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Summary: Jennifer Garner glows like a rising star in "13 Going on 30", a girly version of the Tom Hanks classic "Big". Jenna (Garner, "Alias", "Daredevil"), a frustrated teenage girl, just wants to skip past all those annoying adolescent years and arrive at a glamorous adulthood--and thanks to some inexplicable wishing dust, she does. But once she reorients herself to a life as a high-end magazine editor with a sports-star boyfriend, she discovers that in the 17 years she skipped she became a not-so-nice person, including casting aside her best friend Matt (played as an adult by Mark Ruffalo, "Eternal Sunshine of the Spotless Mind"). There's no question that Jenna will rediscover her lost innocence, but Garner rises above the lack of suspense. "13 Going on 30" floats along, buoyed by her goofy sweetness. Her lovely looks are made accessible by her unfettered silliness; it's a winning combination. "--Bret Fetzer"

Summary: Fully recovering from the wretched flop "Timeline", director Richard Donner brings seasoned skill to "16 Blocks", a satisfying thriller boosted by intelligent plotting and the stellar pairing of Bruce Willis and Mos Def in quirky, well-written roles. Making the most of minimal dialogue, Willis plays Jack Mosley, a boozy, disillusioned New York City detective who reluctantly accepts an assignment to transport squeaky-voiced chatterbox Eddie Bunker (Mos Def) to a grand jury hearing where he's scheduled to testify against a group of corrupt, drug-dealing cops. They've got two hours to travel 16 blocks, but the dirtiest cop (David Morse) is determined to kill Eddie before he can testify; what he doesn't know is that Jack senses something in Eddie's seemingly innocent, optimistic demeanor that he wants to protect. Working from a tight, twisting screenplay by Richard Wenk, Donner turns familiar material into an efficient potboiler that delivers tense urban action (like Donner's earlier Mel Gibson hit "Conspiracy Theory") while leaving plenty of room for Willis and especially Mos Def (in a critically acclaimed performance) to develop their flawed yet admirable characters. "16 Blocks" may be a standard-issue thriller in many respects, but as a showcase for its appealing cast, it quickly rises above its generic limitations. "--Jeff Shannon"

Summary: Arguably the series' best season to date, season 5 of "24" literally starts with a bang and never lets up, with an intricate executive-level conspiracy to control Central Asia's oil supply. Piling crisis upon crisis in an escalating series of deceptions, twists, and deeply hidden agendas, the day-long ordeal begins with a devastating political assassination connected to a disgraced former CTU agent (Peter Weller) and a radical group of Russian separatists (led by British actor Julian Sands) threatening to release lethal nerve gas in Los Angeles to protest a U.S./Russian treaty about to be signed by President Charles Logan (Gregory Itzin). As Logan's unstable wife Martha (Jean Smart), Secret Service agent Aaron Pierce (Glenn Morshower), and chief of staff Mike Novick (Jude Ciccolella) gradually uncover the conspiracy, CTU maverick Jack Bauer (series star Kiefer Sutherland) emerges from self-imposed exile to aid his CTU colleagues in a life-threatening quest for the truth. Meanwhile, CTU chief Bill Buchanan (James Morrison) is thwarted by an inexperienced, overbearing superior (Sean Astin) and an executive takeover of CTU led by Homeland Security chief Karen Hayes (Jayne Atkinson), forcing Bauer and his CTU loyalists to "go dark" and work independently to honor the memory of a slain friend and leader. Also figuring in are CTU's resident hacker-nerd extraordinaire, Chloe O'Brian (played to perfection by Mary Lynn Rajskub), Bauer's estranged daughter (Elisha Cuthbert), and his beloved CTU colleague Audrey Raines (Kim Raver).
Pivoting on a declaration of martial law and a mysterious cabal of unnamed conspirators, "Day 5" shocked even loyal "24" fans with a high body count including several important supporting characters. It all adds up to an exceptional season that earned Sutherland a well-deserved Emmy (for Outstanding Lead Actor in a Drama Series), equally deserving Emmy nominations for Itzin and Sharp, and an Emmy win for co-executive producer Jon Cassar's direction of the riveting season premiere. And while the breathtaking twists of "24" don't always hold up to intense scrutiny, these 24 episodes (running about 43 minutes each) are tightly written and flawlessly directed with an involving emphasis on thriller plotting and dramatic focus on the complex and operatically tragic relationship between President Logan and his traumatized wife. Add it all up, and you've got an addictive reason to look forward to season 6. "--Jeff Shannon"
On the DVDs
Discs 1-6 contain four episodes each, with several episodes including optional viewing of extended or alternate takes of selected scenes. A total of 12 full-length episode commentaries are provided by "24"'s primary cast and crew, allowing listeners a comprehensive appreciation of the series' extended "family" of talent, along with a wealth of production anecdotes, revealing observations about plotting and character, and a welcome overview of individual personalities and contributions. Disc 7 is packed with features, beginning with a season 6 prequel that offers a tantalizing glimpse of things to come, with an interrogation and escape scenario set seven months after the events of "Day 5"; by comparison, the season 6 trailer offers little more than a recap of season 5. The featurettes are all well-crafted and worth a look, beginning with a "Supporting Players" profile of "24"'s extended cast (including some surprising glimpses of their off-screen hobbies and activities); a detailed documentary about "24"'s innovative and hard-working camera crew; a profile of music composer Sean Callery, who demonstrates his versatile mood-setting techniques; a detailed exploration of the "Presidential Retreat" set with production designer Jonathan Hodges and colleagues; a "100th Episode Reel" with tightly-edited clips from seasons 1-5; and a sampling of cast and crew photos from "24: Behind the Scenes", a picture book published in November 2006. Kudos to Sparkhill Productions for continuing to provide "24" bonus features as well-made as the series itself. "--Jeff Shannon"
Beyond "24: Season 5"
More "Edge-of-your-Seat" TV DVDs
"24: Seasons 1-5"
"24: Behind the Scenes" (Paperback)

Stills from "24: Season 5"

Summary: Oh boy. Here we go again! Just another exciting day in the life of "24" super-agent Jack Bauer (Kiefer Sutherland). The season kicks off with a deadly terrorist strike resulting in the kidnapping of his new boss, the U.S. Secretary of Defense James Heller (William Devane). Although a fired, ex-employee of the Counter Terrorist Unit (CTU), it is no surprise who is going to shift into full gear to bring the terrorists to justice. However, it doesn't take the super-agent long to discover the kidnapping of his boss is part of a much larger plan, master-minded by Habib Marvan (Arnold Vosloh) the middle eastern terrorist cell leader the US government has been trying to track down for years. Considered by many to be the best season of the first four, "24 - Season 4" is a definite departure from the first three seasons. First, the cast is almost entirely new. Second, the pacing of each episode does not seem as frantic. There appears to be a shift from the reliance on plot-shifting cliff hangers (which in some ways dragged down the quality of Season 3), to a focus on complex, over-arcing, multiple storylines, albeit very violent. What may be missing in superficial action clichés is definitely compensated for in a richer plot. That's not to say the show has slowed down; it's still amped up beyond anything else on TV, but compared to the previous seasons, "24" has gotten a lot smarter, and in turn, better. "--Rob Bracco"

Summary: There's not one cougar to be found in "24"'s dynamic third season, and that's good news for everyone. After Jack Bauer's daughter Kim (Elisha Cuthbert) survived hokey hazards in season 2, she's now a full-time staffer at CTU, the L.A.-based intelligence beehive that's abuzz once again--three years after the events of "Day Two"--when a vengeful terrorist threatens to release a lethal virus that could wipe out much of the country's population. Jack (Kiefer Sutherland) attempts to broker a deal for the virus involving drug kingpin Ramon Salazar (Joaquim de Almeida), whose operation Jack successfully infiltrated at high personal cost: to maintain his cover, he got hooked on heroin. That potentially deadly triangle--drug lords, addiction, and bioterrorism on a massive scale--sets the 24-hour clock ticking in a tight, action-packed plot involving a potential traitor in CTU's midst; the return of TV's greatest villainesses in Nina Meyers (Sarah Clarke) and former First Lady Sherry Palmer (Penny Johnson Jerald); a troubled romance between Kim and Jack's new partner Chase (James Badge Dale); and a scandalized reelection campaign by president David Palmer (Dennis Haysbert), who monitors CTU as they struggle to (literally) save the day.
The intricately woven subplots that are "24"'s greatest strength are masterfully developed here, and character arcs are equally strong, especially among CTU staffers Tony (Carlos Bernard) and his wife Michelle (Reiko Aylesworth); CTU director Ryan Chappelle (Paul Schulze), who is season 2's tragic bargaining chip; and the annoying but well-intentioned Chloe O'Brian (Mary Lynn Rajskub), who makes pivotal contributions with by-the-book efficiency. It's "24"'s superior casting that overcomes the series' occasional lapses in credibility, and season 3's twists make marathon viewing a nerve-wracking delight. By the time it's all over, "24" once again leaves you gratefully exhausted. As always, Sutherland anchors the series in the role he was born to play. When Jack takes a private moment to release 24 hours' worth of near-fatal tension and psychological anguish, Sutherland proves that "24"'s dramatic priorities are as important as its thriller momentum. DVD extras include behind-the-scenes featurettes (about the prison break sequence, climactic F-18 Hornet air-strike, and real-life bio-weaponry) that pay welcome tribute to the series' hard-working crew, who create Emmy-worthy television under pressures as intense as "24" itself. "--Jeff Shannon"

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

Summary: With generous amounts of good luck and good timing, "50 First Dates" set an all-time box-office record for the opening weekend of a romantic comedy; whether it deserved such a bonanza is another issue altogether. It's a sweet-natured vehicle for sweet-natured stars Adam Sandler and Drew Barrymore, and their track record with "The Wedding Singer" no doubt factors in its lowbrow appeal. But while the well-matched lovebirds wrestle with a gimmicky plot (she has no short-term memory, so he has to treat every encounter as their first), director Peter Segal (who directed Sandler in "Anger Management") ignores the intriguing potential of their predicament (think "Memento" meets "Groundhog Day") and peppers the proceedings with the kind of juvenile humor that Sandler fans have come to expect. The movie sneaks in a few heartfelt moments amidst its inviting Hawaiian locations, and that trained walrus is charmingly impressive, but you can't quite shake the feeling that too many good opportunities were squandered in favor of easy laughs. Like Barrymore's character, you might find yourself forgetting this movie shortly after you've seen it. "--Jeff Shannon"

