportunity to exploit the connection. Although it bears some nagging similarities to many formulaic action films from the '90s, Tomorrow Never Dies(with a title song performed by Sheryl Crow) boasts enough grand-scale action and sufficiently intelligent plotting to suggest the Bond series has plenty of potential to survive into the next millennium. Armed with the usual array of gadgets (including a remote-controlled BMW), Brosnan settles into his role with acceptable flair, and the dynamic Yeoh provides a perfect balance to the sexism that once threatened to turn Bond into a politically incorrect anachronism. He's still Bond, to be sure, but he's saving the world with a bit more sophisticated finesse. —Jeff Shannon

Tony Scott

Steven Soderbergh Featuring a huge cast of characters, the ambitious and breathtaking Traffic is a tapestry of three separate stories woven together by a common theme: the war on drugs. In Ohio, there's the newly appointed government drug czar (Michael Douglas) who realizes after he's accepted the job that he may have gotten into a no-win situation. Not only that, his teenage daughter (Erika Christensen) is herself quietly developing a nasty addiction problem. In San Diego, a drug kingpin (Steven Bauer) is arrested on information provided by an informant (Miguel Ferrer) who was nabbed by two undercover detectives (Don Cheadle and Luis Guzmán). The kingpin's wife (Catherine Zeta-Jones), heretofore ignorant of where her husband's wealth comes from, gets a crash course in the drug business and its nasty side effects. And south of the border, a Mexican cop (Benicio Del Toro) finds himself caught between both his home country and the U.S., as corrupt government officials duke it out with the drug cartel for control of trafficking various drugs back and forth across the border.

Bold in scope, Traffic showcases Steven Soderbergh at the top of his game, directing a peerless ensemble cast in a gritty, multifaceted tale that will captivate you from beginning to end. Utilizing the no-frills techniques of the Dogme 95 school, Soderbergh enhances his hand-held filming with imaginative editing and film-stock manipulation that eerily captures the atmosphere of each location: a washed-out, grainy Mexico; a blue and chilly Ohio; and a sleek, sun-dappled San Diego. But Traffic is more than a film-school exercise. Soderbergh and screenwriter Stephen Gaghan (adapting the British TV miniseries Traffik to the U.S.) seamlessly weave the threads of each separate plotline into one solid tale, with the actions of one plot having quiet repercussions on the other two. And if you needed more proof that Soderbergh takes unparalleled care with his actors, practically all the members of this cast turn in their best work ever, the standout being an Oscar-worthy Del Toro as the conflicted moral conscience of the film. While no story is fully resolved in the film, you'll be haunted by these characters days after you've seen the film. By far one of the best movies of 2000. —Mark Englehart

Antoine Fuqua

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

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

More Than Meets the Eye

The Original Movie

Transformers Mania

The Soundtrack

TransformersImage Gallery (click for larger image)

Nauta, Kate, Statham, Jason, Valletta, Amber Jason Stratham returns in his signature role as ex-Special Forces operative Frank Martin aka "The Transporter." Now retired from his chosen profession of moving dangerous goods with no questions asked, he makes a living driving for a wealthy family in Miami, Florida. But when their young son is abducted, Frank must use his battle-tested combat skills to save the boy and thwart the kidnapper's nefarious master plan.

Carlo Rizzo, Camille Delamarre, Olivier Megaton Genre: Action/Adventure
Rating: PG13
Release Date: 10-MAR-2009
Media Type: DVD

Corey Yuen Louis Leterrier Frank Martin (Jason Statham) is the best as what he does: transporting dangerous or illegal goods with no questions asked. But his last shipment, a beautiful young woman kidnapped by international slave traders, brings deadly complications to his delivery plans. Now Frank must kick into overdrive in a nonstop action-packed fight to save his precious cargo - and his life.

