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DVDs in Collection: 158
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28 Days Later
Horror Twentieth Century Fox Home Video R
The director/producer team that created "Trainspotting" turn their dynamic cinematic imaginations to the classic science fiction scenario of the last people on Earth. Jim (Cillian Murphy) wakes up from a coma to find London deserted--until he runs into a mob of crazed plague victims. He gradually finds other still-human survivors (including Naomie Harris), with whom he heads off across the abandoned countryside to find the source of a radio broadcast that promises salvation. "28 Days Later" is basically an updated version of "The Omega Man" and other post-apocalyptic visions; but while the movie may lack originality, it makes up for it in vivid details and creepy paranoid atmosphere. "28 Days Later"'s portrait of how people behave in extreme circumstances--written by novelist Alex Garland ("The Beach")--will haunt you afterward. Also featuring Brendan Gleeson ("The General", "Gangs of New York") and Christopher Eccleston ("Shallow Grave", "The Others"). "--Bret Fetzer"

8 1/2
Foreign Criterion Collection NR
Federico Fellini's 1963 semi-autobiographical story about a worshipped filmmaker who has lost his inspiration is still a mesmerizing mystery tour that has been quoted (Woody Allen's "Stardust Memories", Paul Mazursky's "Alex in Wonderland") but never duplicated. Marcello Mastroianni plays Guido, a director trying to relax a bit in the wake of his latest hit. Besieged by people eager to work with him, however, he also struggles to find his next idea for a film. The combined pressures draw him within himself, where his recollections of significant events in his life and the many lovers he has left behind begin to haunt him. The marriage of Fellini's hyperreal imagery, dreamy sidebars, and the gravity of Guido's increasing guilt and self-awareness make this as much a deeply moving, soulful film as it is an electrifying spectacle. Mastroianni is wonderful in the lead, his woozy sensitivity to Guido's freefall both touching and charming--all the more so as the character becomes increasingly divorced from the celebrity hype that ultimately outpaces him. "--Tom Keogh"

Airplane!
Comedy Paramount Home Video PG
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"

All the President's Men
Drama Warner Studios R
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"

Amarcord
Foreign Criterion Collection R
Federico Fellini's 1974 fantasy-memoir of life in his hometown during the Fascist era is basically the full palette of experience--sex, families, politics--with his surreal twist. As a general picture of the 1930s community carrying on rituals but with an element of government harshness in the air, the film is quite memorable (especially in scenes set around the town square). Less satisfying is Fellini's tighter focus on certain, forgettable individuals. The ironic title translates into, "I remember," but here memory is more a matter of loving vision than actuality. "--Tom Keogh"

Amelie
Foreign Miramax Home Entertainment R
Perhaps the most charming movie of all time, "Amélie" is certainly one of the top 10. The title character (the bashful and impish Audrey Tautou) is a single waitress who decides to help other lonely people fix their lives. Her widowed father yearns to travel but won't, so to inspire the old man she sends his garden gnome on a tour of the world; with whispered gossip, she brings together two cranky regulars at her café; she reverses the doorknobs and reprograms the speed dial of a grocer who's mean to his assistant. Gradually she realizes her own life needs fixing, and a chance meeting leads to her most elaborate stratagem of all. This is a deeply wonderful movie, an illuminating mix of magic and pragmatism. Fans of the director's previous films ("Delicatessen", "The City of Lost Children") will not be disappointed; newcomers will be delighted. "--Bret Fetzer"

American Pie
Comedy Universal Studios Unrated
Anyone who's watched just about any teenage film knows that the greatest evil in this world isn't chemical warfare, ethnic cleansing, or even the nuclear bomb. The worst crime known to man? Why, virginity, of course. As we've learned from countless films--from "Summer of '42" to "Risky Business"--virginity is a criminal burden that one must shed oneself of as quickly as possible. And while many of these films have given the topic a bad name, "American Pie" quietly sweeps in and gives sex some of its dignity back. Dignity, you may say? How can a film that highlights intercourse with fruit pies, premature ejaculation broadcasted across the Internet, and the gratuitous "gross-out" shots restore the dignity of a genre that's been encumbered with such heavyweights as "Porky's" and "Losin' It"? The plot may be typical, with four high school friends swearing to "score" by prom, yet the film rises above the muck with its superior cast, successful and sweet humor, and some actually rather retro values about the meaning and importance of sex. Jason Biggs, Chris Klein, Thomas Ian Nicholas, and Eddie Kaye Thomas make up the odd quartet of pals determined to woo, lie, and beg their way to manhood. The young women they pursue are wary girlfriend Vicky (Tara Reid), choir girl Heather (Mena Suvari), band geek Michelle (Alyson Hannigan), and just about any other female who is willing and able. Natasha Lyonne as Jessica, playing a similar role as in "Slums of Beverly Hills", is the general adviser to the crowd (when Vicky tells her "I want it to be the right time, the right place," Jessica responds, "It's not a space shuttle launch, it's "sex""). The comedic timing hits the mark--especially in the deliberately awkward scenes between Jim (Biggs) and his father (Eugene Levy). And, of course, lessons are learned in this genuinely funny film, which will probably please the adult crowd even more than it will the teenage one. "--Jenny Brown"

Amores Perros
Foreign Studio Home Entertainment R
"Amores Perros" roughly translates to "Love's a bitch," and it's an apt summation of this remarkable film's exploration of passion, loss, and the fragility of our lives. In telling three stories connected by one traumatic incident, Mexican director Alejandro Gonzalez Inarritu uses an intricate screenplay by novelist Guillermo Arriaga to make three movies in close orbit, expressing the notion that we are defined by what we lose--from our loves to our family, our innocence, or even our lives. These interwoven tales--about a young man in love with his brother's pregnant wife, a perfume spokeswoman and her married lover, and a scruffy vagrant who sidelines as a paid killer--are united by a devastating car crash that provides the film's narrative nexus, and by the many dogs that the characters own or care for. There is graphic violence, prompting a disclaimer that controversial dog-fight scenes were harmless and carefully supervised, but what emerges from "Amores Perros" is a uniquely conceptual portrait of people whom we come to know through their relationship with dogs. The film is simultaneously bleak, cynical, insightful, and compassionate, with layers of meaning that are sure to reward multiple viewings. "--Jeff Shannon"

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

Back to the Future - The Complete Trilogy
Science Fiction & Fantasy Universal Studios PG
Filmmaker Robert Zemeckis topped his breakaway hit "Romancing the Stone" with "Back to the Future", a joyous comedy with a dazzling hook: what would it be like to meet your parents in their youth? Billed as a special-effects comedy, the imaginative film (the top box-office smash of 1985) has staying power because of the heart behind Zemeckis and Bob Gale's script. High schooler Marty McFly (Michael J. Fox, during the height of his TV success) is catapulted back to the '50s where he sees his parents in their teens, and accidentally changes the history of how Mom and Dad met. Filled with the humorous ideology of the '50s, filtered through the knowledge of the '80s (actor Ronald Reagan is president, ha!), the film comes off as a "Twilight Zone" episode written by Preston Sturges. Filled with memorable effects and two wonderfully off-key, perfectly cast performances: Christopher Lloyd as the crazy scientist who builds the time machine (a DeLorean luxury car) and Crispin Glover as Marty's geeky dad. "--Doug Thomas"
Critics and audiences didn't seem too happy with "Back to the Future, Part II", the inventive, perhaps too clever sequel. Director Zemeckis and cast bent over backwards to add layers of time-travel complication, and while it surely exercises the brain it isn't necessarily funny in the same way that its predecessor was. It's well worth a visit, though, just to appreciate the imagination that went into it, particularly in a finale that has Marty watching his own actions from the first film. "--Tom Keogh"
Shot back-to-back with the second chapter in the trilogy, "Back to the Future, Part III" is less hectic than that film and has the same sweet spirit of the first, albeit in a whole new setting. This time, Marty ends up in the Old West of 1885, trying to prevent the death of mad scientist Christopher Lloyd at the hands of gunman Buford "Mad Dog" Tannen (Thomas F. Wilson, who had a recurring role as the bully Biff). Director Zemeckis successfully blends exciting special effects with the traditions of a Western and comes up with something original and fun. "--Tom Keogh"

The Bad News Bears
Comedy Paramount Home Video PG
This likable 1976 comedy gently skewers the whole post- "Rocky" mania for movies about losers who find their mettle or salvation or purpose in life in competitive sport. Walter Matthau stars as a drunk who becomes manager of a pathetic little-league baseball team. When he brings in a talented girl pitcher (Tatum O'Neal), the crew have an actual chance at winning some games and maybe a championship. But director Michael Ritchie ("Downhill Racer") undercuts the romance of it all with the team's foul-mouthed tendencies and Matthau's own decadent spin on mentor-coachdom. Similarly to Ritchie's wicked comedy "Smile" --which lampooned the fervor surrounding beauty pageants--"The Bad News Bears" pokes fun at another American institution. "--Tom Keogh"

Beetlejuice
Comedy Warner Studios PG
Before making "Batman", director Tim Burton and star Michael Keaton teamed up for this popular black comedy about a young couple (Geena Davis and Alec Baldwin) whose premature death leads them to a series of wildly bizarre afterlife exploits. As ghosts in their own New England home, they're faced with the challenge of scaring off the pretentious new owners (Catherine O'Hara and Jeffrey Jones), whose daughter (Winona Ryder) has an affinity for all things morbid. Keaton plays the mischievous Beetlejuice, a freelance "bio-exorcist" who's got an evil agenda behind his plot to help the young undead newlyweds. The film is a perfect vehicle for Burton's visual style and twisted imagination, with clever ideas and gags packed into every scene. "Beetlejuice" is also a showcase for Keaton, who tackles his title role with maniacal relish and a dark edge of menace. "--Jeff Shannon"

Being John Malkovich
Comedy Universal Studios Ho R
While too many movies suffer the fate of creative bankruptcy, "Being John Malkovich" is a refreshing study in contrast, so bracingly original that you'll want to send director Spike Jonze and screenwriter Charlie Kaufman a thank-you note for restoring your faith in the enchantment of film. Even if it ultimately serves little purpose beyond the thrill of comedic invention, this demented romance is gloriously entertaining, spilling over with ideas that tickle the brain and even touch the heart. That's to be expected in a movie that dares to ponder the existential dilemma of a forlorn puppeteer (John Cusack) who discovers a metaphysical portal into the brain of actor John Malkovich.
The puppeteer's working as a file clerk on the seventh-and-a-half floor of a Manhattan office building; this idea alone might serve as the comedic basis for an entire film, but Jonze and Kaufman are just getting started. Add a devious coworker (Catherine Keener), Cusack's dowdy wife (a barely recognizable Cameron Diaz), and a business scheme to capitalize on the thrill of being John Malkovich, and you've got a movie that just gets crazier as it plays by its own outrageous rules. Malkovich himself is the film's pièce de résistance, riffing on his own persona with obvious delight and--when he enters his own brain via the portal--appearing with multiple versions of himself in a tour-de-force use of digital trickery. Does it add up to much? Not really. But for 112 liberating minutes, "Being John Malkovich" is a wild place to visit. "--Jeff Shannon"

Better Off Dead
Comedy Paramount Home Video PG
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"

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

Big Fish
Comedy Columbia Tristar Hom PG-13
After a string of mediocre movies, director Tim Burton regains his footing as he shifts from macabre fairy tales to Southern tall tales. "Big Fish" twines in and out of the oversized stories of Edward Bloom, played as a young man by Ewan McGregor ("Moulin Rouge", "Down with Love") and as a dying father by Albert Finney ("Tom Jones"). Edward's son Will (Billy Crudup, "Almost Famous") sits by his father's bedside but has little patience with the old man's fables, because he feels these stories have kept him from knowing who his father really is. Burton dives into Bloom's imagination with zest, sending the determined young man into haunted woods, an idealized Southern town, a traveling circus, and much more. The result is sweet but--thanks to the director's dark and clever sensibility--never saccharine. Also featuring Jessica Lange, Alison Lohman, Helena Bonham Carter, Danny DeVito, and Steve Buscemi. "--Bret Fetzer"

The Big Lebowski
Comedy Umvd R
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"

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

Boiler Room
Drama New Line Home Entertainment R
The intense soundtrack of "Boiler Room" is a fitting underscore for this movie, which pulses with the vigor of young, rich, amoral men wreaking havoc. This is not the antisocietal havoc of "Fight Club", but the more deliberate mayhem that comes from greed run amok. The testosterone-junkie brokers of J.T. Marlin (the only female in the office is Abby, the receptionist and love interest, played by Nia Long) are out to make the sale, and whether that sale is legal or ethical doesn't matter.
Seth Davis (Giovanni Ribisi) is a 19-year-old college dropout who strives for approval from his father (Ron Rifkin), a judge who is horrified that his son operates a 24-hour illicit casino. When an old friend visits the casino with a fellow broker, Davis is impressed by their wads of money and yellow Ferrari, and decides to join the firm. In no time he's making sales and settling into the groove of the office and all the after-hours perks, but the dream fades when Davis discovers the scam that is making all of the brokers wealthy beyond their dreams.
Borrowing heavily from "Wall Street" and "Glengarry Glen Ross", "Boiler Room" is at its best when dealing with matters of money, and powerful scenes of Davis learning to be a "closer" showcase the significant talent of Ribisi, Nicky Katt, and Vin Diesel. The movie flounders when developing the relationship between Davis and his father, becoming sentimental and trite. However, as a fable of modern society and a nostalgic vehicle about the days of yuppies past, "Boiler Room" is right on the money. "--Jenny Brown"

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

The Boondock Saints
Action & Adventure Twentieth Century Fox R
Charismatic young stars Sean Patrick Flanery and Norman Reedus play two Irish brothers, Connor and Murphy, who believe themselves ordained by God to rid the world of evil men. Their first killing is in self-defense; but after that, they start killing with devotion, gunning down a summit of the Russian mafia. Willem Dafoe plays a gay FBI agent (he listens to opera while examining crime scenes) who knows what the boys are doing but feels that their vigilante tactics are necessary. There's not much plot to "The Boondock Saints"--it's mostly a series of violent scenes in which the boys are partially ingenious and partially lucky. The movie seems to want to provoke debate about vigilantism, but the scenario is too implausible to stir any real controversy. The peculiar mix of earnestness and machismo will not appeal to everyone, but it's certainly unique and may acquire a cult following. "--Bret Fetzer"

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

Bread and Chocolate
Foreign Hen's Tooth Video NR
Nino Manfredi gives a wonderfully comic and sensitive performance as Nino, an Italian working as a waiter in Switzerland. Absent three years from his wife and children--for whom he is theoretically raising money to join him in Swiss prosperity--Nino is a little like David Bowie's dispirited alien in "The Man Who Fell to Earth", an outsider too reinvented to return to his roots. Lonely, earthy, and clumsy among the polished locals, Nino has a series of Chaplinesque disasters that ultimately cost him his work permit and resident status. Instead of leaving the country, however, he sneaks back in and stays with a reclusive, beautiful woman (Anna Karina) with something of her own to hide. The adventures don't end there: like a modern Candide, Nino moves from one situation to the next, clinging to his optimism but also a strong suspicion he can never return home. Director Franco Brusati ("Forget Venice") has made a rare comedy here that is both light and tough at the same time, with a hero whose clownish trappings don't so much soften his anxieties as make him more sympathetic for suffering them. "--Tom Keogh"

The Breakfast Club
Comedy Universal Studios R
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"

Bull Durham
Comedy Metro-Goldwyn-Mayer R
"Bull Durham" is about minor league baseball. It's also about romance, sex, poetry, metaphysics, and talent--though not necessarily in that order. Susan Sarandon plays a loopy lady who just loves America's national pastime--and the men who play it. At the opening of every season, she attaches herself to a promising rookie and guides him through the season. Unfortunately, the player she bestows her favors upon does not really deserve it. She knows it, and veteran Kevin Costner knows it. Her choice, a dim bulb played for laughs by Tim Robbins, is the only one who doesn't know it. The film, directed by its writer, Ron Shelton, a former minor league player, is rich in subtle detail. There are Edith Piaf records playing in the background, fast-talking managers, and minor characters as developed as the leads. Sarandon's retro-'50s outfits make you think she's just another bimbo, not an English teacher very much in control of her life. And Costner's clear-eyed, slightly vitriolic performance is devastatingly sexy and keenly witty. The love scenes, though tasteful, are almost as humorous as they are hot. Sarandon's character likes to tie her players up and expand their horizons by reading Walt Whitman to them, "'cause a guy will listen to anything if he thinks it's foreplay." How can you not love a movie with such a wicked sense of humor? "--Rochelle O'Gorman"

Caddyshack
Comedy Warner Studios R
Ever caught yourself wondering what exactly "Noonan" means? To avoid further embarrassment, every golfer--hack or scratch--must tee it up at Bushwood Country Club for the golf classic "Caddyshack". Harold Ramis directs a who's who of 1970s and 1980s stand-up and sketch comedy: Bill Murray, Chevy Chase, and Rodney Dangerfield battle the forces of greed, golf, and gophers in a film that has become a comedy classic.--"Richard M. Seanor"

Chicago
Musicals & Performing Arts Miramax Home Entertainment PG-13
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"