Summary: When Stanley Kubrick recruited Arthur C. Clarke to collaborate on "the proverbial intelligent science fiction film," it's a safe bet neither the maverick auteur nor the great science fiction writer knew they would virtually redefine the parameters of the cinema experience. A daring experiment in unconventional narrative inspired by Clarke's short story "The Sentinel," "2001" is a visual tone poem (barely 40 minutes of dialogue in a 139-minute film) that charts a phenomenal history of human evolution. From the dawn-of-man discovery of crude but deadly tools in the film's opening sequence to the journey of the spaceship "Discovery" and metaphysical birth of the "star child" at film's end, Kubrick's vision is meticulous and precise. In keeping with the director's underlying theme of dehumanization by technology, the notorious, seemingly omniscient computer HAL 9000 has more warmth and personality than the human astronauts it supposedly is serving. (The director also leaves the meaning of the black, rectangular alien monoliths open for discussion.) This theme, in part, is what makes "2001" a film like no other, though dated now that its postmillennial space exploration has proven optimistic compared to reality. Still, the film is timelessly provocative in its pioneering exploration of inner- and outer-space consciousness. With spectacular, painstakingly authentic special effects that have stood the test of time, Kubrick's film is nothing less than a cinematic milestone--puzzling, provocative, and perfect. "--Jeff Shannon"

Summary: History will place an asterisk next to "A.I." as the film Stanley Kubrick "might" have directed. But let the record also show that Kubrick--after developing this project for some 15 years--wanted Steven Spielberg to helm this astonishing sci-fi rendition of "Pinocchio", claiming (with good reason) that it veered closer to Spielberg's kinder, gentler sensibilities. Spielberg inherited the project (based on the Brian Aldiss short story "Supertoys Last All Summer Long") after Kubrick's death in 1999, and the result is an astounding directorial hybrid. A flawed masterpiece of sorts, in which Spielberg's gift for wondrous enchantment often clashes (and sometimes melds) with Kubrick's harsher vision of humanity, the film spans near and distant futures with the fairy-tale adventures of an artificial boy named David (Haley Joel Osment), a marvel of cybernetic progress who wants only to be a real boy, loved by his mother in that happy place called home.
Echoes of Spielberg's "Empire of the Sun" are clearly heard as young David, shunned by his trial parents and tossed into an unfriendly world, is joined by fellow "mecha" Gigolo Joe (played with a dancer's agility by Jude Law) in his quest for a mother-and-child reunion. Parallels to "Pinocchio" intensify as David reaches "the end of the world" (a Manhattan flooded by melted polar ice caps), and a far-future epilogue propels "A.I." into even deeper realms of wonder, even as it pulls Spielberg back to his comfort zone of sweetness and soothing sentiment. Some may lament the diffusion of Kubrick's original vision, but this is Spielberg's "A.I." (complete with one of John Williams's finest scores), a film of astonishing technical wizardry that spans the spectrum of human emotions and offers just enough Kubrick to suggest that humanity's future is anything but guaranteed. "--Jeff Shannon"

Summary: A box-office smash in England, "About a Boy" went on to charm the world as another fine adaptation (following "High Fidelity") of a popular Nick Hornby novel. While "High Fidelity" transplanted its London charm to Chicago, this irresistible comedy was directed by Americans Chris and Paul Weitz ("American Pie") with its British pedigree intact. Better yet, Hugh Grant is perfectly cast as Will, a self-absorbed trust-fund slacker who tries to improve his romantic odds by preying on desperate single mothers. His cynical strategy backfires when he recruits the misfit son (Nicholas Hoult) of a suicidal mother (Toni Collette) to pose as his own son, thus proving his parental prowess to his latest single-mom target (Rachel Weisz). The kid has a warming effect on this ultimate cad, and what could have been a sappy tearjerker turns into a subtle, frequently hilarious portrait of familial quirks and elevated self-esteem. From start to finish, it's a genuine treat. "--Jeff Shannon"

Summary: While confirming Jack Nicholson's status as an American national treasure, "About Schmidt" is sure to provoke polarized reactions. Stoked by the success of "Election", director Alexander Payne and cowriter Jim Taylor have altered Louis Begley's novel to suit their comedic agenda, turning Nicholson's titular character into a 66-year-old, newly retired Omaha insurance actuary, weary from decades of drudgery and passionless marriage. When his wife suddenly dies, he attempts to reclaim his life in a king-sized Winnebago, desperate to convince his daughter (Hope Davis) not to marry the Denver dimwit (Dermot Mulroney) whose mother (Kathy Bates) has her own baggage of peculiar peccadilloes. Nicholson perfectly (and often hilariously) nails the seething anger beneath his character's façade of resignation, but Payne and Taylor convey cold-hearted contempt for these Midwestern malcontents. Think of this as "Ikiru" with bleaker humanity, until Schmidt finds meaning--and some small reward--in a quiet gesture of goodwill. Love it or hate it, "About Schmidt" is a movie you won't soon forget. "--Jeff Shannon"

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

Summary: The 1982 sequel to "Airplane!" is basically more of the same class-clown ironies but with a more forced feeling to the jokes. In the first film, veterans such as Peter Graves, Robert Stack, and Lloyd Bridges were feeling their way through self-parody, and the air of experimentation was part of the fun. By this film, however, everybody knows what's up, and the assuredness of new cast members Raymond Burr, William Shatner, and Chuck Connors is almost counterproductive. Still, there's lots to laugh about. "--Tom Keogh"

Summary: The quintessential movie spoof that spawned an entire genre of parody films, the original "Airplane!" still holds up as one of the brightest comedic gems of the '80s, not to mention of cinema itself (it ranked in the top 5 of "Entertainment Weekly"'s list of the 100 funniest movies ever made). The humor may be low and obvious at times, but the jokes keep coming at a rapid-fire clip and its targets--primarily the lesser lights of '70s cinema, from disco films to star-studded disaster epics--are more than worthy for send-up. If you've seen even one of the overblown "Airport" movies then you know the plot: the crew of a filled-to-capacity jetliner is wiped out and it's up to a plucky stewardess and a shell-shocked fighter pilot to land the plane. Robert Hays and Julie Hagerty are the heroes who have a history that includes a meet-cute à la "Saturday Night Fever", a surf scene right out of "From Here to Eternity", a Peace Corps trip to Africa to teach the natives the benefits of Tupperware and basketball, a war-ravaged recovery room with a G.I. who thinks he's Ethel Merman (a hilarious cameo)--and those are just the flashbacks! The jokes gleefully skirt the boundaries of bad taste (pilot Peter Graves to a juvenile cockpit visitor: "Joey, have you ever seen a grown man naked?"), with the high (low?) point being Hagerty's intimate involvement with the blow-up automatic pilot doll, but they'll have you rolling on the floor. The film launched the careers of collaborators Jim Abrahams ("Big Business"), David Zucker ("Ruthless People"), and Jerry Zucker ("Ghost"), as well as revitalized such B-movie actors as Lloyd Bridges, Peter Graves, Robert Stack, and Leslie Nielsen, who built a second career on films like this. A vital part of any video collection. "--Mark Englehart"

Summary: Sean Penn gives another powerhouse performance in "All the King's Men", leading a topnotch cast in writer-director Steven Zaillian's underrated adaptation of the Pulitzer prize-winning 1946 novel by Robert Penn Warren. When you consider that the previous 1949 film version earned well-deserved Academy Awards for director Robert Rossen and actors Broderick Crawford and Mercedes McCambridge, it's no surprise that Zaillian's film was expected to earn similar acclaim, but lukewarm critical reception and disappointing box-office gave it the stigma of a noble failure. And while the film (which moves Warren's story from the Depression-era '30s to the early 1950s) suffers from uneven pacing, partial miscasting, and an occasional lack of dramatic tension, it still qualifies as a first-class production that resonates with the timeless relevance of Warren's piercing political classic. Like Broderick before him, Penn is riveting as Louisiana governor Willie Stark, an upstart political dynamo (freely inspired by controversial real-life Louisiana governor Huey P. Long) whose rise to power is ultimately doomed by corruption and betrayal.
Jude Law costars as political reporter Jack Burden, our firsthand witness to Stark's rise and inevitable fall; his orbit of political insiders includes a corrupt judge (Anthony Hopkins) with a dark secret to hide; a longtime friend (Mark Ruffalo) and former lover (Kate Winslet) who fall victim to Stark's influence; and political staffers (James Gandolfini, Patricia Clarkson) who remain powerless against Stark's ill-fated populist juggernaut. At Sean Penn's request, former child star Jackie Earle Haley (from the original "Bad News Bears") makes a welcome return to movies as Willie Stark's quietly intense bodyguard, "Sugar-Boy." Coproduced by Louisiana-born political consultant James Carville, filmed on authentic Louisiana locations and boasting all the stately, luxurious production values of a would-be Oscar contender, "All the King's Men" clearly benefits from Penn's fiery performance and Zaillian's earnest embrace of Warren's still-potent subject matter. And while the film's shortcomings may have prevented it from achieving unanimous acclaim, this is still a serious, well-crafted drama with much to say about the insidious potential for fascism in America, especially when well-meaning politicians lose their souls to power. "--Jeff Shannon"
On the DVD
The special features that accompany "All the King's Men" further demonstrate the film's in-production status as a potential classic. While the "making of" featurette is perfunctory at best, the other featurettes are definitely worthwhile despite Sean Penn's conspicuous absence. In "Shake Hands with the Devil," the film's cast, producer, and writer-director Steven Zaillian discuss the timeless theme of political corruption; "An American Classic" is a concise profile of Robert Penn Warren, paying tribute to the poet and author's literary achievements; and "The Legend and Lore of Huey Long" examines the life and legacy of the still-beloved governor who won the hearts of working-class Louisianans while falling prey to his own ambition. "LA Confidential" is a brief featurette about the film's use of authentic Louisiana locations and the positive effect they had on cast and crew; three deleted scenes were obviously cut from the film for purposes of time, yet offer ample proof of Zaillian's established skill as one of Hollywood's top screenwriters; and the alternate ending extends beyond the film's final shot, with a funeral scene that serves as a melancholy (and ultimately unnecessary) coda to the film's Greek-tragic drama. "--Jeff Shannon"

Summary: It helps to have one of history's greatest scoops as your factual inspiration, but journalism thrillers just don't get any better than "All the President's Men". Dustin Hoffman and Robert Redford are perfectly matched as (respectively) "Washington Post" reporters Carl Bernstein and Bob Woodward, whose investigation into the Watergate scandal set the stage for President Richard Nixon's eventual resignation. Their bestselling exposé was brilliantly adapted by screenwriter William Goldman, and director Alan Pakula crafted the film into one of the most intelligent and involving of the 1970s paranoid thrillers. Featuring Jason Robards in his Oscar-winning role as "Washington Post" editor Ben Bradlee, "All the President's Men" is the film against which all other journalism movies must be measured. "--Jeff Shannon"

Summary: "America's Sweethearts" is just the kind of romantic froth that makes for pleasant viewing on a lazy, rainy day. While Julia Roberts, John Cusack, and Catherine Zeta-Jones offer high-wattage marquee value, costar and cowriter Billy Crystal reworks "Singin' in the Rain" for latter-day Hollywood, where estranged superstars Gwen (Zeta-Jones) and Eddie (Cusack) reluctantly promote their latest movie by pretending their messily disputed relationship is still going strong. The studio chief (Stanley Tucci) is desperate for a hit, so he hires a seasoned publicist (Crystal) to orchestrate a press junket that will cast everyone in a profitable light. The catch: The director (Christopher Walken) has abducted his own film in an act of artistic extortion, and Gwen's sister and longtime assistant Kiki (Roberts) is the true object of Eddie's desire.
Chaos ensues at the luxury hotel where the junket is scheduled, and "America's Sweethearts" pokes easy fun at the cynical machinery that keeps Hollywood running. Quotable quips are delivered in abundance, and while Zeta-Jones is readily convincing as a bitchy narcissist, Roberts effortlessly steals the show with her trademark charms. All of which makes "America's Sweethearts" lightly entertaining, even though it never rises (like Roberts's earlier "Notting Hill") to the level of classic romantic comedy, hampered by a script that too often substitutes easy laughs for ripe satirical invention, flashing a phony grin when it should be baring its fangs. "--Jeff Shannon"