Stuart Baird An ultimately futile attempt to make lightning strike twice, this so-called spinoff from 1993's blockbuster The Fugitiveavoids the label of "sequel" by forging ahead without the first film's star, Harrison Ford. The idea is to showcase the return of Tommy Lee Jones in his Oscar-winning role as tenacious U.S. Marshal Sam Gerard, this time testing his mettle against a covert government operative (Wesley Snipes) accused of murdering two secret service attachés. Unfortunately, Jones and the entire cast have been trapped in a rambling plot, and the underdog status that made Ford such a compelling hero is sacrificed to an evenly matched and eventually tiresome game of cat and mouse, with a villain whose identity is far too predictable. With no dramatic buildup and several superfluous characters to distract its focus, the film's momentum plays out like a rote exercise compared to the high stakes of the earlier film. —Jeff Shannon

M. Night Shyamalan Bruce Willis and Samuel L. Jackson star in a mind-shattering, suspense-filled thriller that stays with you long after the end of this riveting supernatural film. After David Dunn (Willis) emerges from a horrific train crash as the sole survivor — and without a single scratch on him — he meets a mysterious sranger (Jackson). An unsettling stranger who believes comic book heroes walk the earth. A haunting stranger, whose obsession with David will change David's life forever.

Malcolm D. Lee

Bruno Barreto

Steven Spielberg Despite super effects, a huge budget, and the cinematic pedigree of alien-happy Steven Spielberg, this take on H.G. Wells's novel is basically a horror film packaged as a sci-fi thrill ride. Instead of a mad slasher, however, Spielberg (along with writers Josh Friedman & David Koepp) utilizes aliens hell-bent on quickly destroying humanity, and the terrifying results that prey upon adult fears, especially in the post-9/11 world. The realistic results could be a new genre, the grim popcorn thriller; often you feel like you're watching Schindler's List more than Spielberg's other thrill-machine movies (Jaws, Jurassic Park). The film centers on Ray Ferrier, a divorced father (Tom Cruise, oh so comfortable) who witnesses one giant craft destroy his New Jersey town and soon is on the road with his teen son (Justin Chatwin) and preteen daughter (Dakota Fanning) in tow, trying to keep ahead of the invasion. The film is, of course, impeccably designed and produced by Spielberg's usual crew of A-class talent. The aliens are genuinely scary, even when the film—like the novel—spends a good chunk of time in a basement. Readers of the book (or viewers of the deft 1953 adaptation) will note the variation of whom and how the aliens come to Earth, which poses some logistical problems. The film opens and closes with narration from the novel read by Morgan Freeman, but Spielberg could have adapted Orson Welles's words from the famous Halloween Eve 1938 radio broadcast: "We couldn't soap all your windows and steal all your garden gates by tomorrow night, so we did the best next thing: we annihilated the world."—Doug Thomas

War of the Worldsat Amazon.com

The Soundtrack

The War of the Worlds(1953)

War of the Worlds - The Complete First Season(TV series)

Classic Sci-Fi Movies and Their Remakes

Aliens Invade on DVD

The Prog-rock Opera (no kidding)

Keenen Ivory Wayans

Ridley Scott

Barry Sonnenfeld

Michael Apted In his 19th screen outing, Ian Fleming's superspy is once again caught in the crosshairs of a self-created dilemma: as the longest-running feature-film franchise, James Bond is an annuity his producers want to protect, yet the series' consciously formulaic approach frustrates any real element of surprise beyond the rote application of plot twists or jump cuts to shake up the audience. This time out, credit 007's caretakers for making some visible attempts to invest their principal characters with darker motives—and blame them for squandering The World Is Not Enough's initial promise by the final reel.

By now, Bond pictures are as elegantly formal as a Bach chorale, and this one opens on an unusually powerful note. A stunning pre-title sequence reaches beyond mere pyrotechnics to introduce key plot elements as the action leaps from Bilbao to London. Bond 5.0, Pierce Brosnan, undercuts his usually suave persona with a darker, more brutal edge largely absent since Sean Connery departed. Equally tantalizing are our initial glimpses of Bond's nemesis du jour, Renard (Robert Carlyle), and imminent love interest, Elektra King (Sophie Marceau), both atypically complex characters cast with seemingly shrewd choices, and directed by the capable Michael Apted. The story's focus on post-Soviet geopolitics likewise starts off on a savvy note, before being overtaken by increasingly Byzantine plot twists, hidden motives, and reversals of loyalty superheated by relentless (if intermittently perfunctory) action sequences.