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

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

A Clockwork Orange
Drama Warner Studios R
Stanley Kubrick's striking visual interpretation of Anthony Burgess's famous novel is a masterpiece. Malcolm McDowell delivers a clever, tongue-in-cheek performance as Alex, the leader of a quartet of droogs, a vicious group of young hoodlums who spend their nights stealing cars, fighting rival gangs, breaking into people's homes, and raping women. While other directors would simply exploit the violent elements of such a film without subtext, Kubrick maintains Burgess's dark, satirical social commentary. We watch Alex transform from a free-roaming miscreant into a convict used in a government experiment that attempts to reform criminals through an unorthodox new medical treatment. The catch, of course, is that this therapy may be nothing better than a quick cure-all for a society plagued by rampant crime. "A Clockwork Orange" works on many levels--visual, social, political, and sexual--and is one of the few films that hold up under repeated viewings. Kubrick not only presents colorfully arresting images, he also stylizes the film by utilizing classical music (and Wendy Carlos's electronic classical work) to underscore the violent scenes, which even today are disturbing in their display of sheer nihilism. Ironically, many fans of the film have missed that point, sadly being entertained by its brutality rather than being repulsed by it. "--Bryan Reesman"

Clueless
Comedy Paramount Studio PG-13
Alicia Silverstone won everyone over with her portrayal of a Beverly Hills teen, Cher, whose penchant for helping others with their relationships and self-esteem is a cover for her own loneliness. Director Amy Heckerling ("Fast Times at Ridgemont High") made a smart, funny variation on Jane Austen's novel "Emma", sweetly romantic and gently satirical of "90210" social manners. The cast is unbeatable: Dan Hedaya as Cher's rock-solid dad, Wallace Shawn as a geeky teacher, Paul Rudd as the boy who has always been Cher's surrogate brother--and the true holder of her most secret wishes. "--Tom Keogh"

The Color of Money
Drama Walt Disney Home Video R
Martin Scorsese handles directing duties in this 1986 sequel to the classic 1961 film "The Hustler", which marks the return of Paul Newman to the role of pool shark Fast Eddie Felson. Anxious to break into the big time again, Eddie finds a talented protégé (Tom Cruise) to groom; but with the addition of the latter's manipulative girlfriend (Mary Elizabeth Mastrantonio) and the wild streak in Cruise's character, the trio make for a fascinating portrait in group psychology. The cast is brilliant, the script by Richard Price ("Clockers") is a paragon of tightly controlled character study and drama (at least in the film's first half), and Scorsese and cinematographer Michael Ballhaus make an ornate show of the collision and flight of pool balls through space--something of a metaphor for the dynamics among the three principals. The film is generally regarded as weaker in its second half, and rightly so, as everything that was interesting in the first place disappears. Still, Newman won a deserved Oscar for his performance. "--Tom Keogh"

Comedian
Comedy Miramax R
If you see "Comedian" expecting a concert film with Jerry Seinfeld, you'll be disappointed. But if you're looking for an incisive--almost surgical--examination of the psyche of a stand-up comedian, this is your movie. "Comedian" zigzags back and forth between the hugely successful Seinfeld, who's trying to get back to his stand-up roots by developing an entirely new act, and an unknown comic named Orny Adams, whose naked craving for success is almost painful to behold. Adams lays bare his ego to an embarrassing degree; Seinfeld is more subtle but just as revealing about the fears and anxieties that drive him to go back on stage. By following these two through comedy clubs, festivals, and spots on David Letterman's talk show, the documentary cunningly explores how jokes are put together, the in-the-trenches camaraderie (tinged with competition) of stand-ups, and the sheer existential terror of trying to make people laugh. "--Bret Fetzer"

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

Days of Thunder
Action & Adventure Paramount Studio PG-13
First of all... The movie is quite good, with great performances from Robert Duval, Tom Cruise, and Nicole Kidman. The film has great racing footage (with a few inconsistencies) and is all in all, a good movie... Now let's talk about the DVD... This is one of the best sounding DVD's that I've ever put in to my home theater! The sound in the 5.1 surround sound will absolutely have you looking around for the race car!!!!! As "Cole Trickle" first gets in the car at the vacant raceway, test driving "Rowdy Burns'" car, you will absolutely be beside yourself!! The sound is unreal! You will love this DVD just for the fact of showing off your home theater to friends! The picture has a few flaws, but nothing too noticable! (mainly aspect ratio) That's what gave it the 4 stars instead of 5. Buy this DVD for your theater... You won't be disappointed!!!

Dead Poets Society
Drama Touchstone Video PG
Robin Williams stars as an English teacher who doesn't fit into the conservative prep school where he teaches, but whose charisma and love of poetry inspires several boys to revive a secret society with a bohemian bent. The script is well meaning but a little trite, though director Peter Weir ("The Truman Show") adds layers of emotional depth in scenes of conflict between the kids and adults. (A subplot involving one father's terrible pressure on his son--played by Robert Sean Leonard--to drop his interest in theater reaches heartbreaking proportions.) Williams is given plenty of latitude to work in his brand of improvisational humor, though it is all well-woven into his character's style of instruction. "--Tom Keogh"

Detroit Rock City
Comedy New Line Home Entertainment R
It's hard to call "Detroit Rock City" a "coming of age" movie--since it's hard to argue that any of the characters do any genuine growing up. But even though it's about four young metalheads trying to get to a KISS concert, the movie actually has more in common with sincere portraits of adolescence than it does with raucous teen comedies. The four heroes are members of a teen metal band called Mystery (the "s" is written in the same font as the letters of KISS, lest anyone mistake their source of inspiration). After the drummer's religiously zealous mother burns their tickets to a long-awaited concert in nearby Detroit, the boys go anyway and try to get tickets through theft, skullduggery, and entering a male stripper contest. The jokes are broad and the movie culminates in an orgy of male adolescent wish-fulfillment, but here and there some loving attention is paid to the details of 1970s teenage life--the haircuts, clothes, and toys the filmmakers probably had when they were kids. Edward Furlong, as the band's singer, is his usual scruffy self and exudes his particular lopsided charm; the rest of the cast play their parts with similar high spirits. Though "Detroit Rock City" was probably meant to be a no-holds-barred comedy in the vein of "American Pie", the end result is curiously wistful; no one's going to mistake it for "The Last Picture Show", but something sincere and elegiac lurks in those bang-covered eyes. "--Bret Fetzer"

Die Hard
Action & Adventure Fox Home Entertainme R
This seminal 1988 thriller made Bruce Willis a star and established a new template for action stories: "Terrorists take over a (blank), and a lone hero, unknown to the villains, is trapped with them." In "Die Hard", those bad guys, led by the velvet-voiced Alan Rickman, assume control of a Los Angeles high-rise with Willis's visiting New York cop inside. The attraction of the film has as much to do with the sight of a barefoot mortal running around the guts of a modern office tower as it has to do with the plentiful fight sequences and the bond the hero establishes with an LA beat cop. Bonnie Bedelia plays Willis's wife, Hart Bochner is good as a brash hostage who tries negotiating his way to freedom, Alexander Godunov makes for a believable killer with lethal feet, and William Atherton is slimy as a busybody reporter. Exceptionally well directed by John McTiernan. "--Tom Keogh"

Dogma
Comedy Columbia/Tristar Studios R
Kevin Smith is a conundrum of a filmmaker: he's a writer with brilliant, clever ideas who can't set up a simple shot to save his life. It was fine back when Smith was making low-budget films like "Clerks" and "Chasing Amy", both of which had an amiable, grungy feel to them, but now that he's a rising director who's attracting top talent and tackling bigger themes, it might behoove him to polish his filmmaking. That's the main problem with "Dogma"--it's an ambitious, funny, aggressively intelligent film about modern-day religion, but while Smith's writing has matured significantly (anyone who thinks he's not topnotch should take a look at "Chasing Amy"), his direction hasn't. It's too bad, because "Dogma" is ripe for near-classic status in its theological satire, which is hardly as blasphemous as the protests that greeted the movie would lead you to believe.
Two banished angels (Ben Affleck and Matt Damon) have discovered a loophole that would allow them back into heaven; problem is, they'd destroy civilization in the process by proving God fallible. It's up to Bethany (Linda Fiorentino), a lapsed Catholic who works in an abortion clinic, to save the day, with some help from two so-called prophets (Smith and Jason Mewes, as their perennial characters Jay and Silent Bob), the heretofore unknown 13th apostle (Chris Rock), and a sexy, heavenly muse (the sublime Salma Hayek, who almost single-handedly steals the film). In some ways "Dogma" is a shaggy dog of a road movie--which hits a comic peak when Affleck and Fiorentino banter drunkenly on a train to New Jersey, not realizing they're mortal enemies--and segues into a comedy-action flick as the vengeful angels (who have a taste for blood) try to make their way into heaven. Smith's cast is exceptional--with Fiorentino lending a sardonic gravity to the proceedings, and Jason Lee smirking evilly as the horned devil Azrael--and the film shuffles good-naturedly to its climax (featuring Alanis Morissette as a beatifically silent God), but it just looks so unrelentingly... "subpar". Credit Smith with being a daring writer but a less-than-stellar director. "--Mark Englehart"

Donnie Darko
Comedy Twentieth Century Fox Home Video R
This unclassifiable but stunningly original film obliterates the walls between teen comedy, science fiction, family drama, horror, and cultural satire--and remains wildly entertaining throughout. Jake Gyllenhaal ("October Sky") stars as Donnie, a borderline-schizophrenic adolescent for whom there is no difference between the signs and wonders of reality (a plane crash that decimates his house) and hallucination (a man-sized, reptilian rabbit who talks to him). Obsessed with the science of time travel and acutely aware of the world around him, Donnie is isolated by his powers of analysis and the apocalyptic visions that no one else seems to share. The debut feature of writer-director Richard Kelly, "Donnie Darko" is a shattering, hypnotic work that sets its own terms and gambles--rightfully so, as it turns out--that a viewer will stay aboard for the full ride. "--Tom Keogh"

The Doors
Drama Artisan Entertainment R
Thanks in large part to its meticulous re-creation of the late 1960s and early '70s rock scene and the uncannily authentic performance by Val Kilmer as legendary Doors front man Jim Morrison, Oliver Stone's hypnotic film biography is standing the test of time. Capturing the carefree mood of the Age of Aquarius, the film charts the meteoric rise of the Doors on the California club circuit (including a memorable scene showing the creation of the hit "Light My Fire"), and chronicles the band's exploits with hallucinogenics and Morrison's battles against charges of public indecency on stage. Kilmer's performance is hauntingly perfect, and performances by Meg Ryan, Kathleen Quinlan, and Kyle MacLachlan are similarly impressive. The movie doesn't fully probe the depths of Morrison's character, but as a portrait of excess it is vividly true to the spirit of the self-destructive poet known to his fans as "The Lizard King." "--Jeff Shannon"

Dr. Strangelove or How I Learned to Stop Worrying and Love the Bomb
Comedy Columbia Tri-Star PG
Arguably the greatest black comedy ever made, Stanley Kubrick's cold-war classic is the ultimate satire of the nuclear age. "Dr. Strangelove" is a perfect spoof of political and military insanity, beginning when General Jack D. Ripper (Sterling Hayden), a maniacal warrior obsessed with "the purity of precious bodily fluids," mounts his singular campaign against Communism by ordering a squadron of B-52 bombers to attack the Soviet Union. The Soviets counter the threat with a so- called "Doomsday Device," and the world hangs in the balance while the U.S. president (Peter Sellers) engages in hilarious hot-line negotiations with his Soviet counterpart. Sellers also plays a British military attaché and the mad bomb-maker Dr. Strangelove; George C. Scott is outrageously frantic as General Buck Turgidson, whose presidential advice consists mainly of panic and statistics about "acceptable losses." With dialogue ("You can't fight here! This is the war room!") and images (Slim Pickens's character riding the bomb to oblivion) that have become a part of our cultural vocabulary, Kubrick's film regularly appears on critics' lists of the all-time best. "--Jeff Shannon"

Dumb and Dumber
New Line Home Entertainment PG-13
Delivering exactly what its title promises, this celebration of stupidity was Jim Carrey's 1994 follow-up to "Ace Ventura: Pet Detective" and "The Mask". The film pairs the rubber- faced wacky man with Jeff Daniels as the not-so-dynamic duo of Lloyd and Harry, dunderheads who come into the possession of a briefcase containing ransom money that is intended for Mob-connected kidnappers. Lauren Holly costars as the woman who lost the briefcase, and with whom Carrey falls in love (both in real life and as his moronic on-screen character). As Lloyd and Harry make a mad dash to return the briefcase (never aware of its contents), the bumbling buddies attract Mobsters, cops, and trouble galore. This lowbrow laugh-a-thon scores some solid hits for hilarity, but with gags involving ill-fated parakeets, buxom bimbos, and an overdose of laxatives, be prepared to put your brain--and good taste--on hold. "--Jeff Shannon"

E.T. - The Extra-Terrestrial
Science Fiction & Fantasy Universal Studios PG
Steven Spielberg's 1982 hit about a stranded alien and his loving relationship with a fatherless boy (Henry Thomas) struck a chord with audiences everywhere, and it furthered Spielberg's reputation as a director of equally strong commercial sensibilities and classical leanings. Henry Thomas gives a strong, emotional performance as E.T.'s young friend, Robert MacNaughton and Drew Barrymore make a solid impression as his siblings, and Dee Wallace is lively as the kids' mother. The special effects almost look a bit quaint now with all the computer advancements that have occurred since, but they also have more heart behind them than a lot of what we see today. "--Tom Keogh"

Election
Comedy Paramount Studio R
Matthew Broderick makes up for years of wet-noodle performances with his low-key but unsparing characterization of Jim McAllister, a high school teacher at George Washington Carver High School in Omaha, Nebraska. Driven by a strange mixture of loathing and lust for pathologically overachieving student Tracy Flick (Reese Witherspoon), McAllister encourages a dim but popular athlete, Paul (Chris Klein from "American Pie"), to run against her in the election for student-council president. Director-cowriter Alexander Payne ("Citizen Ruth") turns this deceptively simple premise into a complex and scathing comedy of ambition, corruption, and desire, all at its most naked and petty. Every scene contains some painfully funny nuance that will make you wince in a mixture of astonishment and empathy. Witherspoon flips effortlessly back and forth from adolescent vulnerability to steely-eyed strength; she's becoming a contemporary Carole Lombard. The movie itself feels like a magnificent throwback to the richly layered comedies of the '30s, which drew their humor from sharply drawn characters and twisting plots instead of explosions of bodily fluids. With a wealth of smart, cutting details, "Election" rewards multiple viewing. "--Bret Fetzer"

Family Guy, Vol. 1
Television Fox Home Entertainme NR
To the ranks of shows too brilliant and outrageous for prime time ("The Ben Stiller Show", "Andy Richter Controls the Universe"), add Seth McFarland's "Family Guy". This animated series, which debuted after the 1999 Super Bowl, simply sparked too much controversy and offended too many sensibilities to survive ("Entertainment Weekly" dubbed it "the Awful Show They Just Keep Putting on the Air"). That the Fox network also played hackysack with its schedule, ensuring viewers would not be able to find it, sealed its fate (it was cancelled in 2002). This boxed set containing all 28 episodes from the first two seasons is payback for the show's devoted cult following, who may be moved to echo the words of infant Stewie Griffin, the megalomaniacal 1-year-old bent on matricide and world domination: "Victory is mine!"
The dysfunctional Griffins of Quahog, Rhode Island, invite comparisons to "The Simpsons". The testicular-chinned father, Peter Griffin, is a clueless oaf in the Homer mold. "Peter, what did you promise me last night?" asks his long-suffering wife Lois in one episode. "That I wouldn't drink at the stag party," he replies. "And what did you do?" she asks. "Drank at the stag part--oh ho ho, I almost walked into that one," he cackles. Other family members include teenage daughter Meg, a desperate high school social pariah; 13-year-old son Chris, a chip off his father's blockhead; and Brian, the family's sarcastic talking dog. But this series' true inspiration is football-pated Stewie (voiced by McFarlane, who earned an Emmy), who was born to be a Bond villain once he escaped his mother's "ovarian bastille." "Family Guy" recklessly ventured where "The Simpsons" feared to tread. In one episode, Meg's one and only friend turns out to be the member of a suicidal cult. In another, Death (voiced by Norm McDonald) becomes an unwanted houseguest. Each episode plays fast and furious with surreal flashes (in one episode, Peter turns his house into a puppet) and pop-culture references and TV, movie, and commercial parodies that invite repeated viewings. Freed from its own family-hour bastille and the whims of dim network executives, "Family Guy" can be appreciated at last on its own profane, sacrilegious, and irreverent terms. Welcome to the DVD family, Griffins. "--Donald Liebenson"