Summary: Thinly disguised versions of "American Idol" and the Bush presidency collide in the satire "American Dreamz". Bored and self-loathing, Martin Tweed (Hugh Grant, "About a Boy") wants to give his hugely popular reality show "American Dreamz" an extra boost by courting political controversy--but suspects he may find personal redemption in the form of scheming contestant Sally Kendoo (Mandy Moore, "Saved!"), who manipulates her boyfriend (Chris Klein, "Election") to give herself a vote-winning backstory. Meanwhile, equally desperate to court popularity, the President's chief of staff (Willem Dafoe, "Spider-Man", looking suspiciously Dick-Cheney-esque) gets Tweed to let the President (Dennis Quaid, "The Rookie") be a guest judge on the show. But unbeknownst to all, a privately conflicted terrorist (Sam Golzari) has been selected as a contestant, and his sleeper cell wants him to blow up the President in the final competition. This complicated storyline doesn't quite have the bite it's reaching for; the political edge is particularly blunted--even diehard Republicans are unlikely to be offended. But sharp and funny lines are sprinkled throughout and the cast is uniformly excellent; the relationship between Grant and Moore is oddly touching, and Marcia Gay Harden ("Pollock") makes an amazing First Lady--is this satire, or what we all wish Laura Bush was really like? An uneven movie, but with some delicious tidbits. "--Bret Fetzer"

Summary: "Analyze That" has more bada bing than its lukewarm reception would lead you to expect. "Analyze This" (1999) had the advantage of a then-fresh idea--Robert De Niro as a neurotic mob boss seeking therapy with reluctant shrink Billy Crystal--but that idea's stale (and has been handled more authentically in "The Sopranos"), so this sequel relies on established chemistry and zesty dialogue that matches the original. There's nothing wrong with a retread when it's this funny, and De Niro's latter-day penchant for comedy suits him well when, as kingpin Paul Vitti, he lures Dr. Sobel (Crystal) into a prison breakout scheme involving faked catatonia and "West Side Story" show tunes. The contrived plot involves Vitti's criminal comeback. Unfortunately, there's little room for Lisa Kudrow as Sobel's sarcastic wife, but De Niro's "Raging Bull" costar Cathy Moriarty-Gentile is welcomed as a rival mob queen. You want a comedy masterpiece? Fuhgeddaboudit. You want 95 minutes of easy fun? It's right here... and don't miss those obligatory outtakes. "--Jeff Shannon"

Summary: 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 Sopranos" not 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"

Summary: The irresistible pairing of Jack Nicholson and Adam Sandler is the best reason to see "Anger Management", a comedy that might loosely be called "The Funny and the Furious". Nicholson and especially Sandler have screen personas that partially rely on pent-up anxieties, so there's definite potential in teaming them as a mild-mannered designer of pet clothing for chubby cats (Sandler) who's been ordered to undergo anger-management therapy with a zany counselor (Nicholson) prone to occasional tantrums and devious manipulation. Surely this meandering comedy looked better on the page; director Peter Segal scores a few lucky scenes (particularly Sandler's encounter with a Buddhist monk, played by John C. Reilly), but a flood of cameos (Heather Graham, Woody Harrelson, Rudolph Giuliani, and others) can't match the number of laughs that fall flat. As Sandler's understanding girlfriend, Marisa Tomei plays a pivotal role in a happy ending that leaves everyone smiling, with the possible exception of the audience. "--Jeff Shannon"

Summary: It's easy to understand why "Arlington Road" sat on the studio shelf for nearly a year. No, the film isn't awful; rather, it's an extremely edgy and ultimately bleak thriller that offers no clear-cut heroes or villains. In other words, Hollywood had no idea how to sell it. Director Mark Pellington's underrated directorial debut, "Going All the Way," suffered the same fate, essentially because the filmmaker's presentation of suburban America often shifts dramatically within the same film. Characters are usually miserable and bordering on meltdown, no situation is straightforward, and things usually end badly. "Arlington Road" begins as an astute study of suburban paranoia. Michael Faraday (a face-pinched Jeff Bridges, who spends most of the film on the brink of tears) is a college professor who teaches American history courses on terrorism. He's been a conspiracy freak since his wife, an FBI agent, was killed during a botched raid that feels like a thinly fictionalized reference to the Waco tragedy. After saving the life of his next-door neighbor's child, he initially befriends the family (Tim Robbins and Joan Cusack), but soon believes the husband is a terrorist. The first half of the film mocks Faraday: he has no real evidence and is not the most stable of protagonists. Despite the fact that it was government paranoia that got his wife killed, Faraday repeats the same type of behavior. Pellington shifts gears in the second half, however, and for awhile, it seems that the film has simultaneously sunk into a cheap, high-octane brand of Hollywood entertainment and undermined its own point. "Arlington Road", though, possesses a stunning ending that's a real gut punch, one that may leave you needing a second viewing to catch all of its smartly executed setup. "--Dave McCoy"

Summary: From Hollywood's legendary Cocoanut Grove to the pioneering conquest of the wild blue yonder, Martin Scorsese's "The Aviator" celebrates old-school filmmaking at its finest. We say "old school" only because Scorsese's love of golden-age Hollywood is evident in his approach to his subject--Howard Hughes in his prime (played by Leonardo DiCaprio in his)--and especially in his technical mastery of the medium reflecting his love for classical filmmaking of the studio era. Even when he's using state-of-the-art digital trickery for the film's exciting flight scenes (including one of the most spectacular crashes ever filmed), Scorsese's meticulous attention to art direction and costume design suggests an impassioned pursuit of craftsmanship from a bygone era; every frame seems to glow with gilded detail. And while DiCaprio bears little physical resemblance to Hughes during the film's 20-year span (late 1920s to late '40s), he efficiently captures the eccentric millionaire's golden-boy essence, and his tragic descent into obsessive-compulsive seclusion. Bolstered by Cate Blanchett's uncannily accurate portrayal of Katharine Hepburn as Hughes' most beloved lover, "The Aviator" is easily Scorsese's most accessible film, inviting mainstream popularity without compromising Scorsese's artistic reputation. As compelling crowd-pleasers go, it's a class act from start to finish. "--Jeff Shannon"

DVD Features
In his commentary track, director Martin Scorsese offers his own impressions of Howard Hughes and rattles off his memories of experiencing Hughes's films. He mentions how he made Cate Blanchett watch every Katharine Hepburn film from the '30s on the big screen, and observes that Kate Beckinsale had "a real sense of the stature of a Hollywood goddess." But in general he doesn't talk much about the craft of making the film. That area is covered better by editor Thelma Schoonmaker, who also appears on the commentary track, and producer Michael Mann makes a few appearances (all were recorded separately). The picture is brilliant, but the 5.1 sound is not as aggressive in the rear speakers and subwoofer as one might expect, other than some nice surround effects in the "Hell's Angels" flying sequence.
The second disc collects almost three hours of features. There's one unnecessary deleted scene, and an 11-minute making-of featurette that's basically the cast and director heaping praise on each other. More interesting are the short featurettes on visual effects (including the XF-11 scene, of course), production design, costumes, hair and makeup, and score, and Loudon Wainwright discusses his and his children's musical performances. Historical perspective is provided by spotlights on Hughes's role in aviation and his obsessive-compulsive disorder, and a 43-minute Hughes documentary from the History Channel (part of the Modern Marvels series, it focuses on his mechanical innovations and spends less than a minute on his movies). More unusual are DiCaprio and Scorsese's appearance on an OCD panel, and a half-hour interview segment DiCaprio did with Alan Alda. "--David Horiuchi"
The Personalities of "The Aviator"
Click the links to explore more movies by these stars.

Leonardo DiCaprio as Howard Hughes
"Sometimes I truly fear that I... am losing my mind. And if I did it... it would be like flying blind." Cate Blanchett as Katharine Hepburn Howard Hughes: "You're the tallest woman I have ever met."
Katharine Hepburn: "And all sharp elbows and knees. Beware." Kate Beckinsale as Ava Gardner
Howard Hughes: "Does that look clean to you?"
Ava Gardner: "Nothing's clean, Howard. But we do our best, right?" Gwen Stefani as Jean Harlow
Jean Harlow in "Hell's Angels": "Would you be shocked if I put on something more comfortable?" Jude Law as Errol Flynn
Errol Flynn in "Captain Blood": "Up the riggings, you monkeys! Break out those sails and watch them fill with the wind that's carrying us all to freedom!" Director Martin Scorsese
"You get a sense of Howard Hughes being Icarus with the wax wings. Those wings were great for a while, but he flies too close to the sun." --Martin Scorsese
Other Movies by "The Aviator"'s Oscar® Winners

Production Designer Dante Ferretti
Film Editor Thelma Schoonmaker
Costume Designer Sandy Powell
Cinematographer Robert Richardson
See all the Oscar® winners at Oscar Central

"The Aviator" at Amazon.com


"The Aviator" soundtrack

The Screenplay

"Howard Hughes: The Real Aviator"


Howard Hughes movies

Great movies of the 1930s

The films of Martin Scorsese

Summary: Brilliantly conceived, superbly directed, and beautifully acted, "Babel" is inarguably one of the best films of 2006. Director Alejandro González Iñárritu and his co-writer, Guillermo Arriaga (the two also collaborated on "Amores Perros" and "21 Grams") weave together the disparate strands of their story into a finely hewn fabric by focusing on what appear to be several equally incongruent characters: an American (Brad Pitt) touring Morocco with his wife (Cate Blanchett) become the focus of an international incident also involving a hardscrabble Moroccan farmer (Mustapha Rachidi) struggling to keep his two young sons in line and his family together. A San Diego nanny (Adriana Barraza), her employers absent, makes the disastrous decision to take their kids with her to a wedding in Mexico. And a deaf-mute Japanese teen (the extraordinary Rinko Kikuchi) deals with a relationship with her father (Koji Yakusho) and the world in general that's been upended by the death of her mother. It is perhaps not surprising, or particularly original, that a gun is the device that ties these people together. Yet "Babel" isn't merely about violence and its tragic consequences. It's about communication, and especially the lack of it--both intercultural, raising issues like terrorism and immigration, and intracultural, as basic as husbands talking to their wives and parents understanding their children. Iñárritu's command of his medium, sound and visual alike, is extraordinary; the camera work is by turns kinetic and restrained, the music always well matched to the scenes, the editing deft but not confusing, and the film (which clocks in at a lengthy 143 minutes) is filled with indelible moments. Many of those moments are also pretty stark and grim, and no will claim that all of this leads to a "happy" ending, but there is a sense of reconciliation, perhaps even resolution. "If You Want to be Understood... Listen," goes the tagline. And if you want a movie that will leave you thinking, "Babel" is it. "--Sam Graham"