Indeed, the procession of perils plays like a greatest hits medley, save for a nifty sequence involving airborne buzz saws that's as enjoyable as it is preposterous. Bond's grimmer demeanor, while preferable to the smirk that eventually swallowed Roger Moore whole, proves wearying, unrelieved by any true wit. The underlying psychoses that propel Renard and Elektra eventually unravel into unconvincing melodrama, while Bond is supplied with a secondary love object, Denise Richards, who's even more improbable as a nuclear physicist. Ultimately, this Worldis not enough despite its better intentions. —Sam Sutherland

Bryan Singer

Brett Ratner X-Men: The Last Standis the third installment in the popular superhero franchise, and it's an exciting one with a splash of fresh new characters. When a scientist named Warren Worthington II announces a "cure" for mutant powers, it raises an interesting philosophical question: is mutant power a disease that needs a cure, or is it a benefit that homo superiorenjoys over "normal" human beings? No surprise that Magneto (Ian McKellen) and his Brotherhood of Evil Mutants resist the idea that they need to be cured, and declare war on the human race. But it's a little tougher for the X-Men, led by Professor X (Patrick Stewart), Cyclops (James Marsden), and Storm (Halle Berry). If you're Rogue (Anna Paquin), for example, your power means you can't even touch your boyfriend, Iceman (Shawn Ashmore). To compound matters, someone previously thought dead has returned, and might be either friend or foe.

With director Bryan Singer having moved on to Superman Returns, the franchise passes to the hands of Brett Ratner (Rush Hour), whose best work is done in the big action sequences such as a showdown between mutant armies. But it's difficult to manage the sheer volume of characters when adding longtime comic-book stalwarts such as Beast (Kelsey Grammer) and Angel (Ben Foster), and one character in particular deserved better than an off-screen dismissal. And fans of the original Dark Phoenix comic book story might be underwhelmed by the movie's resolution. X-Men: The Last Standis presumably the last film in the series, but the ambiguous ending leaves possibilities open. Look for the two writers most responsible for making the X-Men who they were, Stan Lee and Chris Claremont, in early cameos. —David Horiuchi

Beyond the Film

The movies

X-Men Evolution: The Complete Third Season

More Superhero DVDs

X-Men comic books

The X-Men on Xbox

The soundtrack and more

Bryan Singer

Rob Cohen

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 Mailotherwise 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 neighborhood, 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 color coordinates their wardrobes for cocktail parties. —Sam Sutherland

Mel Brooks If you were to argue that Mel Brooks's Young Frankensteinranks among the top-ten funniest movies of all time, nobody could reasonably dispute the claim. Spoofing classic horror in the way that Brooks's previous film Blazing Saddlessent up classic Westerns, the movie is both a loving tribute and a raucous, irreverent parody of Universal's classic horror films Frankenstein(1931) and Bride of Frankenstein(1935). Filming in glorious black and white, Brooks re-created the Frankensteinlaboratory using the same equipment from the original Frankenstein(courtesy of designer Kenneth Strickfaden), and this loving attention to physical and stylistic detail creates a solid foundation for nonstop comedy. The story, of course, involves Frederick Frankenstein (Gene Wilder) and his effort to resume experiments in re-animation pioneered by his late father. (He's got some help, since dad left behind a book titled How I Did It.) Assisting him is the hapless hunchback Igor (Marty Feldman) and the buxom but none-too-bright maiden Inga (Teri Garr), and when Frankenstein succeeds in creating his monster (Peter Boyle), the stage is set for an outrageous revision of the Frankenstein legend. With comedy highlights too numerous to mention, Brooks guides his brilliant cast (also including Cloris Leachman, Madeline Kahn, Kenneth Mars, and Gene Hackman in a classic cameo role) through scene after scene of inspired hilarity. Indeed, Young Frankensteinis a charmed film, nothing less than a comedy classic, representing the finest work from everyone involved. Not one joke has lost its payoff, and none of the countless gags have lost their zany appeal. From a career that includes some of the best comedies ever made, this is the film for which Mel Brooks will be most fondly remembered. Befitting a classic, the Special Edition DVD includes audio commentary by Mel Brooks, a "making of" documentary, interviews with the cast, hilarious bloopers and outtakes, and the original theatrical trailers. No video library should be without a copy of Young Frankenstein. And just remember—that—that's Fronkensteen. —Jeff Shannon