Family Guy, Vol. 2
Television Twentieth Century Fox Home Video NR
The third and final season of Seth MacFarlane's late, lamented "Family Guy" finds television's most dysfunctional cartoon family even more animated than usual. As MacFarlane notes in a bonus segment about the controversial series' censorship battles, he was inspired to go for broke, thinking that the series, already juggled like a hot potato in the schedule (at one point, it aired opposite the mighty "Friends"), had been cancelled. Just as "Spinal Tap" walked the fine line between "clever and stupid," so did "Family Guy" gleefully mock the line between "edgy and offensive." Case in point is this set's holy grail: "When You Wish Upon a Weinstein," not aired during the series' original run, in which clueless Rhode Island patriarch Peter Griffin is convinced that if his lumpen son is to be rich and successful, he must become Jewish.
Like "The Simpsons", "Family Guy" lends itself to multiple viewings to catch each densely packed episode's way-inside "one-percenter" gags (so-called by the creators because that is the percent of the audience who will get them), scattershot pop-culture references, surreal leaps, and gratuitous pot shots at everyone from, predictably, Oprah, Kevin Costner, and Bill Cosby to, unpredictably, Rita Rudner. Also like their Springfield counterparts, this series benefits from a great ensemble voice cast, with surprising contributions from a no-less-stellar roster of guest stars. Yes, that's actually Kelly Ripa as her "real" self, a heart-devouring alien in "Family Guy Viewer Mail #1," and June Foray popping in as Rocky the Flying Squirrel in "Brian Does Hollywood." "Family Guy"'s stock has recently risen with its addition to Cartoon Network's "Adult Swim" lineup, a much better fit than prime time. To see Peter invite Charles Manson to a party for Sharon Tate ("but only if you don't embarrass me") is to marvel how much of this ever got on the air. Happily, it is on DVD. "--Donald Liebenson"

Fargo
Drama MGM/UA Video R
Leave it to the wildly inventive Coen brothers (Joel directs, Ethan produces, they both write) to concoct a fiendishly clever kidnap caper that's simultaneously a comedy of errors, a Midwestern satire, a taut suspense thriller, and a violent tale of criminal misfortune. It all begins when a hapless car salesman (played to perfection by William H. Macy) ineptly orchestrates the kidnapping of his own wife. The plan goes horribly awry in the hands of bumbling bad guys Steve Buscemi and Peter Stormare (one of them being described by a local girl as "kinda funny lookin'" and "not circumcised"), and the pregnant sheriff of Brainerd, Minnesota (played exquisitely by Frances McDormand in an Oscar-winning role) is suddenly faced with a case of multiple murders. Her investigation is laced with offbeat observations about life in the rural hinterland of Minnesota and North Dakota, and "Fargo" embraces its local yokels with affectionate humor. At times shocking and hilarious, "Fargo" is utterly unique and distinctly American, bearing the unmistakable stamp of its inspired creators. "--Jeff Shannon"

Ferris Bueller's Day Off
Comedy Paramount Studio PG-13
Like a soda pop left open all night, "Bueller" seems to have lost its effervescence over time. Sure, Matthew Broderick is still appealing as the perennial truant, Ferris, who fakes his parents out and takes one memorable day off from school. Jeffrey Jones is nasty and scheming as the principal who's out to catch him. Jennifer Grey is winning as Ferris's sister (who ends up making out in the police station with a prophetic vision of Charlie Sheen). But there's a definite sense that this film was of a particular time frame: the '80s. It's still fun, though. There's Ferris singing "Twist and Shout" during a Chicago parade, and a lovely sequence in the Art Institute. But don't get it and expect your kids to love it the way you did. Like it or not, it's yours alone. "--Keith Simanton"

A Few Good Men
Drama Columbia/Tristar Studios R
A U.S. soldier is dead, and military lawyers Lieutenant Daniel Kaffee and Lieutenant Commander JoAnne Galloway want to know who killed him. "You want the truth?" snaps Colonel Jessup (Jack Nicholson). "You can't handle the truth!" Astonishingly, Jack Nicholson's legendary performance as a military tough guy in "A Few Good Men" really amounts to a glorified cameo: he's only in a few scenes. But they're killer scenes, and the film has much more to offer. Tom Cruise (Kaffee) shines as a lazy lawyer who rises to the occasion, and Demi Moore (Galloway) gives a command performance. Kevin Bacon, Kiefer Sutherland, J.T. Walsh, and Cuba Gooding Jr. (of "Jerry Maguire" fame) round out the superb cast. Director Rob Reiner poses important questions about the rights of the powerful and the responsibilities of those just following orders in this classic courtroom drama.

Finding Forrester
Drama Columbia/Tristar Studios PG-13
"Finding Forrester" could have been a shallow variant of "The Karate Kid", congratulating itself for featuring a 16-year-old black kid from the South Bronx who's a brilliant scholar-athlete. Instead, director Gus Van Sant plays it matter-of-fact and totally real, casting a nonactor (Rob Brown) as Jamal, a basketball player and gifted student whose writing talent is nurtured by a famously reclusive author. William Forrester (Sean Connery) became a literary icon four decades earlier with a Pulitzer-winning novel, then disappeared (like J.D. Salinger) into his dark, book-filled apartment, agoraphobic and withdrawn from publishing, but as passionate as ever about writing. On a dare, Jamal sneaks into Forrester's musty sanctuary, and what might have been a condescending cliché--homeboy rescued by wiser white mentor--turns into an inspiring meeting of minds, with mutual respect and intelligence erasing boundaries of culture and generation.
Comparisons to Van Sant's "Good Will Hunting" are inevitable, but "Finding Forrester" is more honest and less prone to touchy-feely sentiment, as in the way Jamal and a private-school classmate (Anna Paquin) develop a mutual attraction that remains almost entirely unspoken. The film takes a conventional turn when Jamal must defend his integrity (with Forrester's help) in a writing contest judged by a skeptical teacher (F. Murray Abraham), but this ethical subplot is a credible catalyst for Forrester's most dramatic display of friendship. It's one of many fine moments for Connery and Brown (a screen natural), in a memorable film that transcends issues of race to embrace the joy of learning. "--Jeff Shannon"

Forrest Gump
Comedy Paramount Studio PG-13
The Academy Award winner for Best Picture, Best Director Robert Zemeckis, and Best Actor Tom Hanks, this unlikely story of a slow-witted but good-hearted man somehow at the center of the pivotal events of the 20th century is a funny and heartwarming epic. Hanks plays the title character, a shy Southern boy in love with his childhood best friend (Robin Wright) who finds that his ability to run fast takes him places. As an All-Star football player he meets John F. Kennedy; as a soldier in Vietnam he's a war hero; and as a world champion Ping-Pong player he's hailed by Richard Nixon. Becoming a successful shrimp-boat captain, he still yearns for the love of his life, who takes a quite different and much sadder path in life. The visual effects incorporating Hanks into existing newsreel footage is both funny and impressive, but the heart of the film lies in its sweet love story and in the triumphant performance of Hanks as an unassuming soul who savors the most from his life and times. "--Robert Lane"

Full Metal Jacket
Action & Adventure Warner Studios R
Stanley Kubrick's 1987, penultimate film seemed to a lot of people to be contrived and out of touch with the '80s vogue for such intensely realistic portrayals of the Vietnam War as "Platoon" and "The Deer Hunter". Certainly, Kubrick gave audiences plenty of reason to wonder why he made the film at all: essentially a two-part drama that begins on a Parris Island boot camp for rookie Marines and abruptly switches to Vietnam (actually shot on sound stages and locations near London), "Full Metal Jacket" comes across as a series of self-contained chapters in a story whose logical and thematic development is oblique at best. Then again, much the same was said about Kubrick's "2001: A Space Odyssey", a masterwork both enthralled with and satiric about the future's role in the unfinished business of human evolution. In a way, "Full Metal Jacket" is the wholly grim counterpart of "2001". While the latter is a truly 1960s film, both wide-eyed and wary, about the intertwining of progress and isolation (ending in our redemption, finally, by death), "Full Metal Jacket" is a cynical, Reagan-era view of the 1960s' hunger for experience and consciousness that fulfilled itself in violence. Lee Ermey made film history as the Marine drill instructor whose ritualized debasement of men in the name of tribal uniformity creates its darkest angel in a murderous half-wit (Vincent D'Onofrio). Matthew Modine gives a smart and savvy performance as Private Joker, the clowning, military journalist who yearns to get away from the propaganda machine and know firsthand the horrific revelation of the front line. In "Full Metal Jacket", depravity and fulfillment go hand in hand, and it's no wonder Kubrick kept his steely distance from the material to make the point. "--Tom Keogh"

Garden State
Comedy Twentieth Century Fox Home Video R
Zach Braff (from the TV show "Scrubs") stars in his writing/directing debut, "Garden State"--normally a doomed act of hubris, but Braff pulls it off with unassuming charm. An emotionally numb actor in L.A., Andrew (Braff) comes back to New Jersey after nine years away for his mother's funeral. Andrew avoids his bitter father (Ian Holm, "The Sweet Hereafter") and joins old friends (including the superb Peter Sarsgaard, "Boys Don't Cry") in a round of parties. Along the way he meets a girl (Natalie Portman, "Beautiful Girls") with demons of her own; bit by bit the two offer each other a little healing. Plotwise, "Garden State" is familiar stuff, a cross between "The Graduate" and a Meg Ryan movie, but Braff has an eye for goofy but resonant visual images, an ear for lively dialogue, and a great cast. The result is surprisingly fresh and funny. "--Bret Fetzer"

Gattaca
Science Fiction & Fantasy Columbia/Tristar Studios PG-13
Confidently conceived and brilliantly executed, "Gattaca" had a somewhat low profile release in 1997, but audiences and critics hailed the film's originality. It's since been recognized as one of the most intelligent science fiction films of the 1990s. Writer-director Andrew Niccol, the talented New Zealander who also wrote the acclaimed Jim Carrey vehicle "The Truman Show", depicts a near-future society in which one's personal and professional destiny is determined by one's genes. In this society, "Valids" (genetically engineered) qualify for positions at prestigious corporations, such as Gattaca, which grooms its most qualified employees for space exploration. "In-Valids" (naturally born), such as the film's protagonist, Vincent (Ethan Hawke), are deemed genetically flawed and subsequently fated to low-level occupations in a genetically caste society. With the help of a disabled "Valid" (Jude Law), Vincent subverts his society's social and biological barriers to pursue his dream of space travel; any random mistake--and an ongoing murder investigation at Gattaca--could reveal his plot. Part thriller, part futuristic drama and cautionary tale, "Gattaca" establishes its social structure so convincingly that the entire scenario is chillingly believable. With Uma Thurman as the woman who loves Vincent and identifies with his struggle, "Gattaca" is both stylish and smart, while Jude Law's performance lends the film a note of tragic and heartfelt humanity. "--Jeff Shannon"

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

Ghostbusters
Comedy Columbia Tri-Star PG
Dan Aykroyd and Harold Ramis wrote the script, but Bill Murray gets all the best lines and moments in this 1984 comedy directed by Ivan Reitman ("Meatballs"). The three comics, plus Ernie Hudson, play the New York City-based team that provides supernatural pest control, and Sigourney Weaver is the love interest possessed by an ancient demon. Reitman and company are full of original ideas about hobgoblins--who knew they could "slime" people with green plasma goo?--but hovering above the plot is Murray's patented ironic view of all the action. Still a lot of fun, and an obvious model for sci-fi comedies such as "Men in Black". "--Tom Keogh"

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

Good Will Hunting
Drama Miramax Home Entertainment R
Robin Williams won the Oscar for Best Supporting Actor, and actors Matt Damon and Ben Affleck nabbed one for Best Original Screenplay, but the feel-good hit "Good Will Hunting" triumphs because of its gifted director, Gus Van Sant. The unconventional director ("My Own Private Idaho", "Drugstore Cowboy") saves a script marred by vanity and clunky character development by yanking soulful, touching performances out of his entire cast (amazingly, even one by Williams that's relatively schtick-free). Van Sant pulls off the equivalent of what George Cukor accomplished for women's melodrama in the '30s and '40s: He's crafted an intelligent, unabashedly emotional male weepie about men trying to find inner-wisdom.
Matt Damon stars as Will Hunting, a closet math genius who ignores his gift in favor of nightly boozing and fighting with South Boston buddies (co-writer Ben Affleck among them). While working as a university janitor, he solves an impossible calculus problem scribbled on a hallway blackboard and reluctantly becomes the prodigy of an arrogant MIT professor (Stellan Skarsgård). Damon only avoids prison by agreeing to see psychiatrists, all of whom he mocks or psychologically destroys until he meets his match in the professor's former childhood friend, played by Williams. Both doctor and patient are haunted by the past, and as mutual respect develops, the healing process begins. The film's beauty lies not with grand climaxes, but with small, quiet moments. Scenes such as Affleck's clumsy pep talk to Damon while they drink beer after work, or any number of therapy session between Williams and Damon offer poignant looks at the awkward ways men show affection and feeling for one another. "--Dave McCoy"

Goodfellas
Drama Warner Home Video R
Martin Scorsese's 1990 masterpiece "GoodFellas" immortalizes the hilarious, horrifying life of actual gangster Henry Hill (Ray Liotta), from his teen years on the streets of New York to his anonymous exile under the Witness Protection Program. The director's kinetic style is perfect for recounting Hill's ruthless rise to power in the 1950s as well as his drugged-out fall in the late 1970s; in fact, no one has ever rendered the mental dislocation of cocaine better than Scorsese. Scorsese uses period music perfectly, not just to summon a particular time but to set a precise mood. "GoodFellas" is at least as good as "The Godfather" without being in the least derivative of it. Joe Pesci's psycho improvisation of Mobster Tommy DeVito ignited Pesci as a star, Lorraine Bracco scores the performance of her life as the love of Hill's life, and every supporting role, from Paul Sorvino to Robert De Niro, is a miracle.

The Graduate
Comedy Mgm/Ua Studios PG
Few films have defined a generation as "The Graduate" did. The alienation, the nonconformity, the intergenerational romance, the blissful Simon and Garfunkel soundtrack--they all served to lob a cultural grenade smack into the middle of 1967 America, ultimately making the film the third most profitable up to that time. Seen from a later perspective, its radical chicness has dimmed a bit, yet it's still a joy to see Dustin Hoffman's bemused Benjamin and Anne Bancroft's deliciously decadent, sardonic Mrs. Robinson. The script by Buck Henry and Calder Willingham is still offbeat and dryly funny, and Mike Nichols, who won an Oscar for his direction, has just the right, light touch. "--Anne Hurley"

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

Groundhog Day
Comedy Columbia/Tristar Studios PG
Bill Murray does warmth in his most consistently effective post-"Stripes" comedy, a romantic fantasy about a wacky weatherman forced to relive one strange day over and over again, until he gets it right. Snowed in during a road-trip expedition to watch the famous groundhog encounter his shadow, Murray falls into a time warp that is never explained but pays off so richly that it doesn't need to be. The elaborate loop-the-loop plot structure cooked up by screenwriter Danny Rubin is crystal-clear every step of the way, but it's Murray's world-class reactive timing that makes the jokes explode, and we end up looking forward to each new variation. He squeezes all the available juice out of every scene. Without forcing the issue, he makes us understand why this fly-away personality responds so intensely to the radiant sanity of the TV producer played by Andie MacDowell. The blissfully clueless Chris Elliott ("Cabin Boy") is Murray's nudnik cameraman. "--David Chute"

Grumpy Old Men
Comedy Warner Studios PG-13
Jack Lemmon and Walter Matthau are reunited in this popular 1993 comedy, in which the "Odd Couple" veterans play John and Max (respectively), a pair of elderly bachelors whose lifelong friendship is based on mutual aggravation and constant bickering. Their competitive natures kick into overdrive when the beautiful Ariel (Ann-Margret) moves into their otherwise snowbound Minnesota neighborhood. She takes a liking to John, but after a lover's spat she also gives Max a chance at romance, and the long-time buddies reach a peak of grumpy rivalry. It's a stretch to think that Ann-Margret's dating choices would be limited to a pair of grouchy codgers, but sarcastic attitude and snappy dialogue made this a surprise hit (followed by a 1995 sequel), and Burgess Meredith adds plenty of spice as Lemmon's amorous old father. Don't forget to watch the hilarious outtakes during the closing credits! "--Jeff Shannon"

Guns N' Roses - Use Your Illusion I
Music Video & Concerts Universal Music & VI NR

Guns N' Roses - Use Your Illusion II
Music Video & Concerts Universal Music & VI NR

Guns N' Roses - Welcome to the Videos
Music Video & Concerts Universal Music & VI NR
Here's a baker's dozen of Guns N' Roses' most explosive and memorable music videos from 1987 to 1993, and what a lesson they provide in the early evolution of visual style on MTV. Looking back, it seems Guns N' Roses embraced almost every "type" of music-video setting: "Welcome to the Jungle," for instance, finds rapid images of the band's stage performance interspersed with a semi-narrative featuring Axle Rose as a newcomer to the big bad city. "Paradise City" is set against an arena sound check, while "Sweet Child O' Mine" is structured around the now-threadbare idea of a video documentary about a video production. A couple of obsessive themes emerge from this anthology, the starkest involving love and watery deaths ("Don't Cry" and "November Rain"). Most interesting is the opiate-like distortions of "The Garden" and the surreal "Since I Don't Have You," starring Gary Oldman as a grinning devil. "--Tom Keogh"