Beyond "Babel"
Other Interweaving Storylines on DVD
Other DVDs by Director Alejandro González Iñárritu
Why We Love Cate Blanchett Stills from "Babel" (click for larger image)

Summary: Brilliantly conceived, superbly directed, and beautifully acted, "Babel" is inarguably one of the best films of 2006. Director Alejandro González Iñárritu and his co-writer, Guillermo Arriaga (the two also collaborated on "Amores Perros" and "21 Grams") weave together the disparate strands of their story into a finely hewn fabric by focusing on what appear to be several equally incongruent characters: an American (Brad Pitt) touring Morocco with his wife (Cate Blanchett) become the focus of an international incident also involving a hardscrabble Moroccan farmer (Mustapha Rachidi) struggling to keep his two young sons in line and his family together. A San Diego nanny (Adriana Barraza), her employers absent, makes the disastrous decision to take their kids with her to a wedding in Mexico. And a deaf-mute Japanese teen (the extraordinary Rinko Kikuchi) deals with a relationship with her father (Koji Yakusho) and the world in general that's been upended by the death of her mother. It is perhaps not surprising, or particularly original, that a gun is the device that ties these people together. Yet "Babel" isn't merely about violence and its tragic consequences. It's about communication, and especially the lack of it--both intercultural, raising issues like terrorism and immigration, and intracultural, as basic as husbands talking to their wives and parents understanding their children. Iñárritu's command of his medium, sound and visual alike, is extraordinary; the camera work is by turns kinetic and restrained, the music always well matched to the scenes, the editing deft but not confusing, and the film (which clocks in at a lengthy 143 minutes) is filled with indelible moments. Many of those moments are also pretty stark and grim, and no will claim that all of this leads to a "happy" ending, but there is a sense of reconciliation, perhaps even resolution. "If You Want to be Understood... Listen," goes the tagline. And if you want a movie that will leave you thinking, "Babel" is it. "--Sam Graham"

Beyond "Babel"
Other Interweaving Storylines on DVD
Other DVDs by Director Alejandro González Iñárritu
Why We Love Cate Blanchett Stills from "Babel" (click for larger image)

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

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

Summary: If you thought "The Recruit" was full of surprises, "Basic" will spin your head around. Assuming that cleverness is its own reward, this military mystery shares many of "The Recruit"'s strengths and weaknesses, offering multi-layered deception as its dramatic "raison d'etre". Copping plenty of machismo attitude befitting a semi-effective thriller from "Die Hard" director John McTiernan, John Travolta stars as an ex-Army Ranger-turned-DEA agent, recruited by an Army investigator (Connie Nielsen) to solve the fratricide of a reviled Sergeant (Samuel L. Jackson) who was "allegedly" killed while commanding a Special Forces training mission in the hurricane-swept rainforests of Panama. Two survivors (Giovanni Ribisi in a showboat role, and Brian Van Holt) recall the ill-fated mission as the truth unfolds, "Rashomon"-style, in a series of repetitive flashbacks. Tricky enough to hold one's attention as it grows increasingly irrelevant, "Basic" is so enamored of its bogus ingenuity that its ultimate twist is a letdown. A second viewing might prove rewarding, if only to confirm that it all holds together. "--Jeff Shannon"

Summary: The take-no-prisoners sex thriller from 1992 now stands as a milestone in the career of screenwriter Joe Eszterhas, but in the hands of director Paul Verhoeven "Basic Instinct" is an undeniably stylish and provocative study of obsession. In the role that made her a star (and showed the audience a little more skin than she intended), Sharon Stone plays the cleverly manipulative novelist Catherine Tramell who snares San Francisco detective Nick Curran (Michael Douglas) with her insatiable sexual appetite during the investigation of her boyfriend's murder. Tramell is the prime suspect, but the plot twists and turns until Curran is trapped in a dangerous cycle of dead ends and unsolved murders, never sure if Tramell is committing the crimes or if it is some other, unknown suspect. With a plot that keeps viewers guessing, "Basic Instinct" is the work of a director who is clearly in his element. "--Jeff Shannon"

Summary: 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 "Batman" into 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"

Summary: Following Val Kilmer's portrayal of the caped crusader in "Batman Forever", the fourth "Batman" feature stars George Clooney under the pointy-eared cowl, with Chris O'Donnell returning as Robin the Boy Wonder. This time the dynamic duo is up against the nefarious Mr. Freeze (Arnold Schwarzenegger), who is bent on turning the world into an iceberg, and the slyly seductive but highly toxic Poison Ivy (Uma Thurman), who wants to eliminate all animal life and turn the Earth into a gigantic greenhouse. Alicia Silverstone lends a hand as Batgirl, and Elle McPherson plays the thankless role of Batman/Bruce Wayne's fiancée. A sensory assault of dazzling colors, senseless action, and lavish sets run amok, this "Batman & Robin" offers an overdose of eye candy, but it is strictly for devoted Bat-o-philes. "--Jeff Shannon"

Summary: "Batman Begins" discards 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 Begins" tells 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 Begins" is 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"

Batman at Amazon.com
All "Batman" DVDs
"Batman Begins" 101: A Comic Book Primer
Where Have I Seen Christian Bale?
All "Batman" Comics and Graphic Novels
"Batman" Toys
"Batman Begins" Soundtrack
Stills from "Batman Begins" (click for larger images)

Summary: When Tim Burton and Michael Keaton announced that they'd had enough of the "Batman" franchise, 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 Forever" also 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 "Batman" legacy is simultaneously amusing, lavishly epic, and prone to chronic sensory overload. "--Jeff Shannon"

Summary: The first "Batman" sequel takes a wicked turn with the villainous exploits of the freakish and mean-spirited Penguin (Danny DeVito), whose criminal collaboration with evil tycoon Max Shreck (Christopher Walken) threatens to drain Gotham City of its energy supply. As if that weren't enough, Batman (Michael Keaton) has his hands full with the vengeful Catwoman (Michelle Pfeiffer), who turns out to be a lot more dangerous than a kitten with a whip. As with the first "Batman" feature, director Tim Burton brings his distinct visual style to the frantic action, but this time there's a darker malevolence lurking beneath all that extraordinary production design. "--Jeff Shannon"

Summary: "Be Cool" takes its own advice: It's slick, Hollywood entertainment that kills two amusing hours with relative ease and comfort. Better than leftovers but not as tasty as a full-course meal, this sequel to 1995's hit comedy "Get Shorty" (and based on Elmore Leonard's 1999 sequel novel) finds former loan shark Chili Palmer (John Travolta) itching to get out of the movie business, so he hooks up with a newly widowed music executive (Uma Thurman) to launch the career of an up-'n-coming Beyoncé-like singer (newcomer Christina Milian). A mock-black manager (Vince Vaughn), his sleazy boss (Harvey Keitel), and an upscale gangsta-rap executive (Cedric the Entertainer) all have a competing stake in the fast-rising pop diva's future, and this sets the plot rolling in a fun but rather hand-me-down fashion that lacks the savvy panache of "Get Shorty" but still provides plenty of lightweight humor. The Rock and Outkast's André Benjamin provide the best laughs in supporting roles that effortlessly relieve the movie from the symptoms of sequelitis. "--Jeff Shannon"

Summary: Winner of 4 Academy Awards including Best Picture A Beautiful Mind is directed by Academy Award winner Ron Howard and produced by long-time partner and collaborator Academy Award winner Brian Grazer. A Beautiful Mind stars Russell Crowe in an astonishing performance as brilliant mathematician John Nash on the brink of international acclaim when he becomes entangled in a mysterious conspiracy. Now only his devoted wife (Academy Award winner Jennifer Connelly) can help him in this powerful story of courage passion and triumph.System Requirements:Running Time 136 Mins.Format: DVD MOVIE Genre: DRAMA Rating: PG-13 UPC: 025193026521 Manufacturer No: 61030265

Summary: The Five Best episodes from Season 1 as chosen by Executive Producers Kevin Bright Marta Kauffman & David Crane.Running Time: 142 min.Format: DVD MOVIE Genre: COMEDY UPC: 085392449521

Summary: Lane Myer (John Cusack) is stuck in a personal hell. A compulsive, adolescent Everyman growing up in Suburbia, USA, not only does he fail to make the prestigious high school ski team (again), but his beloved sweetheart, Beth, also leaves him for Roy, the team's popular, arrogant captain. If this isn't bad enough, he's stuck with a mother who frighteningly experiments--rather than cooks--with food, a brother who builds rockets out of models, and a best friend so desperate for drugs that he settles for snorting powdered snow. Faced with these prospects, Lane opts to end it all ... until he comes up with a ridiculous plan to gain acceptance and win Beth back. Director Savage Steve Holland warps this simple, clichéd premise, letting his wacky imagination twist it into a fairly original, slightly dark, and completely hilarious '80s teen comedy. Not as serious a "suicide-attempt" movie as, say, "Harold and Maude" but just as funny, the film's more a collection of screwball sketches than a narrative. Holland livens the high jinks with surrealistic fantasy touches, including Jell-O that crawls, a hamburger that sings Van Halen, drawings that mock its creator, Japanese race-car drivers who only speak Howard Cosell, and a psychotic paperboy seeking blood over a missing $2. Cusack puts the whole thing on his shoulders and carries the insanity with another one of his touching, obsessively romantic performances, which, along with "Say Anything", "The Sure Thing", and "One Crazy Summer", made him the quintessential (and appealing) personification of lovestruck adolescence and suffering. "--Dave McCoy"

Summary: While its sequels were formulaic and safe, the first "Beverly Hills Cop" set out to explore some uncharted territory, and succeeded. A blend of violent action picture and sharp comedy, the film has an excellent director, Martin Brest ("Scent of a Woman"), who finds some original perspectives on stock scenes (highway chases, police rousts) and hits a gleeful note with Murphy while skewering L.A. culture. Good support from Judge Reinhold and John Ashton as local cops not used to doing things the Detroit way (Murphy's character hails from the Motor City). Paul Reiser has a funny, brief moment at the beginning, and Bronson Pinchot makes a hilarious impression in a great, never-to-be-duplicated scene with the star. "--Tom Keogh"

Summary: After the tight plotting and quirky intensity of "Fargo", this casually amusing follow-up from the prolifically inventive Coen (Ethan and Joel) brothers seems like a bit of a lark, and the result was a box-office disappointment. The good news is, "The Big Lebowski" is every bit a Coen movie, and its lazy plot is part of its laidback charm. After all, how many movies can claim as their hero a pot-bellied, pot-smoking loser named Jeff "The Dude" Lebowski (Jeff Bridges) who spends most of his time bowling and getting stoned? And where else could you find a hairnetted Latino bowler named Jesus (John Turturro) who sports dazzling purple footgear, or an erotic artist (Julianne Moore) whose creativity consists of covering her naked body in paint, flying through the air in a leather harness, and splatting herself against a giant canvas? Who else but the Coens would think of showing you a camera view from inside the holes of a bowling ball, or an elaborate Busby Berkely-styled musical dream sequence involving a Viking goddess and giant bowling pins? The plot--which finds Lebowski involved in a kidnapping scheme after he's mistaken for a rich guy with the same name--is almost beside the point. What counts here is a steady cascade of hilarious dialogue, great work from Coen regulars John Goodman and Steve Buscemi, and the kind of cinematic ingenuity that puts the Coens in a class all their own. Be sure to watch with snacks in hand, because "The Big Lebowski" might give you a giddy case of the munchies. "--Jeff Shannon"

Summary: A "charismatic" (The Atlanta Journal-Constitution) John Corbett ("Sex and the City") stars as a talented but immature actor who is forced to grow up when he finds he has a new rival...in romance. Amy Smart (Varsity Blues), Sean Astin (the Lord of the Rings trilogy) and Patty Duke (The Miracle Worker) co-star in this feel-good story of self-discovery. Mike (Corbett) only wants to perform in great productions. So when a clueless amateur (Marcus Thomas) is given the lead in Cyrano de Bergerac, Mike decides he must personally train him. But when real life begins to mimic the play's love triangle and his protégé falls for the girl Mike loves but can't commit to (Smart), suddenly it's Mike's turn to learn - not how to act, but how to live.

Summary: For Adam Sandler fans only, this dopey comedy features the former "Saturday Night Live" star as an overindulged rich guy whose father insists he repeat grades 1 through 12 before taking over the family business. The scenario is perfect for Sandler's infantile leanings (which he has fortunately outgrown in more recent movies), and for the most part the jokes about being too old and too big for the experiment are obvious. Chris Farley and Steve Buscemi turn up in uncredited cameo appearances, but otherwise the film is pretty dismissible, except for those diehards who can't get enough of Sandler. "--Tom Keogh"

Summary: A guilty pleasure if ever there was one, "Black Rain" is a ridiculously entertaining thriller by Ridley Scott ("Alien"), starring Michael Douglas as a tough New York cop who--along with his partner (Andy Garcia)--goes to Japan to deliver a local mobster. When the latter escapes, Douglas's brand of gonzo crime fighting rubs his Japanese hosts the wrong way. Slick, mechanistic, and absurd, the film is all surface action and attitude (not to mention Scott's incredibly busy, trademark art direction); and one can get lost in the sheer indulgence of it. However, if you can buy Douglas as an iconoclastic lawman, you can buy anything else here, including the notion of Kate Capshaw as a blonde escort highly desired by Japanese businessmen. "--Tom Keogh"

Summary: Take two male figure skaters, throw in a preposterous storyline, and you've got "Blades of Glory", a surprisingly funny film that almost makes you forgive Will Ferrell for his back-to-back 2005 clunkers "Kicking & Screaming" and "Bewitched". This time around, Ferrell eats the scenery in his role as a sex-addicted, cocky skating champ named Chazz Michael Michaels. When he gets into an on-podium fight with his nemesis and co-gold medallist Jimmy MacElroy (Jon Heder, "Napoleon Dynamite"), both skaters are banned from competing in men's figure-skating events. Forever. Their fall from grace is brutal. Chazz is forced to work for a D-list skating show, while pampered Jimmy is disowned by his wealthy and cold-hearted adoptive father (excellently played by William Fichtner), who only wants to be around winners. When Jimmy points out that he tied for gold, his dad cruelly says, "If I wanted to share, I would've bought you a brother." Flash forward 3-1/2 years and Jimmy's No. 1 stalker Hector (Nick Swardson) says he's found a loophole. Jimmy's been banned from men's singles events, but there's nothing that says he can't compete in pairs skating. After a chance meeting with Chazz, mayhem ensues as the two rivals team up to go against the brother-and-sister team of Stranz and Fairchild Van Waldenberg (played by Will Arnett and his real-life wife, Amy Poehler of "Saturday Night Live" and "Mean Girls" fame). The Van Waldenbergs will stop at nothing to beat the competition, even if that means literally beating up the competition. They have no qualms manipulating their sweet little sister (Jenna Fischer, "The Office") to seduce both men to try to break up the team.
The finale will be no surprise to moviegoers who know that comedies like this aren't set up to make its leading men losers. But there is one brief skating sequence set in North Korea that will surprise (and shock) many viewers because of its brutality. Ferrell and Heder make a great comedy team. Though he has been accused of playing the same role since his breakthrough performance in "Napoleon Dynamite" and, to a certain extent, plays a similar type of role here, Heder is spot-on as Jimmy. He manages to convey innocence, bitterness, and longing--all within the span of a few seconds and while wearing a peacock unitard (You can understand why Hector is so enthralled with him). Look for guest appearances by real-life skating champs Scott Hamilton, Brian Boitano, Peggy Fleming, Dorothy Hamill, Nancy Kerrigan, and Sasha Cohen, who gets to sniff Chazz's jockstrap. "--Jae-Ha Kim"

Beyond "Blades of Glory"
More "Blades" on DVD
More DVDs with Will Ferrell
The Soundtrack Stills from "Blades of Glory" (click for larger image)

Summary: With refreshing energy, "Blue Crush" is the kind of movie that girls and young women deserve to see more of. It's mostly for them (although nice tans and bikinis will attract the guys), and it rejuvenates the surf-movie tradition by showing real girls with real friendships, coping with absent parents, borderline poverty, rocky romance, and the challenge of raising a kid sister. For young Hawaiian Anne Marie (Kate Bosworth), those responsibilities are motivations to excel as a champion-class surfer... if she can overcome the fear of drowning, which she nearly did in a previous wipeout. Supportive friends ("Girlfight"'s Michelle Rodriguez, and Sanoe Lake) help her reach the climactic competition on Oahu's infamous Bonzai Pipeline, and like "Saturday Night Fever", this engaging film uplifts the working class without condescension, riding high toward the joy of achievement. Himself an amateur surfer, director John Stockwell ("Crazy/Beautiful") captures the extreme thrill of the sport while respecting the forces of nature and human behavior. "--Jeff Shannon"

Summary: The Hire: A Series of 8 Films
The 8 films included are:

Hostage: Stars: Clive Owen. Director: John Woo

Ticker: Stars: Clive Owen, Don Cheadle, F. Murray Abraham. Director: Joe Carnahan

The driver rescues a mysterious messenger carrying an even more mysterious briefcase after an ambush on a rural highway. As a helicopter gunman relentlessly pursues them, a game of political intrigue plays out, with an unforeseen ending.



Beat the Devil: Stars: Clive Owen, Gary Oldman, James Brown. Director: Tony Scott

Decades ago, the legendary James Brown sold his soul to the devil for fame and fortune. Now he wishes to renegotiate. Hired to take Mr. Brown to a rendezvous with the devil (Gary Oldman), the driver soon finds himself entangled in fiendish plans.



Ambush: Stars: Clive Owen, Tomas Milian. Director: John Frankenheimer

Chosen: Stars: Clive Owen, Mason Lee. Director: Ang Lee

The driver meets a ship carrying an eight-year-old Tibetan boy at a dark, deserted New York shipyard. But he's not the only one waiting.

The Follow: Stars: Clive Owen, Mickey Rourke, Forest Whitaker. Director: Wong Kar-wai

The cunning and tactics of trailing another car quickly evolve into a mystery rife with deceit, as The Driver is hired to follow a woman accused of cheating on her famous husband.

Star: Stars: Clive Owen, Madonna. Director: Guy Ritchie

The driver faces perhaps his most perplexing challenge: Coming face-to-face with a hugely talented and successful rock star. But beneath her beauty lies a problem she always gets what she wants.

Powder Keg: Stars: Clive Owen, Stellan Skarsgard. Director: Alejandro González Iñárritu

Summary: "Bounce" has all the deft charm and breezy good looks you'd expect from a romance starring Ben Affleck and Gwyneth Paltrow, but under the surface beats the poisoned heart of an independent film just going through the motions. Affleck plays Buddy Amaral, a successful ad exec with an empty life. In a Chicago airport, he meets Greg Janello (Tony Goldwyn), a failed playwright going home to his family and a corrupt job as a TV writer. Buddy, angling for a one-night stand with a fellow passenger, gives Greg his ticket, but feels bad when he discovers the plane crashed and the guy died. He feels so bad, in fact, that when he gets out of rehab a year or so later, he decides to give the guy's widow, real estate agent Abby (Paltrow), commission on the sale of a building for his business, a sale she's not qualified to make. They start dating. She quickly forgets her initial impression of him as a creepy stalker. Near the end of the movie, she finds out her first impression was correct and she dumps him. It's the right decision but one that the movie won't allow her to make. Instead her best friend and her kids convince her to stay with the guy. Eeeesh. Affleck is good at playing privileged and shallow, Paltrow does what she can with the prepackaged grief of a widow, Joe Morton has very little to do as Buddy's business partner (but he does it well), and Johnny Galecki shines in a very small part as Buddy's assistant. Good performances in a rather creepy film by the guy who made "The Opposite of Sex". "--Andy Spletzer"

Summary: Freely adapted from Robert Ludlum's 1980 bestseller, "The Bourne Identity" starts fast and never slows down. The twisting plot revs up in Zurich, where amnesiac CIA assassin Jason Bourne (Matt Damon), with no memory of his name, profession, or recent activities, recruits a penniless German traveler ("Run Lola Run's Franka Potente") to assist in solving the puzzle of his missing identity. While his CIA superior (Chris Cooper) dispatches assassins to kill Bourne and thus cover up his failed mission, Bourne exercises his lethal training to leave a trail of bodies from Switzerland to Paris. Director Doug Liman (Go) infuses Ludlum's intricate plotting with a maverick's eye for character detail, matching breathtaking action with the humorous, thrill-seeking chemistry of Damon and Potente. Previously made as a 1988 TV movie starring Richard Chamberlain, "The Bourne Identity" benefits from the sharp talent of rising stars, offering intelligent, crowd-pleasing excitement from start to finish. "--Jeff Shannon"

Summary: Good enough to suggest long-term franchise potential, "The Bourne Supremacy" is a thriller fans will appreciate for its well-crafted suspense, and for its triumph of competence over logic (or lack thereof). Picking up where "The Bourne Identity" left off, the action begins when CIA assassin and partial amnesiac Jason Bourne (a role reprised with efficient intensity by Matt Damon) is framed for a murder in Berlin, setting off a chain reaction of pursuits involving CIA handlers (led by Joan Allen and the duplicitous Brian Cox, with Julia Stiles returning from the previous film) and a shadowy Russian oil magnate. The fast-paced action hurtles from India to Berlin, Moscow, and Italy, and as he did with the critically acclaimed "Bloody Sunday", director Paul Greengrass puts you right in the thick of it with split-second editing (too much of it, actually) and a knack for well-sustained tension. It doesn't all make sense, and bears little resemblance to Robert Ludlum's novel, but with Damon proving to be an appealingly unconventional action hero, there's plenty to look forward to. "--Jeff Shannon"