Harry Potter and the Chamber of Secrets
Kids & Family Warner Home Video PG
First sequels are the true test of an enduring movie franchise, and "Harry Potter and the Chamber of Secrets" passes with flying colors. Expanding upon the lavish sets, special effects, and grand adventure of "Harry Potter and the Sorcerer's Stone", Harry's second year at Hogwarts School of Witchcraft and Wizardry involves a darker, more malevolent tale (parents with younger children beware), beginning with the petrified bodies of several Hogwarts students and magical clues leading Harry (Daniel Radcliffe), Ron (Rupert Grint), and Hermione (Emma Watson) to a 50-year-old mystery in the monster-laden Chamber of Secrets. House elves, squealing mandrakes, giant spiders, and venomous serpents populate this loyal adaptation (by "Sorcerer's Stone" director Chris Columbus and screenwriter Steve Kloves), and Kenneth Branagh delightfully tops the supreme supporting cast as the vainglorious charlatan Gilderoy Lockhart (be sure to view past the credits for a visual punchline at Lockhart's expense). At 161 minutes, the film suffers from lack of depth and uneven pacing, and John Williams' score mostly reprises established themes. The young, fast-growing cast offers ample compensation, however, as does the late Richard Harris in his final screen appearance as Professor Albus Dumbledore. Brimming with cleverness, wonderment, and big-budget splendor, "Chamber" honors the legacy of J.K. Rowling's novels. "--Jeff Shannon"

Harry Potter and the Sorcerer's Stone
Science Fiction & Fantasy Warner Home Video PG
Here's an event movie that holds up to being an event. This filmed version of "Harry Potter and the Sorcerer's Stone", adapted from the wildly popular book by J.K. Rowling, stunningly brings to life Harry Potter's world of Hogwarts, the school for young witches and wizards. The greatest strength of the film comes from its faithfulness to the novel, and this new cinematic world is filled with all the details of Rowling's imagination, thanks to exuberant sets, elaborate costumes, clever makeup and visual effects, and a crème de la crème cast, including Maggie Smith, Richard Harris, Alan Rickman, and more. Especially fine is the interplay between Harry (Daniel Radcliffe) and his schoolmates Ron (Rupert Grint) and Hermione (Emma Watson), as well as his protector, the looming Hagrid (Robbie Coltrane). The second-half adventure--involving the titular sorcerer's stone--doesn't translate perfectly from page to screen, ultimately because of the film's fidelity to the novel; this is a case of making a movie for the book's fans, as opposed to a transcending film. Writer Steve Kloves and director Chris Columbus keep the spooks in check, making this a true family film, and with its resourceful hero wide-eyed and ready, one can't wait for Harry's return. Ages 8 and up. "--Doug Thomas"

High Fidelity
Comedy Walt Disney Home Video R
Transplanted from England to the not-so-mean streets of Chicago, the screen adaptation of Nick Hornby's cult-classic novel "High Fidelity" emerges unscathed from its Americanization, idiosyncrasies intact, thanks to John Cusack's inimitable charm and a nimble, nifty screenplay (cowritten by Cusack). Early-thirtysomething Rob Gordon (Cusack) is a slacker who owns a vintage record shop, a massive collection of LPs, and innumerable top-five lists in his head. At the opening of the film, Rob recounts directly to the audience his all-time top-five breakups--which doesn't include his recent falling out with his girlfriend Laura (Iben Hjejle), who has just moved out of their apartment. Thunderstruck and obsessed with Laura's desertion (but loath to admit it), Rob begins a quest to confront the women who instigated the aforementioned top-five breakups to find out just what he did wrong.
Low on plot and high on self-discovery, "High Fidelity" takes a good 30 minutes or so to find its groove (not unlike Cusack's "Grosse Pointe Blank"), but once it does, it settles into it comfortably and builds a surprisingly touching momentum. Rob is basically a grown-up version of Cusack's character in "Say Anything" (who was told "Don't be a guy--be a man!"), and if you like Cusack's brand of smart-alecky romanticism, you'll automatically be won over (if you can handle Cusack's almost-nonstop talking to the camera). Still, it's hard not to be moved by Rob's plight. At the beginning of the film he and his coworkers at the record store (played hilariously by Jack Black and Todd Louiso) seem like overgrown boys in their secret clubhouse; by the end, they've grown up considerably, with a clear-eyed view of life. Ably directed by Stephen Frears ("Dangerous Liaisons"), "High Fidelity" features a notable supporting cast of the women in Rob's life, including the striking, Danish-born Hjejle, Lisa Bonet as a sultry singer-songwriter, and the triumphant triumvirate of Lili Taylor, Joelle Carter, and Catherine Zeta-Jones as Rob's ex-girlfriends. With brief cameos by Tim Robbins as Laura's new, New Age boyfriend and Bruce Springsteen as himself. "--Mark Englehart"

Hoosiers
Drama Mgm/Ua Studios PG
One of the most rousingly enjoyable sports movies ever made, this small-town drama tells the story of the Hickory Huskers, an underdog basketball team from a tiny Indiana high school that makes it all the way to the state championship tournament. It's a familiar story, but sensitive direction and a splendid screenplay helped make this one of the best films of 1986, highlighted by the superb performances of Gene Hackman as the Huskers' coach, and Oscar nominee Dennis Hopper as the alcoholic father of one of the team's key players. As the drama unfolds we come to realize that many of the characters (including Barbara Hershey as a schoolteacher with whom Hackman falls in love) are recovering from disappointing setbacks, and this depth of character is what makes the otherwise conventional basketball story so richly rewarding. Like "Rocky", "Rudy," and "Breaking Away", this is a quintessentially American movie about beating the odds and rising above one's own limitations. Just try to watch it without cheering! "--Jeff Shannon"

Hot Shots!
Comedy Fox Home Entertainme PG-13
The gang that created "Airplane" and "The Naked Gun" sets its sights on "Top Gun" in this often hilarious spoof starring Charlie Sheen, who previously only inspired laughs with his personal life. He plays Topper Harley, a fighter pilot with an ax to grind: clearing the family name. He gets involved in a relationship with Valerie Golino, a woman with an unusually talented stomach. But his mission is to avenge his father. Lloyd Bridges, late in his career, revealed an aptitude for this kind of silliness, here as a commander who is both incredibly dim and delightfully accident prone. Directed by Jim Abrahams, the film makes fun of a variety of other films as well, from "Dances with Wolves" to "The Fabulous Baker Boys". It was so successful that they all returned in the sequel, "Hot Shots! Part Deux". "--Marshall Fine"

Jaws
Action & Adventure Universal Studios PG
In the vastly overrated 1998 book "Easy Riders, Raging Bulls", author Peter Biskind puts the blame for Hollywood's blockbuster mentality at least partially on Steven Spielberg's box-office success with this adaptation of Peter Benchley's bestselling novel. But you can't blame Spielberg for making a terrific movie, which "Jaws" definitely is. The story of a Long Island town whose summer tourist business is suddenly threatened by great-white-shark attacks on humans bypasses the potboiler trappings of Benchley's book and goes straight for the jugular with beautifully crafted, crowd-pleasing sequences of action and suspense supported by a trio of terrific performances by Roy Scheider (as the local sheriff), Richard Dreyfuss (as a shark specialist), and particularly Robert Shaw (as the old fisherman who offers to hunt the shark down). The sequences on Shaw's boat--as the three of them realize that in fact the shark is hunting "them"--are what entertaining moviemaking is all about. "--Marshall Fine"

The Jerk
Comedy Universal Studios R
Carl Reiner ("Where's Poppa?") brought comic Steve Martin to the screen in this mostly funny 1979 movie about a relentlessly stupid but innocent man, whom we get to know from childhood (where it never occurred to him that he was white as he was raised by a family of black sharecroppers) to romance (where he doesn't quite know what to do with Bernadette Peters). Martin is game as the moron, and this is the kind of film with funny moments people still talk about. The DVD release has production notes, bios, highlights, theatrical trailer, closed captioning, full-screen presentation, and optional Spanish subtitles. "--Tom Keogh"

Jesus Christ Superstar
Musicals & Performing Arts Universal Studios Ho G
Ted Neeley makes for a wimpy looking Jesus in Norman Jewison's screen adaptation of the Andrew Lloyd Webber-Tim Rice "rock opera," which was a smash on stage in the early '70s. Jewison ("Other People's Money") adds some good exterior settings in the desert, but Lloyd Webber and Rice's dialogue-free story (everything is sung, as in a real opera), with its quasi-profundities about the inner demons of principal figures in the life of Christ, is the real hook. Yvonne Elliman sings the show's best-known song, "I Don't Know How to Love Him." "--Tom Keogh"

Jurassic Park
Action & Adventure Universal Studios PG-13
Steven Spielberg's 1993 mega-hit rivals "Jaws" as the most intense and frightening film he'd ever made prior to "Schindler's List", but it was also among his weakest stories. Based on Michael Crichton's novel about an island amusement park populated by cloned dinosaurs, the film works best as a thrill ride with none of the interesting human dynamics of Spielberg's "Jaws". That lapse proves unfortunate, but there's no shortage of raw terror as a rampaging T-rex and nasty raptors try to make fast food out of the cast. The effects are still astonishing (despite the fact that the computer-generated technology has since been improved upon) and at times primeval, such as the sight of a herd of whatever-they-are scampering through a valley. "--Tom Keogh"

King Of Hearts
Foreign Mgm/Ua Studios Unrated
This film was a touchstone of the late 1960s, when it was seen as an antiwar allegory for a world in which madness seemed to reign. Of course, that would probably be true whenever this movie was shown, wouldn't it? Directed by Philippe de Broca and set during World War I, "King of Hearts" stars Alan Bates as a Scottish soldier separated from his unit in France. He wanders into a small French village that has been abandoned by its residents in the face of oncoming combat. Instead, the town is populated by the residents of a nearby insane asylum, whose keepers have fled--a fact that escapes the innocent soldier, who assumes these are the regular folks. A film that celebrates the innocence and wisdom of the insane, even as it questions who the real madmen are. "--Marshall Fine"

La Dolce Vita
Comedy Koch Lorber NR
At three brief hours, "La Dolce Vita", a piece of cynical, engrossing social commentary, stands as Federico Fellini's timeless masterpiece. A rich, detailed panorama of Rome's modern decadence and sophisticated immorality, the film is episodic in structure but held tightly in focus by the wandering protagonist through whom we witness the sordid action. Marcello Rubini (extraordinarily played by Marcello Mastroianni) is a tabloid reporter trapped in a shallow high-society existence. A man of paradoxical emotional juxtapositions (cool but tortured, sexy but impotent), he dreams about writing something important but remains seduced by the money and prestige that accompany his shallow position. He romanticizes finding true love but acts unfazed upon finding that his girlfriend has taken an overdose of sleeping pills. Instead, he engages in an ménage à trois, then frolics in a fountain with a giggling American starlet (bombshell Anita Ekberg), and in the film's unforgettably inspired finale, attends a wild orgy that ends, symbolically, with its participants finding a rotting sea animal while wandering the beach at dawn. Fellini saw his film as life affirming (thus its title, "The Sweet Life"), but it's impossible to take him seriously. While Mastroianni drifts from one worldly pleasure to another, be it sex, drink, glamorous parties, or rich foods, they are presented, through his detached eyes, are merely momentary distractions. His existence, an endless series of wild evenings and lonely mornings, is ultimately soulless and facile. Because he lacks the courage to change, Mastroianni is left with no alternative but to wearily accept and enjoy this "sweet" life. "--Dave McCoy"

A League of Their Own
Comedy Columbia/Tristar Studios PG
Penny Marshall's popular 1992 comedy sheds light on a little-known chapter of American sports history with its story of a struggling team in the All-American Girls Professional Baseball League. The league was formed when the recruiting of soldiers during World War II resulted in a shortage of men's baseball teams. The AAGPBL continued after the war (until 1954), and Marshall's movie depicts the league in full swing, beginning when a savvy baseball scout (Jon Lovitz) finds a pair of promising new players in small-town Oregonian sisters (Geena Davis, Lori Petty). The sisters are signed to play for the Rockford Peaches near Chicago, whose new manager (Tom Hanks) is a former home-run king who wrecked his career with alcoholism. They're all a bunch of underdogs, and Marshall (with a witty script by Lowell Ganz and Babaloo Mandel) does a fine job of establishing a colorful team of supporting players including Madonna and (in her movie debut) Rosie O'Donnell. It's a conventional Hollywood sports story (Marshall's never been one to take dramatic risks), but the stellar cast is delightful, and the movie's filled with memorable moments, witty dialogue, and agreeable sentiment. And just remember: there's no crying in baseball! "--Jeff Shannon"

Led Zeppelin
Music Video & Concerts Wea Corp NR
Exclamations of religious awe are in order. Legendary and long sought-after, this live "Led Zeppelin" collection is nothing less than the rock music equivalent of the Holy Grail. Quite simply, this is what all the fuss was about.

Given that they were the biggest band in the world, Zeppelin were notoriously camera-shy in their heyday. Their official filmic legacy until now has been just the fascinating but flawed "The Song Remains the Same". While this new set presents some previously unseen footage from the same 1973 Madison Square Garden gigs, its real wonders lie in the earlier (1970) Royal Albert Hall footage and the later Earls Court (1975) and Knebworth (1979) concerts. Everything here looks and sounds new-minted, thanks to painstaking restoration and remastering of both audio and visual sources, a Herculean labor of love on the part of co-producer Dick Carruthers working hand-in-glove with Jimmy Page. Trawling through thousands of yards of previously unseen film and unheard tape recordings--some with missing visuals, some with missing audio--Page and Carruthers have chosen only the best possible footage available. They were also at pains to make the segments segue seamlessly so that the viewer is treated to what feels like a continuous concert--just sample the transition from a grainy Super 8 "Immigrant Song" (Sydney, 1972) to "Black Dog" at MSG.

Highlights? It's not hyperbole to say that every powerhouse minute of this collection (some 230 minutes of concert footage plus another hour and a half of extra DVD material) is a rare musical and visual treat. But hearing Page's violin bow work on "Dazed and Confused" in DTS or Dolby 5.1 is an experience not soon forgotten. "--Mark Walker"

The Lord of the Rings - The Fellowship of the Ring
Action & Adventure New Line Home Entertainment PG-13
In every aspect, the extended-edition DVD of Peter Jackson's epic fantasy "The Lord of the Rings: The Fellowship of the Ring" blows away the theatrical-version DVD. No one who cares at all about the film should ever need to watch the original version again. Well, maybe the impatient and the squeamish will still prefer the theatrical version, because the extended edition makes a long film 30 minutes longer and there's a bit more violence (though both versions are rated PG-13). But the changes--sometimes whole scenes, sometimes merely a few seconds--make for a richer film. There's more of the spirit of J.R.R. Tolkien, embodied in more songs and a longer opening focusing on Hobbiton. There's more character development, and more background into what is to come in the two subsequent films, such as Galadriel's gifts to the Fellowship and Aragorn's burden of lineage. And some additions make more sense to the plot, or are merely worth seeing, such as the wood elves leaving Middle-earth or the view of Caras Galadhon (but sorry, there's still no Tom Bombadil). Extremely useful are the chapter menus that indicate which scenes are new or extended.
Of the "four" commentary tracks, the ones with the greatest general appeal are the one by Jackson and cowriters Fran Walsh and Philippa Boyens, and the one by 10 cast members, but the more technically oriented commentaries by the creative and production staff are also worth hearing. The bonus features (encompassing two complete DVDs) are far superior to the largely promotional materials included on the theatrical release, delving into such matters as script development, casting, and visual effects. The only drawback is that the film is now spread over two discs, with a somewhat abrupt break following the council at Rivendell, due to the storage capacity required for the longer running time, the added DTS ES 6.1 audio, and the commentary tracks. But that's a minor inconvenience. Whether in this four-disc set or in the collector's gift set (which adds Argonath bookends and a DVD of "National Geographic Beyond the Movie: The Lord of the Rings: The Fellowship of the Ring"), the extended-edition DVD is the "Fellowship" DVD to rule them all. "--David Horiuchi"

The Lord of the Rings - The Two Towers
Action & Adventure New Line Home Entertainment PG-13
The extended edition of "The Lord of the Rings: The Fellowship of the Ring" was perhaps the most comprehensive DVD release to date, and its follow-up proves a similarly colossal achievement, with significant extra footage and a multitude of worthwhile bonus features. The extended version of "The Two Towers" adds 43 minutes to the theatrical version's 179-minute running time, and there are valuable additions to the film. Two new scenes might appease those who feel that the characterization of Faramir was the film's most egregious departure from the book, and fans will appreciate an appearance of the Huorns at Helm's Deep plus a nod to the absence of Tom Bombadil. Seeing a little more interplay between the gorgeous Eowyn and Aragorn is welcome, as is a grim introduction to Eomer and Theoden's son. And among the many other additions, there's an extended epilogue that might not have worked in the theater, but is more effective here in setting up "The Return of the King". While the 30 minutes added to "The Fellowship of the Ring" felt just right in enriching the film, the extra footage in "The Two Towers" at times seems a bit extraneous--we "see" moments that in the theatrical version we had been told about, and some fleshed-out conversations and incidents are rather minor. But director Peter Jackson's vision of J.R.R. Tolkien's world is so marvelous that it's hard to complain about any extra time we can spend there.
While it may seem that there would be nothing left to say after the bevy of features on the extended "Fellowship", the four commentary tracks and two discs of supplements on "The Two Towers" remain informative, fascinating, and funny, far surpassing the recycled materials on the two-disc theatrical version. Highlights of the 6.5 hours' worth of documentaries offer insight on the stunts, the design work, the locations, and the creation of Gollum, and--most intriguing for rabid fans--the film's writers (including Jackson) discuss why they created events that weren't in the book. Providing variety are animatics, rough footage, countless sketches, and a sound-mixing demonstration. Again, the most interesting commentary tracks are by Jackson and writers Fran Walsh and Philippa Boyens and by 16 members of the cast (eight of whom didn't appear in the first film, and even including John Noble, whose Denethor character only appears in this extended cut). The first two installments of Peter Jackson's trilogy have established themselves as the best fantasy films of all time, and among the best film trilogies of all time, and their extended-edition DVD sets have set a new standard for expanding on the already-epic films and providing comprehensive bonus features. "--David Horiuchi"