Summary: The often breathtaking, final installment in the" Bourne" trilogy finds the titular assassin with no memory closing in on his past, finally answering his own questions about his real identity and how he came to be a seemingly unstoppable killing machine. Matt Damon returns for another intensely physical performance as Jason Bourne, the rogue operative at war with the CIA, which made him who and what he is and managed to kill his girlfriend in the series' second film, "The Bourne Supremacy". Now looking for payback, Bourne goes in search for the renegade chief of CIA operations in Europe and North Africa, partnering for a time with a mysterious woman from his past (Julia Stiles) and constantly--constantly--on the run from assassins, intelligence foot soldiers, and cops. Directed by Paul Greengrass "(United 93)" with the director’s thrilling, trademark textures and shaky, documentary style, "The Bourne Ultimatum" is largely a succession of action scenes that reveal a lot about the story’s characters while they’re under duress. Joan Allen, Albert Finney, David Strathairn, Scott Glenn, and Paddy Considine comprise the film’s terrific supporting cast, and the well-traveled movie leads viewers through Turin, Madrid, Tangiers, Paris, London, and New York. Overall, this is a satisfying conclusion to "Bourne’s" exciting and protracted mystery. --"Tom Keogh"


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Summary: Is a mystery really mysterious when the end isn't a secret? Is espionage still thrilling when you know beforehand that the cloak has been pulled back and the dagger revealed? If it's a film as good as "Breach", the answer is a resounding yes. Here is a true story that's genuinely stranger than fiction: FBI agent Robert Hanssen spent over 20 years selling government secrets to the Russians, making him the most egregious traitor in U.S. history. He was an Opus Dei Catholic and a devout churchgoer who was also a sexual deviant, a straitlaced company man so trusted by his employers that they once appointed him to lead an investigation designed to reveal who the spy was--when in fact it was Hanssen himself. And in the end, he was brought down in part by 26-year-old Eric O'Neill, an agent-in-training who worked with him for just two months. Chris Cooper, a 2003 supporting actor Oscar winner for "Adaptation", is brilliant in the lead role, playing Hanssen as a dour, cold, ultraconservative cipher (women in pantsuits are just one of his peeves) whose conversations more closely resemble interrogations. Ryan Phillippe is also excellent as O'Neill, who's initially kept in the dark by the superior (Laura Linney) who assigned him to help expose Hanssen's treachery; thinking he's been brought in only to gather evidence about his boss' sexual transgressions, O'Neill finds himself caught in a profound moral conundrum, grudgingly admiring Hanssen even as his own marriage is severely tested by the older man's creepy and hypocritical intrusion into their lives, not to mention the FBI's strict rules against discussing the case.
Director Billy Ray (whose previous feature was also a true story: "Shattered Glass", about the young writer who fabricated stories for "The New Republic") and co-screenwriters Adam Mazer and William Rotko do an extraordinary job of maintaining the tension as the story leads to the conclusion that's been revealed in the first few frames (i.e., Hanssen's arrest in February 2001); the exquisite torture of O'Neill's having to keep Hanssen distracted while Bureau technicians search the latter's car is but one example. Moreover, notwithstanding the plot developments, the filmmakers manage to keep their focus on the personal interactions that are the film's key element: the relationships that O'Neill maintains with Hanssen, his father (a cameo by Bruce Davison), his wife (Caroline Dhavernas), and others are entirely credible. At once fascinating and horrifying, "Breach" is inarguably one of the best films of 2007. "--Sam Graham"

Summary: John Hughes's popular 1985 teen drama finds a diverse group of high school students--a jock (Emilio Estevez), a metalhead (Judd Nelson), a weirdo (Ally Sheedy), a princess (Molly Ringwald), and a nerd (Anthony Michael Hall)--sharing a Saturday in detention at their high school for one minor infraction or another. Over the course of a day, they talk through the social barriers that ordinarily keep them apart, and new alliances are born, though not without a lot of pain first. Hughes ("Sixteen Candles"), who wrote and directed, is heavy on dialogue but he also thoughtfully refreshes the look of the film every few minutes with different settings and original viewpoints on action. The movie deals with such fundamentals as the human tendency toward bias and hurting the weak, and because the characters are caught somewhere between childhood and adulthood, it's easy to get emotionally involved in hope for their redemption. Preteen and teenage kids love this film, incidentally. The DVD release includes production notes, cast and crew bios, widescreen presentation, Dolby sound, closed captioning, optional French and Spanish soundtracks, and optional Spanish subtitles. "--Tom Keogh"

Summary: Although it's been three years since we last saw Bridget (Renée Zellweger), only a few weeks have passed in her world. She is, as you'll remember, no longer a "singleton," having snagged stuffy but gallant Mark Darcy (Colin Firth) at the end of the 2001 film. Now she's fallen deeply in love and out of her neurotic mind with paranoia: Is Mark cheating on her with that slim, bright young thing from the law office? Will the reappearance of dashing cad Daniel Cleaver (Hugh Grant) further spell the end of her self-confidence when they're shoved off to Thailand together for a TV travel story? If such questions also seem pressing to you, this sequel will be fairly painless, but you shouldn't expect anything fresh. Director Beeban Kidron and her screenwriters--all four of them!--are content to sink matters into slapstick, with chunky Zellweger (who's unflatteringly photographed) the literal butt of all jokes. Though the star still has her charms, and some of Bridget's social gaffes are amusing, the film is mired in low comedy--a sequence in a Thai women's prison is more offensive than outrageous--with only Grant's rakish mischief to pull it out of the swamp. "--Steve Wiecking"

Summary: Featuring a blowzy, winningly inept size-12 heroine, "Bridget Jones's Diary" is a fetching adaptation of Helen Fielding's runaway bestseller, grittier than "Ally McBeal" but sweeter than "Sex and the City". The normally sylphlike Renée Zellweger ("Nurse Betty", "Me, Myself and Irene") wolfed pasta to gain poundage to play "singleton" Bridget, a London-based publicist who divides her free time between binge eating in front of the TV, downing Chardonnay with her friends, and updating the diary in which she records her negligible weight fluctuations and romantic misadventures of the year. Things start off badly at Christmas when her mother tries to set her up with seemingly standoffish lawyer Mark Darcy (Colin Firth), whom Bridget accidentally overhears dissing her. Instead she embarks on a disastrous liaison with her raffish boss, Daniel Cleaver (Hugh Grant, infinitely more likeable when he's playing a baddie instead of his patented tongue-tied fops). Eventually, Bridget comes to wonder if she's let her pride prejudice her against the surprisingly attractive Mr. Darcy.
If the plot sounds familiar, that's because Fielding's novel was itself a retelling of Jane Austen's "Pride and Prejudice", whose romantic male lead is also named Mr. Darcy. An extra ironic poke in the ribs is added by the casting of Firth, who played Austen's haughty hero in the acclaimed BBC adaptation of Austen's novel. First-time director Sharon Maguire directs with confident comic zest, while Zellweger twinkles charmingly, fearlessly baring her cellulite and pulling off a spot-on English accent. Like "Four Weddings and a Funeral" and "Notting Hill" (both of which were written by this film's coscreenwriter, Richard Curtis), "Bridget Jones"'s stock-in-trade is a very English self-deprecating sense of humor, a mild suspicion of Americans (especially if they're thin and successful), and a subtly expressed analysis of thirtysomething fears about growing up and becoming a "smug married." The whole is, as Bridget would say, v. good. "--Leslie Felperin"

Summary: Bill Murray gives yet another simple, seemingly effortless, yet illuminating performance in Jim Jarmusch's "Broken Flowers". Don Johnston (Murray, "Lost in Translation", "Rushmore") receives an anonymous letter telling him that he has a 19 year old son who's looking for him. Don only decides to investigate at the prompting of his neighbor Winston (the indispensable Jeffrey Wright, "Shaft", "Basquiat"), who not only tracks down the current addresses of the possible mothers, he plans Don's entire trip down to the rental cars. Almost against his will, Don finds himself knocking at the doors of four very different women (Sharon Stone, "The Quick and the Dead"; Frances Conroy, "Six Feet Under"; Jessica Lange, "Sweet Dreams"; and Tilda Swinton, "The Deep End") who were once his lovers. Part road movie, part detective story, part existential meditation, "Broken Flowers" is even more minimalist than most Jarmusch movies ("Stranger Than Paradise", "Dead Man", "Mystery Train")--anyone looking for an easy resolution should look elsewhere. But for anyone willing to let a movie be a poem as much as a story--i.e., let it observe behavior without explaining it--"Broken Flowers" will offer a wealth of mysteries, gestures, and Bill Murray's soulful eyes. It's a movie that's wonderfully eloquent about what's not being said. "--Bret Fetzer"

Summary: Bestowing Jim Carrey with godlike powers is a ripe recipe for comedy, and "Bruce Almighty" delivers the laughs that Carrey's mainstream fans prefer. The high-concept premise finds Carrey playing Bruce Nolan, a frustrated Buffalo TV reporter, stuck doing puff-pieces while a lesser colleague (the hilarious Steven Carell) gets the anchor job he covets. Bruce demands an explanation from God, who pays him a visit (in the serene form of Morgan Freeman) and lets Bruce take over while he takes a brief vacation. What does a petty, angry guy do when he's God? That's where Carrey has a field day, reuniting with his "Ace Ventura" and "Liar, Liar" director, Tom Shadyac, while Jennifer Aniston gamely keeps pace as Bruce's put-upon fiancée. Carrey's actually funnier "before" he becomes Him, and the movie delivers a sappy, safely diluted notion of faith that lacks the sincerity of the 1977 hit "Oh, God!" Still, we can be thankful that Carrey took the high road and left "Little Nicky" to Adam Sandler. "--Jeff Shannon"

Summary: Baseball season gets off to a rocky start when the Durham Bulls' new catcher "Crash" Davis (Kevin Costner) punches out the cocky young pitcher "Nuke" LaLoosh (Tim Robbins) he's just been hired totrain. Then sexy Annie Savoy (Susan Sarandon) informs both men that each season she chooses one player to share her bedand Nuke and Crash are this year's "draft picks." After Crash passes on the offer Nuke eagerly enlists as Annie's summer fling...until Crash's jealousy takes over and he convinces Nuke that sex with Annie will jinx the Bulls' newfound winning streak! System Requirements:Running Time: 108 Mins.Format: DVD MOVIE Genre: COMEDY/CLASSICS Rating: R UPC: 883904102922 Manufacturer No: M110292

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

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

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






























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













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Summary: When these shows first came out, I was eleven years old. I really didn't get a chance to see much of this first season when it ran in 1976, but I knew all about the three women who were the Angels thanks to tons of magazine coverage. The show was a phenomenom. Everybody had the Farrah poster!

Jump to today. This set is a very nice, complete view of season 1 (the only season Farrah was on the show). It includes the pilot and 22 episodes. Some are good and hold up with time. A couple are clinkers. But, the sound and video reproduction are good and it is easy to see why everyone was so spellbound by the show - Kate, Farrah and Jackelyn were stunning.