Lost In Translation
Comedy Universal Studios R
Like a good dream, Sofia Coppola's "Lost in Translation" envelops you with an aura of fantastic light, moody sound, head-turning love, and a feeling of déjà vu, even though you've probably never been to this neon-fused version of Tokyo. Certainly Bob Harris has not. The 50-ish actor has signed on for big money shooting whiskey ads instead of doing something good for his career or his long-distance family. Jetlagged, helplessly lost with his Japanese-speaking director, and out of sync with the metropolis, Harris (Bill Murray, never better) befriends the married but lovelorn 25-year-old Charlotte (played with heaps of poise by 18-year-old Scarlett Johansson). Even before her photographer husband all but abandons her, she is adrift like Harris but in a total entrapment of youth. How Charlotte and Bill discover they are soul mates will be cherished for years to come. Written and directed by Coppola ("The Virgin Suicides"), the film is far more atmospheric than plot-driven: we whiz through Tokyo parties, karaoke bars, and odd nightlife, always ending up in the impossibly posh hotel where the two are staying. The wisps of bittersweet loneliness of Bill and Charlotte are handled smartly and romantically, but unlike modern studio films, this isn't a May-November fling film. Surely and steadily, the film ends on a much-talked-about grace note, which may burn some, yet awards film lovers who "always had Paris" with another cinematic destination of the heart. "--Doug Thomas"

Love Actually
Foreign Universal Studios R
With no fewer than eight couples vying for our attention, "Love Actually" is like the Boston Marathon of romantic comedies, and everybody wins. Having mastered the genre as the writer of "Four Weddings and a Funeral", "Notting Hill", and "Bridget Jones's Diary", it appears that first-time director Richard Curtis is just like his screenplays: He just wants to be loved, and he'll go to absurdly appealing lengths to win our affection. With "Love Actually", Curtis orchestrates a minor miracle of romantic choreography, guiding a brilliant cast of stars and newcomers as they careen toward love and holiday cheer in London, among them the Prime Minister (Hugh Grant) who's smitten with his caterer; a widower (Liam Neeson) whose young son nurses the ultimate schoolboy crush; a writer (Colin Firth) who falls for his Portuguese housekeeper; a devoted wife and mother (Emma Thompson) coping with her potentially unfaithful husband (Alan Rickman); and a lovelorn American (Laura Linney) who's desperately attracted to a colleague. There's more--too much more--as Curtis wraps his Christmas gift with enough happy endings to sweeten a dozen other movies. That he pulls it off so entertainingly is undeniably impressive; that he does it so shamelessly suggests that his writing fares better with other, less ingratiating directors. "--Jeff Shannon"

The Matrix
Action & Adventure Warner Studios R
By following up their debut thriller "Bound" with the 1999 box-office smash "The Matrix", the codirecting Wachowski brothers--Andy and Larry--annihilated any suggestion of a sophomore jinx, crafting one of the most exhilarating sci-fi/action movies of the 1990s. Set in the not too distant future in an insipid, characterless city, we find a young man named Neo (Keanu Reeves). A software techie by day and a computer hacker by night, he sits alone at home by his monitor, waiting for a sign, a signal--from what or whom he doesn't know--until one night, a mysterious woman named Trinity (Carrie-Anne Moss) seeks him out and introduces him to that faceless character he has been waiting for: Morpheus (Laurence Fishburne). A messiah of sorts, Morpheus presents Neo with the truth about his world by shedding light on the dark secrets that have troubled him for so long: "You've felt it your entire life, that there's something wrong with the world. You don't know what it is, but it's there, like a splinter in your mind, driving you mad." Ultimately, Morpheus illustrates to Neo what the Matrix is--a reality beyond reality that controls all of their lives, in a way that Neo can barely comprehend.
Neo thus embarks on an adventure that is both terrifying and enthralling. Pitted against an enemy that transcends human concepts of evil, Morpheus and his team must train Neo to believe that he is the chosen champion of their fight. With mind-boggling, technically innovative special effects and a thought-provoking script that owes a debt of inspiration to the legacy of cyberpunk fiction, this is much more than an out-and-out action yarn; it's a thinking man's journey into the realm of futuristic fantasy, a dreamscape full of eye candy that will satisfy sci-fi, kung fu, action, and adventure fans alike. Although the film is headlined by Reeves and Fishburne--who both turn in fine performances--much of the fun and excitement should be attributed to Moss, who flawlessly mixes vulnerability with immense strength, making other contemporary female heroines look timid by comparison. And if we were going to cast a vote for most dastardly movie villain of 1999, it would have to go to Hugo Weaving, who plays the feckless, semipsychotic Agent Smith with panache and edginess. As the film's box-office profits soared, the Wachowski brothers announced that "The Matrix" is merely the first chapter in a cinematically dazzling franchise--a chapter that is arguably superior to the other sci-fi smash of 1999 (you know... the one starring Jar Jar Binks). "--Jeremy Storey"

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

Me, Myself & Irene
Comedy Twentieth Century Fox Home Video R
In "Me, Myself & Irene", Jim Carrey plays Charlie Baileygates, a cop for the best police force in the world (Rhode Island). In denial about his wife's affair, he's a nice guy who goes around trying to do the right thing but is taken advantage of every step of the way. Instead of confronting people, he takes the abuse, balls it up, and hides it in the pit of his stomach. His psyche can only take so much, though, and soon his alter-ego Hank pops out to do every libidinous thing Charlie would never do. It's a great premise for a Jim Carrey film. Unfortunately, it's not a great Jim Carrey film. Famous for the lowbrow, shock comedies like "Dumb and Dumber", "Kingpin", and "There's Something About Mary", here the Farrelly brothers get lost in a series of lazy gags and an even lazier plot about some evil golf development and the woman, Irene (Renée Zellweger), who needs to be protected because she knows something about it. Some of the jokes hit (there's a bathroom scene that's 10 times funnier than the hair-gel gag in "There's Something About Mary"), but many more miss. There are some great concepts (his three sons are hip-hop geniuses) that don't go anywhere (they swear a lot). It's like the movie itself has a split personality--funny ideas trapped in a less-than-funny film. "--Andy Spletzer"

Meet the Parents
Comedy Universal Studios Ho PG-13
Randy Newman's opening song, "A Fool in Love," perfectly sets up the movie that follows. The lyrics begin, "Show me a man who is gentle and kind, and I'll show you a loser," before praising the man who takes what he wants. Greg Focker (Ben Stiller) is the fool in love in "Meet the Parents". Just as he's about to propose to his girlfriend Pam (Teri Polo), he learns that her sister's fiancé asked their father, Jack Byrnes (Robert De Niro), for permission to marry. Now he feels the need to do the same thing. When Greg meets Jack, he is so desperate to be liked that he makes up stories and kisses ass rather than having the courage of his convictions. It doesn't take an elite member of the CIA to see right through Greg, but that's precisely what Jack is. Directed by Jay Roach (the "Austin Powers" movies), "Meet the Parents" is an incredibly well-crafted comedy that stands in nice opposition to, say, the sloppy extremes of the Farrelly brothers. Stiller is great at playing up the uncomfortable comedy of errors, balancing just the right amount of selfishness and self-deprecating humor, while De Niro's Jack is funny as the hard-ass father who just wants a few straight answers from the kid. What makes the Jack character all the funnier is Blythe Danner as his wife, the Gracie to his George Burns, who is the true heart of the movie. Oh, and Owen Wilson turns in yet another terrific comic performance as Pam's ex-fiancé. "--Andy Spletzer"

Mephisto
Foreign Anchor Bay Entertainment Unrated
This film is one of rich colors and sensual decadence. The exact opposite of Bresson it seems. One thing I find ironic about this film, which i think is the greatest German language film ever made, is that the director himself is Hungarian and Brandauer, who gives a great performance, is from Austria. But by being a film made by a non-German as it is we can have a much more frank view of Nazism and how it evolved into a cancer of callous brutality, so well represented by the corpulent Goering figure that both patronizes and and spiritually sodomizes Branduaer's character. This looks at Nazism as gangsterism, which it very much was in its early years, yet Szabo skillfully conveys what an even greater horror this movement will evolve into by 1939. At a closer level it is also a veiled criticism of the Communist regimes in eastern europe. Both regimes imposed their own nationalist art on their societies and excluded outside influence, they became closed self serving societies with no interest in cooperation and openess. Yet the Nazism in this film is seen as they greatest evil ever to plauge europe in this century. lets hope nothing like nazism ever happens again.

Michael Jordan to the Max
Kids & Family Twentieth Century Fox NR
The greatest basketball player of all time gets an appropriate clip reel in this 45-minute documentary, which was originally released in the IMAX format. While you can't simulate IMAX's 80-foot-high screen in your living room, you can still get the thrills and awe-inspiring footage of this tribute to one man's talent and endurance. Much of the original footage was shot during the 1997 NBA Finals between the Chicago Bulls and the Utah Jazz. With great behind-the-scenes footage and terrific game material, the film gets close to Jordan in practice and on the court. And the film includes a number of greatest hits, including his commercials and most memorable dunks. Still, while there are intriguing interviews with everyone from former Bulls coach Phil Jackson to professional Jordan hanger-on Bob Greene, this film seems a little self-serving at times (Jordan's company coproduced it). Also, some key voices from that team are conspicuously absent, including Scottie Pippen, Dennis Rodman, and Ron Harper. In the end, however, it's all about the highlights--and Jordan's career (and his NBA finale) was one long one. "--Marshall Fine"

Minority Report
Action & Adventure Universal Studios PG-13
Set in the chillingly possible future of 2054, Steven Spielberg's "Minority Report" is arguably the most intelligently provocative sci-fi thriller since "Blade Runner". Like Ridley Scott's "future noir" classic, Spielberg's gritty vision was freely adapted from a story by Philip K. Dick, with its central premise of "Precrime" law enforcement, totally reliant on three isolated human "precogs" capable (due to drug-related mutation) of envisioning murders before they're committed. As Precrime's confident captain, Tom Cruise preempts these killings like a true action hero, only to run for his life when he is himself implicated in one of the precogs' visions. Inspired by the brainstorming of expert futurists, Spielberg packs this paranoid chase with potential conspirators (Max Von Sydow, Colin Farrell), domestic tragedy, and a heartbreaking precog pawn (Samantha Morton), while Cruise's performance gains depth and substance with each passing scene. Making judicious use of astonishing special effects, "Minority Report" brilliantly extrapolates a future that's utterly convincing, and too close for comfort. "--Jeff Shannon"

Monty Python and the Holy Grail
Comedy Columbia Tri-Star PG
Could this be the funniest movie ever made? By any rational measure of comedy, this medieval romp from the Monty Python troupe certainly belongs on the short list of candidates. According to "Leonard Maltin's Movie & Video Guide", it's "recommended for fans only," but we say hogwash to that--you could be a complete newcomer to the Python phenomenon and still find this send-up of the Arthurian legend to be wet-your-pants hilarious. It's basically a series of sketches woven together as King Arthur's quest for the Holy Grail, with Graham Chapman as the King, Terry Gilliam as his simpleton sidekick Patsy, and the rest of the Python gang filling out a variety of outrageous roles. The comedy highlights are too numerous to mention, but once you've seen Arthur's outrageously bloody encounter with the ominous Black Knight (John Cleese), you'll know that nothing's sacred in the Python school of comedy. From holy hand grenades to killer bunnies to the absurdity of the three-headed knights who say "Ni--!," this is the kind of movie that will strike you as fantastically funny or just plain silly, but why stop there? It's all over the map, and the pace lags a bit here and there, but for every throwaway gag the Pythons have invented, there's a bit of subtle business or grand-scale insanity that's utterly inspired. The sum of this madness is a movie that's beloved by anyone with a pulse and an irreverent sense of humor. If this movie doesn't make you laugh, you're almost certainly dead. "--Jeff Shannon"

Mostly Martha
Foreign Paramount Home Video PG
"Mostly Martha" is a rich addition to the recent banquet of movies about food. Martha (Martina Gedeck), the domineering chef at a fancy restaurant, has her rigid routine broken when her sister dies in a car wreck, leaving behind her 9-year-old daughter Lina (Maxime Foerste). Martha takes the girl in, but has no gift for maternal expression; she offers Lina food, but Lina refuses to eat. Meanwhile, her control over her kitchen is threatened when her boss hires a buoyant Italian named Mario (Sergio Castellitto) to assist, and Martha finds herself flailing in an effort to reestablish control of her life. While "Mostly Martha" may not hold many surprises, the writing, direction, and particularly the acting are as sumptuous and sensual as the cooking and eating. The relationship between Martha and Lina is portrayed with all its awkwardness and complications intact; the result is wonderfully affecting. "--Bret Fetzer"

My Cousin Vinny
Comedy Twentieth Century Fox R
When two Italian-American boys from New York are falsely accused of murder in a small Alabama town, they call for a lawyer--but the only lawyer they know is their cousin Vinny (Joe Pesci), who made six attempts before he passed his bar exam. "My Cousin Vinny" is a classic fish-out-of-water comedy; the flimsy plot about clearing the two boys and solving the murder is just a hook to support a lot of culture-clash humor. Thanks to the strong cast of character actors like Fred Gwynne, Austin Pendleton, and Lane Smith, it's pretty funny--even old-hat jokes about Brooklyn versus Southern accents come to life. Pesci has played a few too many schticky characters, but this time it works. There's just enough humanity in his caricature to make Vinny likable and entertaining. When the movie was released, there was controversy about whether Marisa Tomei, playing Vinny's big-haired and black-leather-wearing fiancée, deserved to win the best supporting actress Oscar (she beat out Judy Davis, Joan Plowright, Miranda Richardson, and Vanessa Redgrave); but seeing her performance on its own, it's a comic marvel and worthy of honor. "--Bret Fetzer"

The Natural
Drama Columbia/Tristar Studios PG
From the sun-dappled heartland, a young man (Robert Redford, in soft lighting) emerges as maybe the best baseball player anybody's ever seen. On his way to the majors, he is cut down by an enigmatic black widow (Barbara Hershey) and vanishes for many years. When he reemerges, a silent mystery, he lands a spot with the New York team and begins tearing up the league--he's still the natural. Fans of the Bernard Malamud novel will be dismayed at the pure mythical hokum of this film, but baseball fanatics have been known to watch and rewatch this one; after all, it's constructed as a kind of shrine to the national pastime. Barry Levinson ("Rain Man") directs the movie with an unabashed devotion to the game, although the film could use more of the realities of chewing tobacco and pine tar. Redford is fine, and Kim Basinger and Oscar-nominated Glenn Close are effective as the women in his life. The crowning touch is the soaring, extraordinary music by Randy Newman, the singer-songwriter turned orchestral composer. "--Robert Horton"

North by Northwest
Mystery & Suspense Warner Home Video NR
A strong candidate for the most sheerly entertaining and enjoyable movie ever made by a Hollywood studio (with "Citizen Kane", "Only Angels Have Wings" and "Trouble in Paradise" running neck and neck). Positioned between the much heavier and more profoundly disturbing "Vertigo" (1958) and the stark horror of "Psycho" (1960), "North by Northwest" (1959) is Alfred Hitchcock at his most effervescent in a romantic comedy-thriller that also features one of the definitive Cary Grant performances. Which is not to say that this is just "Hitchcock Lite"; seminal Hitchcock critic Robin Wood (in his book "Hitchcock's Films Revisited") makes an airtight case for this glossy MGM production as one of The Master's "unbroken series of masterpieces from "Vertigo" to "Marnie"." It's a classic Hitchcock Wrong Man scenario: Grant is Roger O. Thornhill (initials ROT), an advertising executive who is mistaken by enemy spies for a U.S. undercover agent named George Kaplan. Convinced these sinister fellows (James Mason as the boss, and Martin Landau as his henchman) are trying to kill him, Roger flees and meets a sexy Stranger on a Train (Eva Marie Saint), with whom he engages in one of the longest, most convolutedly choreographed kisses in screen history. And, of course, there are the famous set pieces: the stabbing at the United Nations, the crop-duster plane attack in the cornfield (where a pedestrian has no place to hide), and the cliffhanger finale atop the stone faces of Mount Rushmore. Plus a sparkling Ernest Lehman script and that pulse-quickening Bernard Herrmann score. What more could a moviegoer possibly desire? "--Jim Emerson"