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

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

Summary: This delightfully funny holiday gem tells the story of Ralphie Parker (Peter Billingsly) a 1940's nine-year-old who pulls out all the stops to obtain the ultimate Christmas present.Running Time: 98 min.Format: DVD MOVIE Genre: COMEDY Rating: PG UPC: 012569576421

Summary: "Cinderella Man" is a wholesome slice of old-fashioned Americana, offering welcomed relief from the shallowness of many summer blockbusters. In dramatizing the legendary Depression-era comeback of impoverished boxer Jim Braddock, director Ron Howard benefits from another superb collaboration with his "A Beautiful Mind" star Russell Crowe, whose portrayal of Braddock is simultaneously warm, noble, and tenacious without resorting to even the slightest hint of sentimental melodrama. The desperate struggle of the Depression is more keenly felt here than it was in "Seabiscuit", and Howard shows its economic impact in ways that strengthen the bonds between Braddock, his supportive wife (Renée Zellweger) and three young children, and his loyal manager (Paul Giamatti); all are forced to make sacrifices leading up to Braddock's title bout against heavyweight champion Max Baer (Craig Bierko) in one of greatest boxing matches in the history of the sport. Boasting the finest production design, cinematography and editing that Hollywood can offer, this is a feel-good film that never begs for your affection; it's just good, classical American filmmaking, brimming with qualities of decency and fortitude that have grown all too rare in the big-studio mainstream. "--Jeff Shannon"

Summary: The third installment in the cinematic incarnation of Tom Clancy's CIA analyst Jack Ryan and the second starring Harrison Ford, this follow-up to "Patriot Games" is a more complex, rewarding, and bolder film than its predecessor. Ford returns as Ryan, this time embroiled in a failed White House bid to wipe out a Colombian drug cartel and cover up the mess. The script, by Clancy and John Milius ("Red Dawn"), has an air of true adventure about it as Ryan places himself in harm's way to extract covert soldiers abandoned in a Latin American jungle. There are a couple of remarkable set pieces expertly handled by "Patriot Games" director Phillip Noyce, especially a shocking scene involving an ambush on Ryan's car in an alley. The supporting cast is superb, including Willem Dafoe as the soldiers' leader, Henry Czerny as Ryan's enemy at the CIA, Joaquim de Almeida as a smooth-talking villain, Ann Magnuson as an unwitting confederate in international crime, and James Earl Jones as Ryan's dying boss. The DVD release has a widescreen presentation, theatrical trailer, closed captioning, optional French soundtrack, and optional Spanish subtitles. "--Tom Keogh"

Summary: "Click" is a high-concept, low-brow variation on "It's a Wonderful Life" that will have Adam Sandler fans laughing even as it leaves Frank Capra spinning in his grave. In their third collaboration (after "The Wedding Singer" and "The Waterboy", Sandler and director Frank Coraci aim at the lowest common denominator and consistently hit their target, from scary casting (David Hasselhoff as Sandler's shallow, sexist boss; Sean Astin in a tight red Speedo) to a rancid menu of fart jokes, fat jokes, oversexed dogs, and other attempts at humor that rarely rise above the level of grade-school pranks. Sandler's "family comes first" sentiment somehow manages to survive the onslaught of rude, crude attitude that Sandler brings to his role as Michael Newman, a workaholic architect who learns the hard way that, well, family comes first. This happens after Newman gets a magical remote control from Morty (Christopher Walken, the film's one and only highlight), an eccentric oddball in the "Beyond" section of a Bed, Bath & Beyond store who's a devilish version of "Wonderful Life"'s benevolent guardian angel. But Sandler's no James Stewart as he uses his techno-marvel (complete with a DVD-like "life menu") to fast-forward through his life's most unpleasant moments, only to realize that he's been missing lots of good stuff, too. With Kate Beckinsale as Newman's neglected wife, impressive older-age make-ups by Rick Baker and a lot of digital wizardry to beef up the humor, "Click" won't disappoint Sandler's established fan base, and its $40 million opening weekend offered ample proof that Sandler's box-office clout remains remarkably consistent.--Jeff Shannon
Stills from "Click " (click for larger image)

Summary: Based on a true story of the man who locked his boys out of the gym until they focused on their schoolwork, this by-the-numbers crowd-pleaser holds together because a steely Samuel L. Jackson refuses to notice the parade of clichés he's trumpeting (the dialogue sticks to platitudes like, "Success in here is the key to success out there"). Coach Ken Carter (Jackson) takes over an unruly team of Richmond, California basketball players and teaches them how to play--and behave--like champions. His plight, which pits him against an uncooperative school board and parents who've given up hope, holds some interest, but the film is too concerned with giving us a Big Game every twenty minutes or so. The teens all have the spark of life in them (including pop star Ashanti, who features in a surprisingly well-handled teen pregnancy subplot), though the film's plodding familiarity means it's never really rousing, adding up to simply a good-natured amalgam of "Stand and Deliver", "Hoosiers", "Dangerous Minds", and even "Dead Poet's Society" (one of the tougher players actually recites some inspirational poetry)."--Steve Wiecking"

Summary: Freely adapted from Charles Frazier's beloved bestseller, "Cold Mountain" boasts an impeccable pedigree as a respectable Civil War love story, offering everything you'd want from a romantic epic except a resonant emotional core. Everything in this sweeping, Odyssean journey depends on believing in the instant love that ignites during a "very" brief encounter between genteel, city-bred preacher's daughter Ada (Nicole Kidman) and Confederate soldier Inman (Jude Law), who deserts the battlefield to return, weary and wounded, to Ada's inherited farm in the rural town of Cold Mountain, North Carolina. In an epic (but dramatically tenuous) case of absence making hearts grow fonder, Inman endures a treacherous hike fraught with danger (and populated by supporting players including Philip Seymour Hoffman, Natalie Portman, and others) while the struggling, inexperienced Ada is aided by the high-spirited Ruby (Renée Zellweger), forming a powerful farming partnership that transforms Ada into a strong, lovelorn survivor. The film's episodic structure slightly weakens its emotional impact, and it's fairly obvious that director Anthony Minghella is striving to repeat the prestigious romanticism of his Oscar®-winning hit "The English Patient". For the most part it works, especially in the dynamic performances of Zellweger and Kidman, and the explosive 1864 battle of Petersburg, Virginia, is recreated with violent, percussive intensity. Those who admired Frazier's novel may regret some of the changes made in Minghella's adaptation (the ending is particularly altered), but "Cold Mountain" remains a high-class example of grand, old-fashioned filmmaking, boosted by star power of the highest order. "--Jeff Shannon"

Summary: "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"

Summary: What is it about director Richard Donner that Mel Gibson enjoys so much that he's appeared in five of Donner's films? Is it the on-set pranks? Could it be the big-budget perks and $20-million paychecks? Or is it just a well-stocked catering table? Whatever the case, the "Lethal Weapon" star and director teamed up again, along with fellow superstar Julia Roberts, for this typically glossy, entertaining but ultimately hokey thriller. Gibson plays New York cab driver Jerry Fletcher, whose wacky belief in conspiracies finally hits on a coincidental truth involving an evil figure named Jonas (Patrick Stewart) and a secret program of government-funded mind control. Roberts plays the Justice Department attorney who finally believes in Jerry's paranoid ramblings. With a plot (from "LA. Confidential" cowriter Brian Helgeland) that's a lot of fun as long as you don't think about it too critically, "Conspiracy Theory" benefits immeasurably from the charisma of its high-magnitude stars. "--Jeff Shannon"

Summary: "The Constant Gardener" is the kind of thriller that hasn't been seen since the 1970s: Smart, politically complex, cinematically adventurous, genuinely thrilling and even heartbreaking. Mild diplomat Justin Quayle (Ralph Fiennes, "The English Patient", "Schindler's List") has a loose cannon of a wife named Tessa (Rachel Weisz, "The Shape of Things", "The Mummy"), who's digging into the dirty doings of a major pharmaceutical company in Kenya. Her brutal murder forces Justin to continue her investigation down some deadly avenues. This simple plot description doesn't capture the rich texture and slippery, sinuous movement of "The Constant Gardener", superbly directed by Fernando Meirelles (Oscar-nominated for his first film, "City of God"). Shifting back and forth in time, the movie skillfully captures the engaging romance between Justin and Tessa (Fiennes shows considerably more chemistry with Weisz than he had with Jennifer Lopez in "Maid in Manhattan") and builds a vivid, gripping, and all-too-justified paranoia. And on top of it all, the movie is beautiful, due to both its incredible shots of the African landscape (which at times is haunting and unearthly) and the gorgeous cinematography. Featuring an all-around excellent cast, including Bill Nighy ("Love Actually"), Pete Postlethwaite ("In the Name of the Father"), and Danny Huston ("Silver City"). "--Bret Fetzer"

Summary: The Cosby show - Six shows on this DVD. Episode 1: The Pilot - Aired 9/20/1984. Episode 2: Goodbye, Mr. Fish - Aired 9/27/1984. Episode 3: Bad Dreams - Aired 10/4/1984. Episode 4: One More Time - Aired 11/1/1984. Episode 5: Is That My Boy - Aired 10/11/1984. Episode 6: Breaking with Tradition - Aired 10/25/1985.

Summary: The Cosby Show - This DVD has 7 Episodes. Episode 1: Theo and the Older Woman - Aired 10/24/1985. Episode 2: Food For Thought - Aired 10/2/1986. Episode 3: You're Not a Mother Tonight - 12/6/1984. Episode 4: Cliff In Love - Aired 10/17/1985. Episode 5: Man Talk - Aired 10/16/1986. Episode 6: The Dead End Kids meet Dr. Lotus - Aired 2/16/1989. Episode 7: Play it Again Vanessa - Aired 11/8/1984

Summary: 1. Jitterbug Break - Aired 1/31/1985.
2. Cliff in Charge - Aired 12/16/1986.
3. Cliff's 50th Birthday - Aired 3/12/1987.
4. Father's Day - Aired 12/20/1984
5. Rudy's Sick - Aired 12/13/1984
6. First Day of School - 9/26/1985
7. The Juicer - Aired 10/3/1985

Summary: 1 - Theo and the Joint - Aired 2/7/1985
2 - Vanessa's Bad Grade - Aired 2/16/1986
3 - Theo and Cockroach - Aired 1/30/1986
4 - Bring'em Back Alive - Aired 9/25/1986
5 - Denise Drives - Aired 11/14/1985
6 - Denise's Friend - Aired 12/12/1985

Summary: This DVD Contains 6 full 1/2 hours Episodes. 1: Denise gets an opinion - Aired 2/5/1987. 2: The Lost Weekend - Aired 2/2/1989. 3: Clair's Toe - Aired 12/5/1985. 4: Say Hello To A Good Boy - Aired 1/29/1987. 5: The Andalusian Flu - Aired 4/2/1987. 6: What's it all About - Aired 3/22/1990

Summary: This DVD contains 6 full 1/2 hour episodes. 1: THE PHYSICAL - Aired 10/13/1988. 2: IF THE DRESS FITS, WEAR IT - Aired 12/8/1988. 3: NO WAY, BABY - Aired 2/6/1989. 4: CLAIR'S REUNION - Aired 2/20/1992. 5: THEO'S WOMAN - Aired 3/16/1989. 6: GETTING TO KNOW YOU - Aired 12/14/1989

Summary: This DVD Contains 6 full, 1/2 hour episodes. 1: A SHIRT STORY - Aired 10/13/1988. 2: BONJOUR SANDRA - Aired 12/8/1988 3: PHYSICIAN OF THE YEAR - Aired 2/6/1989. 4: VANESSA'S NEW CLASS - Aired 2/20/1992. 5: CLAIR's CASE - Aired 3/16/1989. 6: BACK TO TRACK...JACK - Aired 12/14/1989

Summary: This DVD Contains 6 full, 1/2 hour episodes. 1: HALLOWEEN - Aired 10/13/1988. 2: RUDY SUITS UP - Aired 12/8/1988. 3: AUCTION - Aired - 2/6/1989. 4: THE DENTIST _ Aired 2/20/1992. 5: AN EARLY SPRING - Aired 3/16/1989. 6: THE CARD GAME - Aired 12/14/1989.

Summary: This DVD Contains 6 Full Episodes. Episode 1: Theogate - Aired 10/13/88. Episode 2: Cliff's Mistake - Aired 12/8/1988. Episode 3: Where's Rudy - Aired 2/6/1989. Episode 4: The Locker Room - Aired 2/20/1992. Episode 5: Twinkle, Twinkle Little Star - Aired 3/16/1989. Episode 6: The Visit - Aired 12/14/1989

Summary: This DVD Contains 6 Full Episodes. Episode 1: The Birth (1 Hr show). - Aired 10/13/1988. Episode 2: Cyrano De Bergington - Aired 12/8/1988. Episode 3: Is There a Hampster in the House - Aired 2/6/1989. Episode 4: The Boys in Winter - Aired 2/20/1992. Episode 5: It Comes and it goes - Aired 3/16/1989. Episode 6: 57 Varieties - Aired 12/14/1989

Summary: Movie studios, by and large, avoid controversial subjects like race the way you might avoid a hive of angry bees. So it's remarkable that "Crash" even got made; that it's a rich, intelligent, and moving exploration of the interlocking lives of a dozen Los Angeles residents--black, white, latino, Asian, and Persian--is downright amazing. A politically nervous district attorney (Brendan Fraser) and his high-strung wife (Sandra Bullock, biting into a welcome change of pace from "Miss Congeniality") get car-jacked by an oddly sociological pair of young black men (Larenz Tate and Chris "Ludacris" Bridges); a rich black T.V. director (Terrence Howard) and his wife (Thandie Newton) get pulled over by a white racist cop (Matt Dillon) and his reluctant partner (Ryan Phillipe); a detective (Don Cheadle) and his Latina partner and lover (Jennifer Esposito) investigate a white cop who shot a black cop--these are only three of the interlocking stories that reach up and down class lines. Writer/director Paul Haggis (who wrote the screenplay for "Million Dollar Baby") spins every character in unpredictable directions, refusing to let anyone sink into a stereotype. The cast--ranging from the famous names above to lesser-known but just as capable actors like Michael Pena ("Buffalo Soldiers") and Loretta Devine ("Woman Thou Art Loosed")--meets the strong script head-on, delivering galvanizing performances in short vignettes, brief glimpses that build with gut-wrenching force. This sort of multi-character mosaic is hard to pull off; "Crash" rivals such classics as "Nashville" and "Short Cuts". A knockout. "--Bret Fetzer"

Summary: Hong Kong "wuxia" films, or martial arts fantasies, traditionally squeeze poor acting, slapstick humor, and silly story lines between elaborate fight scenes in which characters can literally fly. "Crouching Tiger, Hidden Dragon" has no shortage of breathtaking battles, but it also has the dramatic soul of a Greek tragedy and the sweep of an epic romance. This is the work of director Ang Lee, who fell in love with movies while watching "wuxia" films as a youngster and made "Crouching Tiger" as a tribute to the form. To elevate the genre above its B-movie roots and broaden its appeal, Lee did two important things. First, he assembled an all-star lineup of talent, joining the famous Asian actors Chow Yun-fat and Michelle Yeoh with the striking, charismatic newcomer Zhang Ziyi. Behind the scenes, Lee called upon cinematographer Peter Pau ("The Killer", "The Bride with White Hair") and legendary fight choreographer Yuen Wo-ping, best known outside Asia for his work on "The Matrix". Second, in adapting the story from a Chinese pulp-fiction novel written by Wang Du Lu, Lee focused not on the pursuit of a legendary sword known as "The Green Destiny," but instead on the struggles of his female leads against social obligation. In his hands, the requisite fight scenes become another means of expressing the individual spirits of his characters and their conflicts with society and each other.
The filming required an immense effort from all involved. Chow and Yeoh had to learn to speak Mandarin, which Lee insisted on using instead of Cantonese to achieve a more classic, lyrical feel. The astonishing battles between Jen (Zhang) and Yu Shu Lien (Yeoh) on the rooftops and Jen and Li Mu Bai (Chow) atop the branches of bamboo trees required weeks of excruciating wire and harness work (which in turn required meticulous "digital wire removal"). But the result is a seamless blend of action, romance, and social commentary in a populist film that, like its young star Zhang, soars with balletic grace and dignity. "--Eugene Wei"

Summary: With "Days of Thunder", director Tony Scott tried to do for the Indy 500 what he did for the U.S. Air Force with "Top Gun". But without "Top Gun"'s go-go soundtrack and visual feats, Scott merely ends up with a Tom Cruise vehicle that's out of gas.
Cruise plays (what else?) a cocky, upstart stock-car racer who faces down ruthless racing opponents. Nicole Kidman, Robert Duvall, Cary Elwes, and Randy Quaid do the laps around this movie's tiresome track with Cruise, while director Scott attempts to propel the action along with his trademark visceral, gritty but glamorous visual style.
" Days of Thunder" is notable, however, as a turning point in Cruise's then one-dimensional career. After this film--having tired even his most devoted fans by playing a bartender, an air force pilot, and a stock-car driver--Cruise was forced to take on real character parts. "--Ethan Brown"

Summary: Martin Scorsese makes a welcome return to the mean streets (of Boston, in this case) with "The Departed", hailed by many as Scorsese's best film since "Casino". Since this crackling crime thriller is essentially a Scorsese-stamped remake of the acclaimed 2002 Hong Kong thriller "Infernal Affairs", the film was intensely scrutinized by devoted critics and cinephiles, and while Scorsese's intense filmmaking and all-star cast deserve ample acclaim, "The Departed" is also worthy of serious re-assessment, especially with regard to what some attentive viewers described as sloppy craftsmanship (!), notably in terms of mismatched shots and jagged continuity. But no matter where you fall on the Scorsese appreciation scale, there's no denying that "The Departed" is a signature piece of work from one of America's finest directors, designed for maximum impact with a breathtaking series of twists, turns, and violent surprises. It's an intricate cat-and-mouse game, but this time the cat and mouse are both moles: Colin Sullivan (Matt Damon) is an ambitious cop on the rise, planted in the Boston police force by criminal kingpin Frank Costello (Jack Nicholson). Billy Costigan (Leonardo DiCaprio) is a hot-tempered police cadet who's been artificially disgraced and then planted into Costello's crime operation as a seemingly trustworthy soldier. As the multilayered plot unfolds (courtesy of a scorching adaptation by "Kingdom of Heaven" screenwriter William Monahan), Costigan and Sullivan conduct a volatile search for each other (they're essentially looking for "themselves") while simultaneously wooing the psychiatrist (Vera Farmiga) assigned to treat their crime-driven anxieties.
Such convenient coincidences might sink a lesser film, but "The Departed" is so electrifying that you barely notice the plot-holes. And while Nicholson's profane swagger is too much "Jack" and not enough "Costello," he's still a joy to watch, especially in a film that's additionally energized by memorable (and frequently hilarious) supporting roles for Alec Baldwin, Mark Wahlberg, and a host of other big-name performers. "The Departed" also makes clever and plot-dependent use of cell-phones, to the extent that it couldn't exist without them. Powered by Scorsese's trademark use of well-chosen soundtrack songs (from vintage rock to Puccini's operas), "The Departed" may not be perfect, but it's one helluva ride for moviegoers, proving popular enough to become the biggest box-office hit of Scorsese's commercially rocky career. "--Jeff Shannon"

Summary: With a nasty villain and a plot twist that will take many viewers by surprise, "Derailed" is the kind of potboiler that's enjoyable in spite of its flaws. It's basically two-thirds of a good movie, with a convincing set-up and a barely plausible payoff that... well, you've just got to see it and decide for yourself. Like "Fatal Attraction", it's a good-enough thriller that turns infidelity into every man's nightmare, beginning when Charles (Clive Owen), a well-to-do Chicago advertising director with a sickly, diabetic daughter and a slightly troubled marriage, has a chance encounter with Lucinda (Jennifer Aniston), a lovely and quick-witted financial advisor who's also stuck in a marital rut. Their chemistry is instant (between both characters and stars), but their eventual hotel tryst is interrupted by a mugger (French actor Vincent Cassel at his vile, despicable best) who's out to milk Charles for every dollar he's got. Of course, one phone call to the police would solve everyone's problems, but as he did with "Collateral" (albeit more convincingly), screenwriter Stuart Beattie turns up the tension with such manipulative skill that you're willing to skate past the plot holes and go along for the ride. With lively supporting performances by rappers Xzibit and RZA, "Derailed" marks a commercially slick American debut for Swedish director Mikael Håfström, whose 2003 thriller "Evil" was a Best Foreign Film Oscar®-nominee. "--Jeff Shannon"

Summary: First of all, let me say that "Deuce Bigalow: Male Giggolo" garnered far fewer negative remarks from customer reviewers than I expected. Although this picture is certainly less than politically correct with some of its humor, I completely disagree with the reviewer who referred to it as "mean-spirited".
Rob Schneider turns in a fine performance as Deuce Bigalow, a fish tank cleaner with a dead end job and no romantic prospects until he is asked to house sit for a "man-whore". After damaging the house he has to make $6,000 quickly and turns to-you guessed it-male prostitution. This plot opens up a number of possibilities and almost succeeds in answering the question of what kind of woman would want the services of a male prostitute. Deuce is paired subsequently with an overeater, a woman with a growth disorder, a woman with narcolepsy, and a woman with Tourette's syndrome. Along the way he falls for a woman who also has an imperfection-a prosthetic leg. Unfortunately this woman doesn't know Deuce is a male prostitute who was hired to go out with her by her friends. I won't tell you how the picture ends other than saying its very predictable.
What I find particularly noteworthy about this picture is that it uses afflictions as comedy fodder but somehow manages to do so without ridiculing or denigrating, a nice touch for this kind of movie. The humor sometimes frequently gets kind of childish and silly, but then again those who purchase or rent "Deuce Bigalow" usually know what sort of humor to expect from a movie involving a former SNL cast member. It's a good one to rent, but given the predictability of the plot and the rather tepid level of the gags I would definitely not purchase this one, especially on DVD.