October Sky
Drama Universal Studios PG
Based on the memoir "Rocket Boys" by Homer H. Hickam Jr., "October Sky" emerged as one of the most delightful sleepers of 1999--a small miracle of good ol' fashioned movie-making in the cynical, often numbingly trendy Hollywood of the late 20th century. Hickam's true story begins in 1957 with Russia's historic launch of the "Sputnik" satellite, and while Homer (played with smart idealism by Jake Gyllenhaal) sees Sputnik as his cue to pursue a fascination with rocketry, his father (Chris Cooper) epitomizes the admirable yet sternly stubborn working-man's ethic of the West Virginia coal miner, casting fear and disdain on Homer's pursuit of science while urging his "errant" son to carry on the family business--a spirit-killing profession that Homer has no intention of joining.
As directed by Joe Johnston ("The Rocketeer"), this wonderful movie is occasionally guilty of overstating its case and sacrificing subtlety for predictable melodrama. But more often the film's tone is just right, and the spirit of adventure and invention is infectiously conveyed through Gyllenhaal and his well-cast fellow rocketeers, whose many failures gradually lead to triumph on their makeshift backwoods launching pad. Capturing time and place with impeccable detail and superbly developed characters (including Laura Dern as an inspiring schoolteacher), "October Sky" is a family film for the ages, encouraging the highest potential of the human spirit while giving viewers a clear view of a bygone era when "the final frontier" beckoned to the explorer in all of us. "--Jeff Shannon"

Of Mice And Men
Drama MGM/UA Video PG-13
A strong argument favors Gary Sinise's 1992 "Of Mice and Men" over the classic 1939 version that critics have historically preferred. As adapted by the great playwright-screenwriter Horton Foote, John Steinbeck's Depression-era masterpiece comes alive with timeless simplicity, more candid in language and behavior, and therefore more honest in its embrace of Steinbeck's beloved pair of lowly dreamers George (Sinise) and his retarded cousin Lennie (John Malkovich). On the lam, they find work as farmhands, joining a close-knit crew and trying to avoid trouble stirred by the dangerously seductive wife (Sherilyn Fenn) of the boss's sadistic son (Casey Siemaszko). There's not a false note or bad performance in the entire film; as veterans of Chicago's acclaimed Steppenwolf Theater, Malkovich and Sinise possess the compassionate chemistry that makes George and Lennie inseparable until the tragic, inevitable final scene. As director, Sinise serves the material with no-frills fidelity; it's easy to believe that Steinbeck would have approved. "--Jeff Shannon"

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

One Flew over the Cuckoo's Nest
Comedy Warner Studios R
One of the key movies of the 1970s, when exciting, groundbreaking, personal films were still being made in Hollywood, Milos Forman's "One Flew over the Cuckoo's Nest" emphasized the humanistic story at the heart of Ken Kesey's more hallucinogenic novel. Jack Nicholson was born to play the part of Randle Patrick McMurphy, the rebellious inmate of a psychiatric hospital who fights back against the authorities' cold attitudes of institutional superiority, as personified by Nurse Ratched (Louise Fletcher). It's the classic antiestablishment tale of one man asserting his individuality in the face of a repressive, conformist system--and it works on every level. Forman populates his film with memorably eccentric faces, and gets such freshly detailed and spontaneous work from his ensemble that the picture sometimes feels like a documentary. Unlike a lot of films pitched at the "youth culture" of the 1970s, "One Flew over the Cuckoo's Nest" really hasn't dated a bit, because the qualities of human nature that Forman captures--playfulness, courage, inspiration, pride, stubbornness--are universal and timeless. The film swept the Academy Awards for 1976, winning in all the major categories (picture, director, actor, actress, screenplay) for the first time since Frank Capra's "It Happened One Night" in 1931. "--Jim Emerson"

Outside Providence
Comedy Miramax Home Entertainment R
"Outside Providence" was written by the Farrelly Brothers, known for the outrageous comedies "Dumb and Dumber", "Kingpin", and "There's Something About Mary". On the surface, "Outside Providence" seems to be of the same ilk--there's a three-legged, one-eyed dog, physical humor with a kid in a wheelchair, and a character nicknamed Jiz, among other things. But despite all that, the movie is an almost-gentle coming-of-age comedy, something like a suburban New England "Amarcord" with a lot of unrepentant drug humor. The plot doesn't sound promising: pothead Tim Dunphy (Shawn Hatosy) gets sent to prep school by his father (Alec Baldwin), who wants to keep him out of trouble. But a fair amount of smoking and boozing goes on at that school, too, despite the watchful eye of the administrators. Dunphy also falls for Jane (Amy Smart), a richer and smarter girl whom he wins over. All this could just as easily be the plot of some mediocre "Porky's" rip-off, but the Farrelly Brothers' script has the grit of real experience, while the direction (by Michael Corrente) and acting carefully avoid smirks and easy gags; the movie is funnier for it. Baldwin initially seems miscast, but over the course of the film delivers a solid performance; Hatosy and Smart are sincere and unaffected. The result is a low-key, modest, but genuinely affecting movie about surmounting class differences and coping with loss--that also has a lot of jokes that push the boundaries of political correctness. Quite a balancing act. "--Bret Fetzer"

PCU
Comedy Fox Home Entertainme PG-13
Almost 10 years before playing a by-the-books college dean in "Old School", Jeremy Piven was King Slob of an underground fraternity in this frequently amusing cult comedy. Piven is Droz, who introduces nervous freshman Chris Young to his eclectic frat-mates (which include Jon Favreau) while steering clear of vicious prepster David Spade and malevolent school head Jessica Walter. Piven's off-the-cuff humor and the capable cast help anchor the film's gleefully anarchic tone, which is refreshingly free of the cheap scatological gags that usually sink collegiate comedies. The result is a breezy, likable comedy that should please fans of cinematic campus capers. 20th Century Fox's surprisingly extra-laden DVD includes fullscreen and widescreen versions of the film, as well as commentaries by a typically wry Piven and director Hart Bochner; a short behind-the-scenes featurette; a video for Mudhoney's cover of Elvis Costello's "Pump It Up," which is featured on the soundtrack, and the original theatrical trailer. "--Paul Gaita"

Pleasantville
Comedy New Line Home Entertainment PG-13
Fantastical writer Gary Ross ("Big", "Dave") makes an auspicious directorial debut with this inspired and oddly touching comedy about two '90s kids (Tobey Maguire and Reese Witherspoon) thrust into the black-and-white TV world of "Pleasantville", a "Leave It to Beaver"-style sitcom complete with picket fences, corner malt shop, and warm chocolate chip cookies. When a somewhat unusual remote control (provided by repairman Don Knotts) transports them from the jaded real world to G-rated TV land, Maguire and Witherspoon are forced to play along as Bud and Mary Sue, the obedient children of George and Betty Parker (William H. Macy and Joan Allen). Maguire, an obsessive "Pleasantville" devotee, understands the need for not toppling the natural balance of things; Witherspoon, on the other hand, starts shaking the town up, most notably when she takes football stud Skip (Paul Walker) up to Lover's Lane for some modern-day fun and games. Soon enough, Pleasantville's teens are discovering sex along with--gasp!--rock & roll, free thinking, and soul-changing Technicolor. Filled with delightful and shrewd details about sitcom life (no toilets, no double beds, only two streets in the town), "Pleasantville" is a joy to watch, not only for its comedy but for the groundbreaking visual effects and astonishing production design as the town gradually transforms from crisp black and white to glorious color. Ross does tip his hand a bit about halfway through the film, obscuring the movie's basic message of the unpredictability of life with overloaded and obvious symbolism, as the black-and-white denizens of the town gang up on the "coloreds" and impose rules of conduct to keep their strait-laced town laced up. Still, the characterizations from the phenomenal cast--especially repressed housewife Allen and soda-shop owner Jeff Daniels, doing some of their best work ever--will keep you emotionally invested in the film's outcome, and waiting to see Pleasantville in all its final Technicolor glory. "--Mark Englehart"

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

Pumping Iron
Documentary Warner Home Video PG
Arnold Schwarzenegger works the crowds, plots strategies for defeating multiple opponents, shares his parents' values with the press, and inspires legions of admirers with his resolute optimism about the future. And all of this long "before" he decided to run for governor of California, in 1977's hit documentary, "Pumping Iron". Larger than life, though not necessarily larger than his rivals for the Mr. Universe and Mr. Olympia bodybuilding titles (especially a young Lou Ferrigno, hot on Arnold's competitive trail but much less interesting), Schwarzenegger still comes across, at age 28, as a consummate politician, smart, likable, and crafty about exploiting others' psychological weaknesses. The film still feels redundant (there's only so much beefcake the human eye will tolerate), but the emotional dramas--the unrewarded hard work, the unanswered hopes--are compelling. Complete with a revealing 2003 interview with Schwarzenegger and a reunion of the film's bodybuilders and director. "--Tom Keogh"

Punch-Drunk Love
Comedy Columbia Tri-Star R
Adam Sandler takes a shot at critical respectability with "Punch-Drunk Love", a movie by director Paul Thomas Anderson ("Boogie Nights", "Magnolia"). Sandler plays Barry Egan, a lonely small businessman who calls a phone sex line one night, only to find himself the victim of an extortion scheme the next day--the very same day on which he goes out on a date with the woman who may be the love of his life (the utterly delightful Emily Watson). Barry is a lot like Sandler's popular comic characters--socially maladept, prone to violence, always on the brink of embarrassment--but here Sandler plays it real; the result is both off-putting and sympathetic. Anderson's writing skills, unfortunately, are not as strong as his visual sense. "Punch-Drunk Love" has many strengths (including great supporting actors Philip Seymour Hoffman and Luis Guzmán), but ultimately fizzles out. "--Bret Fetzer"

Putney Swope
Comedy Rhino Video R
If you're looking for a movie that shocked the filmgoing public with its outspoken take on race relations in corporate America circa 1969, look no further than this Robert Downey debut effort. Made on a shoestring in black and white, this film begins with a wonderful moment of racial discomfort. The board of directors at a Madison Avenue ad agency must elect a new chairman, and, in the maneuvering to make sure that enemies don't get votes, all the board members accidentally cast their ballot for the board's token black man, Putney Swope (Arnold Johnson). Swope immediately cleans house and transforms the agency into New York's hippest shop with a Black Power mentality and a willingness to tell previously unspoken truths in advertising. Though it looks dated today, it is a fascinating time capsule of the period and still contains its share of outrageous laughs. "--Marshall Fine"

Rain Man
Drama Metro-Goldwyn-Mayer R
"Rain Man" is the kind of touching drama that Oscars are made for--and, sure enough, the film took Academy honors for best picture, director, screenplay, and actor (Dustin Hoffman) in 1988. Hoffman plays Raymond, an autistic savant whose late father has left him $3 million in a trust. This gets the attention of his materialistic younger brother, a hot-shot LA car dealer named Charlie (Tom Cruise) who wasn't even aware of Raymond's existence until he read his estranged father's will. Charlie picks up Raymond and takes him on a cross-country journey that becomes a voyage of discovery for Charlie, and, perhaps, for Raymond, too. "Rain Man" will either captivate you or irritate you (Raymond's sputtering of repetitious phrases is enough to drive anyone crazy), but it is obviously a labor of love for those involved. Hoffman had been attached to the film for many years, as various directors and writers came and went, but his persistence eventually paid off--kind of like Raymond in Las Vegas. Look for director Barry Levinson in a cameo as a psychiatrist near the end of the film. "--Jim Emerson"

Real Genius
Comedy Columbia Tristar Hom PG
An underrated little picture, "Real Genius" offers a rare college comedy that doesn't rely on gross-out humor--and a look at Val Kilmer before he turned into a star. A high school whiz kid (Gabriel Jarret) arrives at a brainy college, where the crème de la crème of the science students are marshaled under an ambitious professor (expert villain William Atherton). Unbeknownst to them, the kids are working on a weapons system that the prof plans on selling to the government. The star student, and chief rabble-rouser, is played by Kilmer, in good early form as a cocky genius who hasn't lost touch with his goofy side. The director is Martha Coolidge, whose "Valley Girl" was one of the brightest (and most unexpected) of '80s comedies; she keeps the movie perking along and never worries about dumbing down a film that just happens to be about smart people. "--Robert Horton"

Requiem for a Dream
Drama Artisan Entertainment R
Employing shock techniques and sound design in a relentless sensory assault, "Requiem for a Dream" is about nothing less than the systematic destruction of hope. Based on the novel by Hubert Selby Jr., and adapted by Selby and director Darren Aronofsky, this is undoubtedly one of the most effective films ever made about the experience of drug addiction (both euphoric and nightmarish), and few would deny that Aronofsky, in following his breakthrough film "Pi", has pushed the medium to a disturbing extreme, thrusting conventional narrative into a panic zone of traumatized psyches and bodies pushed to the furthest boundaries of chemical tolerance. It's too easy to call this a cautionary tale; it's a guided tour through hell, with Aronofsky as our bold and ruthless host.
The film focuses on a quartet of doomed souls, but it's Ellen Burstyn--in a raw and bravely triumphant performance--who most desperately embodies the downward spiral of drug abuse. As lonely widow Sara Goldfarb, she invests all of her dreams in an absurd self-help TV game show, jolting her bloodstream with diet pills and coffee while her son Harry (Jared Leto) shoots heroin with his best friend Tyrone (Marlon Wayans) and slumming girlfriend Marion (Jennifer Connelly). They're careening toward madness at varying speeds, and Aronofsky tracks this gloomy process by endlessly repeating the imagery of their deadly routines. Tormented by her dietary regime, Sara even imagines a carnivorous refrigerator in one of the film's most memorable scenes. And yet... does any of this have a point? Is Aronofsky telling us anything that any sane person doesn't already know? "Requiem for a Dream" is a noteworthy film, but watching it twice would qualify as masochistic behavior. "--Jeff Shannon"

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

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

Road Trip
Comedy Dreamworks Skg Unrated
"Road Trip" is a mostly agreeable, by-the-numbers teen flick with a handful of inspired sequences, most of them involving MTV's resident disturbed soul, Tom Green. It concerns a sleepy University of Ithaca student named Josh (Breckin Meyer) who accidentally mails a video of his sexual encounter with an infatuation (Amy Smart) to his longtime girlfriend (Rachel Blanchard), who's seemingly avoiding him while at school in Austin, Texas. Naturally, he recruits some buddies--Seann William Scott as the lech, D.J. Qualls as the hopeless nerd, and Paulo Costanzo as the doper genius--to hit the open highway and intercept the package. Even more naturally, mayhem ensues: A car explodes, a bus is stolen, a nerd is deflowered, French toast is horribly violated, and an elderly man bogarts both pot and Viagra.
The film's humor is more democratic than politically correct, as everyone--women and minority characters, not just the hipster white guys--have a hand in the high jinks. Green plays Barry Manilow (no, not that one), a professional student (eight years and counting)--he relates the film's story to skeptical prospective students while leading them on a tour of the college--and thrill-seeking dork extraordinaire. In particular, in an already justly famous sequence of scenes, he sadistically anticipates and endeavors to accelerate a mouse's demise at the jaws of a python. It's very much in the vein of "American Pie", perhaps a smidgen tamer, but at least its characters don't really learn any dopey lessons in the end. Director and coscreenwriter Todd Phillips, who earlier made the much-questioned documentary "Frat House", again proves he's more adept at staging fictional comic sequences than real ones. "--David Kronke"

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

Roxanne
Comedy Columbia/Tristar Studios PG
In 1987, almost a hundred years after its first production, the romantic story of Cyrano de Bergerac found new life in a winsome film written by Steve Martin. "Roxanne" updates the tale with a smart '80s spin, yet writer-star Martin stays close to the old-fashioned heart of the matter. He plays a small-town firefighter named C.D. Bales, whose otherwise unremarkable existence is crowned by an amazingly long nose. He falls for the world's most beautiful astronomer (Daryl Hannah), but he is embarrassed by the size of his proboscis and prefers to stay on the sidelines. Like Cyrano, the shy C.D. instead helps a handsome friend (Rick Rossovich) woo the fair lady by providing flowery sentiments and soulful poetry. Not only does the story still work, but Australian director Fred Schepisi captures a dreamy grace in his visual design for the film (some of which will be lost without the widescreen format). Set in Washington State, but filmed in the hilly ski resort of Nelson, British Columbia, the location seems like a fairy-tale town, nearly as unreal as Steve Martin's nose. "--Robert Horton"

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

Rudy
Drama Columbia/Tristar Studios PG
This 1993 film by David Anspaugh ("Hoosiers") is slowly building a reputation as a minor highlight of '90s movies. Based on a true story, "Rudy" stars Sean Astin as Rudy Ruettiger, a blue-collar kid whose father (Ned Beatty) worships Notre Dame football but who would never dare to dream that any of his sons could be a part of the team. The film is entirely about Ruettiger's ceaseless if sometimes wavering commitment toward that goal, despite tremendous obstacles in physical stature, education requirements, the dismissiveness of coaches, poverty, his father's envy, and endless delays of one kind or another. This is the sort of film that looks back on a life and says the battle was its own reward, not the glory. Astin is very moving as a boy who becomes a man and watches his world change, often in unexpected ways, through painful determination. Great support from Beatty, Lili Taylor as a hometown girl, and Robert Prosky and Charles S. Dutton as two valuable mentors. "--Tom Keogh"

Run Lola Run
Foreign Columbia/Tristar Studios R
It's difficult to create a film that's fast paced, exciting, and aesthetically appealing without diluting its dialogue. "Run Lola Run", directed and written by Tom Tykwer, is an enchanting balance of pace and narrative, creating a universal parable that leaps over cultural barriers. This is the story of young Lola (Franka Potente) and her boyfriend Manni (Moritz Bleibtreu). In the space of 20 minutes, they must come up with 100,000 deutsche marks to pay back a seedy gangster, who will be less than forgiving when he finds out that Manni incompetently lost his cash to an opportunistic vagrant. Lola, confronted with one obstacle after another, rides an emotional roller coaster in her high-speed efforts to help the hapless Manni--attempting to extract the cash first from her double-dealing father (appropriately a bank manager), and then by any means necessary. From this point nothing goes right for either protagonist, but just when you think you've figured out the movie, the director introduces a series of brilliant existential twists that boggle the mind. Tykwer uses rapid camera movements and innovative pauses to explore the theme of cause and effect. Accompanied by a pulse-pounding soundtrack, we follow Lola through every turn and every heartbreak as she and Manni rush forward on a collision course with fate. There were a variety of original and intelligent films released in 1999, but perhaps none were as witty and clever as this little gem--one of the best foreign films of the year. "--Jeremy Storey"

Rushmore
Comedy Touchstone Video R
Wes Anderson's follow-up to the quirky "Bottle Rocket" is a wonderfully unorthodox coming-of-age story that ranks with "Harold and Maude" and "The Graduate" in the pantheon of timeless cult classics. Jason Schwartzman (son of Talia Shire and nephew of Francis Coppola) stars as Max Fischer, a 15-year-old attending the prestigious Rushmore Academy on scholarship, where he's failing all of his classes but is the superstar of the school's extracurricular activities (head of the drama club, the beekeeper club, the fencing club...). Possessing boundless confidence and chutzpah, as well as an aura of authority he seems to have been born with, Max finds two unlikely soulmates in his permutations at Rushmore: industrial magnate and Rushmore alumnus Herman Blume (Bill Murray) and first-grade teacher Rosemary Cross (Olivia Williams). His alliance with Blume and crush on Miss Cross, however, are thrown out of kilter by his expulsion from Rushmore, and a budding romance between the two adults that threatens Max's own designs on the lovely schoolteacher.
Never stooping to sentimentality or schmaltz, Anderson and cowriter Owen Wilson have fashioned a wickedly intelligent and wildly funny tale of young adulthood that hits all the right notes in its mix of melancholy and optimism. As played by Schwartzman, Max is both immediately endearing and ferociously irritating: smarter than all the adults around him, with little sense of his shortcomings, he's an unstoppable dynamo who commands grudging respect despite his outlandish projects (including a school play about Vietnam). Murray, as the tycoon who determinedly wages war with Max for the affections of Miss Cross, is a revelation of middle-aged resignation. Disgusted with his family, his life, and himself, he's turned around by both Max's antagonism and Miss Cross's love. Williams is equally affecting as the teacher who still carries a torch for her dead husband, and the superb supporting cast also includes Seymour Cassel as Max's barber father, Brian Cox as the frustrated headmaster of Rushmore, and a hilarious Mason Gamble as Max's young charge. Put this one on your shelf of modern masterpieces. "--Mark Englehart"

The Sandlot
Kids & Family Twentieth Century Fox PG
When egghead Scotty Smalls moves to town just before the summer vacation of 1962, his first priority is to make friends. He heads to the nearby sandlot only to humiliate himself before the local kids, but star player Benny "The Jet" Rodriguez befriends the awkward boy, teaches him the basics of baseball, and welcomes him to the team. It's a summer filled with camaraderie and fun until Smalls hits his first home run. Problem is, Smalls's home run sends his stepfather's "Babe Ruth" autographed baseball into a neighboring yard that's patrolled by a snarling, slobbering monster called "The Beast." Creativity reigns and hilarity ensues when the boys risk everything to retrieve the ball. A final heroic encounter with "The Beast" and his owner yields some very surprising results. Action, humor, and friendship permeate this 101-minute film appropriate for ages 5 and older. Rated PG due to name-calling and some pubescent behavior. "--Tami Horiuchi"

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

Searching for Bobby Fischer
Drama Paramount Home Video PG
Steve Zaillian, the Oscar-winning screenwriter of "Schindler's List", made his directorial debut with this critically acclaimed but little-seen drama based on the nonfiction book by Fred Waitzkin, about a father (Joe Mantegna) who discovers that his seven-year-old son (Max Pomeranc) is a genius at playing chess. The boy plays chess for fun, but when he's tutored by a former champion (Ben Kingsley) and entered into high-pressure competitions, an enjoyable pastime becomes a source of tension and resentment, forcing the father to reconsider his parental priorities. A poignant study of the difference between parental idealism and proper parenting, the movie is also an observantly witty portrait of a precocious child who is still, after all, a child, and still eager for the joyful discoveries of youth. While offering a fascinating look into the world of competitive chess, the movie's dramatically engrossing and extremely well-acted by a brilliant cast that also includes David Paymer, William H. Macy, and Dan Hedaya in memorable supporting roles. "--Jeff Shannon"

Seven
Drama New Line Home Entertainment R
The most viscerally frightening and disturbing homicidal maniac picture since "The Silence of the Lambs", "Seven" is based on an idea that's both gruesome and ingenious. A serial killer forces each of his victims to die by acting out one of the seven deadly sins. The murder scene is then artfully arranged into a grotesque tableau, a graphic illustration of each mortal vice. From the jittery opening credits to the horrifying (and seemingly inescapable) concluding twist, director David Fancher immerses us in a murky urban twilight where everything seems to be rotting, rusting, or molding; the air is cold and heavy with dread. Morgan Freeman and Brad Pitt are the detectives who skillfully track down the killer--all the while unaware that he has been closing in on them, as well. Gwyneth Paltrow and Kevin Spacey are also featured, but it is director Fancher and the ominous, overwhelmingly oppressive atmosphere of doom that he creates that are the real stars of the film. It's a terrific date movie--for vampires. "--Jim Emerson"

Seven Beauties
Foreign Fox Lorber R
Lina WertmÜller's harrowing 1976 film stars Giancarlo Giannini as a petty crook with seven unattractive sisters to support, and it features a picaresque, World War II-era journey through a prison asylum, army service, and a Nazi concentration camp. WertmÜller is more indulgent in highbrow sadomasochism than she is real profundity, but there's no denying that the film is powerful in its story of subjugation and survival. A climactic scene in which Giannini saves his skin at the camp by seducing its disgusting female commandant is unnervingly honest. Giannini became a '70s international icon partially on the basis of this work. The DVD release has optional English and Italian soundtracks, production notes, and filmographies of the talent. "--Tom Keogh"

sex, lies, and videotape
Drama Columbia/Tristar Studios R
Winner of the Palm d'Or and Best Actor awards at the 1989 Cannes Film Festival, "sex, lies, and videotape" transformed the independent film industry and turned writer-director Steven Soderbergh into the envy of aspiring filmmakers everywhere. Sly, seductive, and coolly intelligent, the movie explores the sexual shenanigans and personal preoccupations of its four central characters, revolving around a selfish lawyer (Peter Gallagher) who responds to his wife by having an affair with her free-spirited sister (Laura San Giacomo). But when the lawyer's college roommate (James Spader) arrives for an unexpectedly extended visit, the neglected wife (Andie MacDowell) is surprisingly responsive to his seductive hobby of videotaping women as they describe their sexual fantasies. It's his way of compensating for impotence, but the curious wife considers this a sexual challenge, and Soderbergh turns "sex, lies, and videotape" into a fascinating chamber piece that puts a decidedly different spin on the consequences of infidelity. Balanced on a risky and finely tuned performance by Spader, the film delivers frisky passion and emotional intrigue, and yet much of its allure is found in the exchange of secrets and the hidden mysteries of sexual desire. "--Jeff Shannon"

Shakespeare in Love
Romance Miramax Home Entertainment R
One of the most endearing and intelligent romantic comedies of the '90s, the Oscar-winning "Shakespeare in Love" is filled with such good will, sunny romance, snappy one-liners, and devilish cleverness that it's absolutely irresistible. With tongue placed firmly in cheek, at its outset the film tracks young Will Shakespeare's overwrought battle with writer's block and the efforts of theater owner Philip Henslowe (Geoffrey Rush, in rare form) to stage Will's latest comedy, "Romeo and Ethel, the Pirate's Daughter". Jokey comedy, though, soon takes a backseat to ravishing romance when the beautiful Viola De Lesseps (Gwyneth Paltrow) disguises herself as a young man to wangle herself an audition in the all-male cast, and wins both the part of Romeo and, after much misunderstanding, the playwright's heart. Soon enough, Will's pirate comedy becomes the beautiful, tragic "Romeo and Juliet", reflecting the agony and ecstasy of Will and Viola's romance--he's married and she's set to marry the slimy Lord Wessex (Colin Firth) in the near future.
The way that Oscar-winning screenwriters Marc Norman and Tom Stoppard enfold their story within the parameters of "Romeo and Juliet" (and even "Twelfth Night") is nothing short of brilliant--it would take a Shakespearean scholar to dissect the innumerable parallels, oft-quoted lines, plot developments, and thematic borrowings. And most amazingly, Norman and Stoppard haven't forgotten to entertain their audience in addition to riding a Shakespearean roller coaster, with director John Madden ("Mrs. Brown") reigning in his huge ensemble with rollicking energy. Along the way there are small gems to be found, including Judi Dench's eight-minute, Oscar-winning turn as a "truly" regal Queen Elizabeth, but the key element of "Shakespeare in Love"'s success rests on the milky-white shoulders of its two stars. Fiennes, inexplicably overlooked at Oscar time, is a dashing, heartfelt Will, and as for Best Actress winner Paltrow, well, nothing she'd done before could have prepared viewers for how amazing she is here. Breathtakingly beautiful, fiercely intelligent, strong-willed, and lovestruck--it's a performance worthy of Shakespeare in more ways than one. By the film's end, you'll be thoroughly won over--and brushing up your Shakespeare with newfound ardor. "--Mark Englehart"

The Shawshank Redemption
Drama Warner Home Video R
When this popular prison drama was released in 1994, some critics complained that the movie was too long (142 minutes) to sustain its story. Those complaints miss the point, because the passage of time is crucial to this story about patience, the squeaky wheels of justice, and the growth of a life-long friendship. Only when the film reaches its final, emotionally satisfying scene do you fully understand why writer-director Frank Darabont (adapting a novella by Stephen King) allows the story to unfold at its necessary pace, and the effect is dramatically rewarding. Tim Robbins plays a banker named Andy who's sent to Shawshank Prison on a murder charge, but as he gets to know a life-term prisoner named Red (Morgan Freeman), we realize there's reason to believe the banker's crime was justifiable. We also realize that Andy's calm, quiet exterior hides a great reserve of patience and fortitude, and Red comes to admire this mild-mannered man who first struck him as weak and unfit for prison life. So it is that "The Shawshank Redemption" builds considerable impact as a prison drama that defies the conventions of the genre (violence, brutality, riots) to illustrate its theme of faith, friendship, and survival. Nominated for seven Academy Awards including Best Picture, Actor, and Screenplay, it's a remarkable film that signaled the arrival of a promising new filmmaker--a film that many movie lovers count among their all-time favorites. "--Jeff Shannon"

Short Circuit
Comedy Image Entertainment PG
John Badham's family-oriented adventure comedy, though obviously hatched in the wake of "E.T." and "Star Wars", manages to create its own identity through a sweet tone and an affectionate sense of fun. Military robot Number 5, a well-armed killing machine, is zapped by lightning during a test and emerges with a consciousness, curiosity, a wacky sense of humor, and a new peace-loving philosophy. Ally Sheedy (who debuted in Badham's hit "WarGames") is the animal lover whose home is sanctuary for a zoo-full of strays and who adopts the adolescent robot. Steve Guttenberg is the goofy but reclusive robotics designer who goes off in search of his creation to save him from the gun-happy army. The mix of gentle slapstick and innocent romance makes for a harmless family comedy. It veers toward the terminally cute, what with 5's hyperactive antics and E.T.-ish voice, and the mangled grammar of Guttenberg's East Indian sidekick (Fisher Stevens) threatens to become offensive, but Badham's breezy direction keeps the film on track. Sheedy and Guttenberg deliver spirited and engaging performances, but most importantly the robot emerges as a real person. Give credit to designer Syd Mead, an army of puppeteers and robotics operators, and the cartoony voice of Tim Blaney: Number 5 is alive. "--Sean Axmaker"

The Silence of the Lambs
Drama MGM/UA Video R
Based on Thomas Harris's novel, this terrifying film by Jonathan Demme really only contains a couple of genuinely shocking moments (one involving an autopsy, the other a prison break). The rest of the film is a splatter-free visual and psychological descent into the hell of madness, redeemed astonishingly by an unlikely connection between a monster and a haunted young woman. Anthony Hopkins is extraordinary as the cannibalistic psychiatrist Dr. Hannibal Lecter, virtually entombed in a subterranean prison for the criminally insane. At the behest of the FBI, agent-in-training Clarice Starling (Jodie Foster) approaches Lecter, requesting his insights into the identity and methods of a serial killer named Buffalo Bill (Ted Levine). In exchange, Lecter demands the right to penetrate Starling's most painful memories, creating a bizarre but palpable intimacy that liberates them both under separate but equally horrific circumstances. Demme, a filmmaker with a uniquely populist vision ("Melvin and Howard", "Something Wild"), also spent his early years making pulp for Roger Corman ("Caged Heat"), and he hasn't forgotten the significance of tone, atmosphere, and the unsettling nature of a crudely effective close-up. Much of the film, in fact, consists of actors staring straight into the camera (usually from Clarice's point of view), making every bridge between one set of eyes to another seem terribly dangerous. "--Tom Keogh"

Sleepers
Drama Warner Studios R
The first thing you need to know about "Sleepers" is that it's based on a novel by Lorenzo Carcaterra that was allegedly based on a true story. The movie repeats this bogus claim, which was attacked and determined by a wide majority to be misleading. Knowing this, "Sleepers" can be a problematic movie because it's too neat, too clean, too manipulative in terms of legal justice and dramatic impact to be truly convincing. And yet, with its stellar cast directed by Barry Levinson, the movie succeeds as gripping entertainment, and its tale of complex morality--despite a dubious emphasis on homophobic revenge--is sufficiently provocative. It's about four boys in New York's Hell's Kitchen district who are sent to reform school, where they must endure routine sexual assaults by the sadistic guards. Years after their release, the opportunity for revenge proves irresistible for two of the young men, who must then rely on the other pair of friends (Brad Pitt, Jason Patric), a loyal priest (Robert De Niro), and a shabby lawyer (Dustin Hoffman) to defend them in court. Despite the compelling ambiguities of the story, there's never any doubt about how we're supposed to feel, and the screenplay glosses over the story's most difficult moral dilemmas. And yet, "Sleepers" grabs your attention and pulls you into its intense story of friendship and the price of loyalty under extreme conditions. The movie's New York settings are vividly authentic, and Minnie Driver makes a strong impression as a long-time friend of the loyal group of guys. "--Jeff Shannon"

Something's Gotta Give
Comedy Columbia Tri-Star PG-13
As upscale sitcoms go, "Something's Gotta Give" has more to offer than most romantic comedies. Obviously working through some semi-autobiographical issues regarding "women of a certain age," writer-director Nancy Meyers brings adequate credibility and above-average intelligence to what is essentially (but not exclusively) a fantasy premise, in which an aging lothario who's always dated younger women (Jack Nicholson, more or less playing himself) falls for a successful middle-aged playwright (Diane Keaton) who's convinced she's past the age of romance, much less sexual re-awakening. As long as old pals Nicholson and Keaton are on screen discussing their dilemma or discovering their mutual desire, "Something's Gotta Give" is terrific, proving (in case anyone had forgotten) that Hollywood can and should aim for an older demographic. Myers falls short with the sitcom device of a younger lover (Keanu Reeves) who wants Keaton as much as Nicholson does; it's believable but shallow and too easily dismissed. Myers also skimps on supporting roles for Frances McDormand, Amanda Peet, and Jon Favreau, but thankfully this is one romantic comedy that doesn't pander to youth. Mature viewers, rejoice! "--Jeff Shannon"

Space Jam
Kids & Family Warner Home Video PG
Although at first glance it looks like a movie dreamed up by a marketing committee (and in some respects it probably was), "Space Jam" actually defies the odds against it to become a dazzling display of family entertainment. There's a kind of demented genius to the idea of casting NBA superstar Michael Jordan in a live-action and animated movie costarring the beloved characters from Warner Bros.' Looney Tunes cartoons. They play off each other like seasoned veterans of vaudeville, and Jordan never falls into the kind of awkward, amateurish showmanship that you might expect from a sports idol. He's comfortable in the cartoon land of his costars, who include Bugs Bunny and sexy newcomer Lola Bunny, Daffy Duck, Porky Pig, Elmer Fudd, Sylvester & Tweety, Speedy Gonzalez, the Tazmanian Devil, Foghorn Leghorn, and Yosemite Sam. They've all been hijacked to an outer-space amusement park run by the Nerdlucks, who strike a Faustian bargain with the Looney heroes: if Bugs and Co. can defeat the Nerdluck "Monstars" in a basketball game, they'll win back their freedom; if they lose, they'll be doomed to stay there forever as enslaved entertainers. So they kidnap Jordan as their coach and "secret weapon" while the nefarious Nerdlucks suck out the basketball skills from such stellar victims as Charles Barkley and Patrick Ewing. It all leads to reckless abandon on the basketball court, and Bill Murray pops in for some hilarious support. Combining traditional animation and computer-generated Nerdlucks with its live-action cast, "Space Jam" was made in the anarchic spirit of the Looney Tunes cartoons, where anything goes as long as it's funny and off-the-wall (or the ceiling, or the door, or the floor...). Technically astounding, it's also witty enough to entertain adults and kids alike. "--Jeff Shannon"

Spaceballs
Comedy Mgm/Ua Studios PG
Mel Brooks's 1987 parody of the Star Wars trilogy is a jumble of jokes rather than a comic feature, and, predictably, some of those jokes work better than others. The cast, including Brooks in two roles, more or less mimics the principal characters from George Lucas's famous story line, and the director certainly gets a boost from new allies ("SCTV" graduates Rick Moranis and John Candy) as well as old ones (Dick Van Patten, Dom DeLuise). Watch this and wait for the sporadic inspiration--but don't be surprised if you find yourself yearning for those years when Brooks was a more complete filmmaker ("Young Frankenstein"). "--Tom Keogh"

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

The Sting
Comedy Universal Studios PG
Winner of seven Academy Awards including Best Picture, Director, and Screenplay, this critical and box-office hit from 1973 provided a perfect reunion for director George Roy Hill and stars Paul Newman and Robert Redford, who previously delighted audiences with "Butch Cassidy and the Sundance Kid". Set in 1936, the movie's about a pair of Chicago con artists (Newman and Redford) who find themselves in a high-stakes game against the master of all cheating mobsters (Robert Shaw) when they set out to avenge the murder of a mutual friend and partner. Using a bogus bookie joint as a front for their con of all cons, the two feel the heat from the Chicago Mob on one side and encroaching police on the other. But in a plot that contains more twists than a treacherous mountain road, the ultimate scam is pulled off with consummate style and panache. It's an added bonus that Newman and Redford were box-office kings at the top of their game, and while Shaw broods intensely as the Runyonesque villain, "The Sting" is further blessed by a host of great supporting players including Dana Elcar, Eileen Brennan, Ray Walston, Charles Durning, and Harold Gould. Thanks to the flavorful music score by Marvin Hamlisch, this was also the movie that sparked a nationwide revival of Scott Joplin's ragtime jazz, which is featured prominently on the soundtrack. One of the most entertaining movies of the early 1970s, "The Sting" is a welcome throwback to Hollywood's golden age of the '30s that hasn't lost any of its popular charm. "--Jeff Shannon"

Stripes
Comedy Columbia Tristar Hom R
Bill Murray was heading toward a career peak on the back of comedies such as this one from 1981, the second film in his ongoing collaboration with director Ivan Reitman (the two went on to make "Ghostbusters"). Murray plays a chronic loser who joins the army and fails to find a fan for his ironic sensibilities in his by-the-book sergeant (Warren Oates). When push comes to shove, however, the smirking hero takes charge of his ragtag unit and turns them into fighting machines, albeit to the rhythm of hit songs by Manfred Mann and Sly Stone. The film is occasionally funny, but it mostly plays like any one of a dozen underachieving comedies featuring players from "Saturday Night Live" and "SCTV". "--Tom Keogh"

Super Troopers
Comedy Twentieth Century Fox Home Video R
The fine art of handing out a freeway speeding ticket gets a deviously funny twist in this smart-alecky farce written and performed by the comedy troop Broken Lizard (consisting of Jay Chandrasekhar, Kevin Heffernan, Steve Lemme, Paul Soter, and Erik Stolhanske). These pranksters in patrol cars (led by their long-suffering commander Brian Cox) are little more than overgrown frat boys in a campus rivalry with the brawling Vermont bullies of the local police force, and they know how to have fun on the highway patrol. This skit-like collection of comic moments clumps from one scene to another like a variety show, but the gags are more hit than miss, thanks largely to terrific ensemble work and inspired motorist mind games. With a nod to such 1970s comedies as "Animal House" and "Caddyshack", this "boys in blue just wanna have fun" farce is hardly sophisticated, just clever, raucous fun. "--Sean Axmaker"

Swingers
Comedy Miramax Home Entertainment R
For anyone who wants to catch a glimpse of the Los Angeles "lounge" scene that was in vogue during the early and mid-1990s, here's the movie that virtually defined that brief but colorful nightlife milieu. As an added bonus, it just happens to be a very funny, observant story about love, loss, and male bonding among a group of friends who struggle to find decent jobs by day, and lurk through Hollywood's hottest nightclubs by night. A sort of latter-day Rat Pack, they include Mike (writer-actor Jon Favreau) and his closest buddy, Trent (Vince Vaughn), who are waiting for the big show-biz break that seems to be eluding them. Mike's twisted up about the girlfriend he left back East to pursue his going-nowhere standup comedy career, and Trent uses the word "money" as an adjective ("Man, we look totally money tonight") with such frequency that you may find yourself slipping into lounge-lizard mode after watching the movie. One of the most noteworthy indie-film success stories of the '90s, this time-capsule comedy seized its moment in the spotlight, launched several promising careers, and continues to maintain its lasting appeal. "--Jeff Shannon"

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

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

Terminator 2 - Judgment Day
Action & Adventure Lions Gate Home Entertainment R
After he pushed the envelope of computer-generated special effects in "The Abyss", director James Cameron turned this hotly anticipated sequel to "Terminator" into a well-written, action-packed showcase for advanced special effects and for one of the most invincible villains ever imagined. "Terminator 2: Judgment Day" is a legitimate sequel: there's more story to tell about a hulking, leather-clad android (Arnold Schwarzenegger) who arrives from the future to protect a rebellious teenager and future leader (Edward Furlong) from being killed by the tenacious T-1000 robot (Robert Patrick), whose liquid-metal construction makes him seemingly unstoppable. The fate of the future lies in the balance, with Linda Hamilton (who would later marry her director) reprising her role as the rugged woman whose son will change the course of history. The digital video disc of this blockbuster hit is presented with a digitally mastered THX soundtrack. "--Jeff Shannon"

There's Something More About Mary
Comedy Fox Home Entertainme R
"There's Something About Mary" is one of the funniest movies in years, recalling the days of the Zucker-Abraham-Zucker movies, in which (often tasteless) gags were piled on at a fierce rate. The difference is that cowriters and codirectors Bobby and Peter Farrelly have also crafted a credible story line and even tossed in some genuine emotional content. The Farrelly brothers' first two movies, "Dumb and Dumber" and "Kingpin", had some moments of uproarious raunch, but were uneven. With "Mary", they've created a consistently hilarious romantic comedy, made all the funnier by the fact that you know that they know that some of their gags go way over the line.
Cameron Diaz stars as Mary, every guy's ideal. Ben Stiller plays a high-school suitor still hung up on Mary years later; the obstacles standing between him and her include a number of psychotic suitors, a miserable little pooch, and, oh yeah, a murder charge. The Farrellys' admittedly simplistic camera work, which adapts easily to a TV screen, and the fact that you'll likely laugh yourself so silly over certain scenes you'll want to replay them to see what you were missing while you were busy convulsing, make this a perfect video movie. "--David Kronke"

This Is Spinal Tap
Comedy Mgm/Ua Studios R
Director Marty DiBergi (Rob Reiner) solemnly alerts us to the glory that was Spinal Tap in his introduction to this "rockumentary" about the legendary British heavy-metal group, featuring lead guitarist Nigel Tufnel (Christopher Guest), lead singer David St. Hubbins (Michael McKean), bassist Derek Smalls (Harry Shearer), and a succession of drummers whose careers were cut short by spontaneously combusting on their stool, drowning in somebody else's vomit, or otherwise perishing in untimely fashion. Under DiBergi's studious interrogation, the band and their familiars retrace the band's evolution from head-bopping Mersey Beat poseurs to head-banging metal poseurs, each change in musical direction or tonsorial chic having little effect on the surviving trio's sublime idiocy. For, as St. Hubbins (he's the "deep" one, relatively speaking) sagely observes, "It's such a fine line between stupid and clever."
Happily for us, director Reiner, who developed the underlying story line with Guest and former Credibility Gap pranksters McKean and Shearer, stays squarely on the right side of the line, even as his writer-actors remain hilariously trapped on the other side. In lieu of a formal shooting script, the quartet created an extensive and detailed band history ripe with the sort of dead-pan detail that hard-core rock historians and screwball aficionados will savor on countless replays; with the three Tap members also musicians themselves, the "band" developed its stage act under the unsuspecting noses of L.A. club denizens, who accepted them as just as loud, flashy, sexist, and obvious as any other mullet-tressed, leather-garbed brigade of guitar slingers, circa 1984. The resulting footage thus manages to lob its punch lines and build its characters (including some thinly veiled character assassinations of various industry folks) with a loose, tossed-away verve rooted in the improvisational approach. "This Is Spinal Tap" remains the funniest, and most truthful, look at rock culture ever filmed and a personal best for all involved. "--Sam Sutherland"

A Time to Kill
Drama Warner Home Video R
You wouldn't know it by watching the "Batman" movies they collaborated on, but this smart adaptation of John Grisham's novel proves that director Joel Schumacher and screenwriter Akiva Goldsman have some talent when the right project comes along. Schumacher had previously directed Grisham's "The Client", and brought equal craft and intelligence to this story about a young Southern attorney (Matthew McConaughey, in his breakthrough role) who defends a black father (Samuel L. Jackson) after he kills two men who raped his young daughter. Sandra Bullock plays the passionate law student who serves as McConaughey's legal aide and voice of conscience in the racially charged drama. Added to the star power of the lead roles is a fine supporting cast, including Kevin Spacey, Ashley Judd, and Oliver Platt. "--Jeff Shannon"

Top Gun
Action & Adventure Paramount Home Video PG
Jingoism, beefcake, military hardware, and a Giorgio Moroder rock score reign supreme over taste and logic in this Tony Scott film about a maverick trainee pilot (Tom Cruise) who can't follow the rules at a Navy aviation training facility. The dogfight sequences between American and Soviet jets at the end are absolutely mechanical, though audiences loved it at the time. The love story between Cruise's character and that of Kelly McGillis is like flipping through pages of advertising in a glossy magazine. This designer action movie from 1986 would be all the more appalling were it not for the canny casting of good actors in dumb parts. Standouts include Anthony Edwards--who makes a nice impression as Cruise's average-Joe pal--and the relatively unknown Meg Ryan in a small but memorable appearance. "--Tom Keogh"

Toute Une Vie
Foreign Image Entertainment PG
Internationally renowned director Claude Lelouch intimately explores destiny and true love in this romantic delight. Admired by movie lovers around the world, this fascinating film encompasses a variety of filmmaking styles and illustrates the 20th century through the intertwined lives and destinies of three generations. Marthe Keller (Marathon Man) is magnificent in multiple roles, and André Dussollier (Amélie) shines as her soul mate. A film that can be enjoyed again and again, Toute une Vie is fated to be one of your favorites. Academy Award® Nomination: Best Original Screenplay, 1975.

Trading Places
Comedy Paramount Home Video R
In this crowd-pleasing 1983 comedy of high finance about a homeless con artist who becomes a Wall Street robber baron, Eddie Murphy consolidated the success of his startling debut in the previous year's "48 Hours" and polished his slick-winner persona. The turnabout begins with an argument between super-rich siblings, played by Ralph Bellamy and Don Ameche: Are captains of industry, they wonder, born or made? To settle the issue, the meanies construct a cruel experiment in social Darwinism. Preppie commodities trader Dan Aykroyd (perfectly cast) is stripped of all his worldly goods and expelled from the firm, and Murphy's smelly derelict is appointed to take his place, graduating to tailored suits and a world-class harem in record time. Eventually the two men team up to teach the nasty old manipulators a lesson, cornering the market in frozen orange juice futures in the process. Director John Landis ("The Blues Brothers") doesn't have the world's lightest touch, but he hits most of the jokes hard and quite a few of them pay off. "Trading Places" is also a landmark film for fans of Jamie Lee Curtis. "--David Chute"

The Truman Show
Comedy Paramount Studio PG
The whole world is watching--literally--every time Truman Burbank makes the slightest move. Unbeknownst to him, in this hauntingly funny film by Peter Weir, his entire life has been an unending soap opera for consumption by the rest of the world. And everyone he knows--including his mother, his wife, and his best friend--is really an actor, paid to be part of his life. In this intriguing and surprisingly touching 1998 film, writer Andrew Niccol imagines an ultimate kind of celebrity, then sees it brought to life with comic intensity and emotional honesty by Jim Carrey in what may be the performance of his career. Carrey has exceptional support from Laura Linney and Ed Harris, but it's his show, in a portrayal that demonstrates just what kind of range Carrey is capable of. "--Marshall Fine"

Ultimate Jordan
Sports Warner Home Video NR
Michael Jordan, the greatest player in the history of team sports, gets an appropriate showcase with "Ultimate Jordan", a two-disc set that's the most feature-packed sports DVD to date. It includes five programs previously available on VHS--some of the most spectacular footage is on "Come Fly with Me" (1989), which covers Jordan's youth, college years, and early NBA career. "Michael Jordan's Playground" (1991) is, as the title suggests, more fanciful, combining highlight footage with a fictional story line and a music video, while "Air Time" (1993) takes us into the championship and Dream Team years. The more sobering "Above and Beyond" (1996) covers the death of Jordan's father, his first retirement, and his baseball endeavors, and "His Airness" (1999) summarizes his career up through the famous final shot against the Utah Jazz. The numerous extra features collect various clips and highlights, but the best section is "Michael's Great 8," which provides 2.5- to 6-minute segments about significant Jordan games, including his 63 points against Boston in the 1986 playoffs and the 1997 "flu game" against Utah. "Ultimate Jordan"'s release in the fall of 2001 coincided with Jordan's not-unexpected return from his second retirement, making it clear that there's another chapter in the Jordan legacy yet to be written. "--David Horiuchi"

Unbreakable
Drama Touchstone Video PG-13
When "Unbreakable" was released, Bruce Willis confirmed that the film was the first in a proposed trilogy. Viewed in that context, this is a tantalizing and audaciously low-key thriller, with a plot that twists in several intriguing and unexpected directions. Standing alone, however, this somber, deliberately paced film requires patient leaps of faith--not altogether surprising, since this is writer-director M. Night Shyamalan's daring follow-up to "The Sixth Sense". While just as assured as that earlier, phenomenal hit, "Unbreakable" is the work of a filmmaker whose skill exceeds his maturity, its confident style serving a story that borders on juvenile. However, Shyamalan's basic premise--that comic books are the primary conduit of modern mythology--is handled with substantial relevance.
Willis plays a Philadelphia security guard whose marriage is on the verge of failing when he becomes the sole, unscathed survivor of a devastating train wreck. When prompted by a mysterious, brittle-boned connoisseur of comic books (Samuel L. Jackson), he realizes that he's been free of illness and injury his entire life, lending credence to Jackson's theory that superheroes--and villains--exist in reality, and that Willis himself possesses extraordinary powers. Shyamalan presents these revelations with matter-of-fact gravity, and he draws performances (including those of Robin Wright Penn and Spencer Treat Clark, as Willis's wife and son) that are uniformly superb. The film's climactic revelation may strike some as ultimately silly and trivial, but if you're on Shyamalan's wavelength, the entire film will assume a greater degree of success and achievement. "--Jeff Shannon"

The Usual Suspects
Action & Adventure Mgm/Ua Studios R
Ever since this convoluted thriller dazzled audiences and critics in 1995 and won an Oscar for Christopher McQuarrie's twisting screenplay, "The Usual Suspects" has continued to divide movie lovers into opposite camps. While a lot of people take great pleasure from the movie's now-famous central mystery (namely, "Who is Keyser SÖze?"), others aren't so easily impressed by a movie that's too enamored of its own cleverness to make much sense. After all, what are we to make of a final scene that renders the entire movie obsolete? Half the fun of "The Usual Suspects" is the debate it provokes and the sheer pleasure of watching its dynamic cast in action, led (or should we say, misled) by Oscar winner Kevin Spacey as the club-footed con man who recounts the saga of enigmatic Hungarian mobster Keyser SÖze. Spacey's in a band of thieves that includes Gabriel Byrne, Stephen Baldwin, Kevin Pollak, and Benicio Del Toro, all gathered in a plot to steal a large shipment of cocaine. The story is told in flashback as a twisted plot being described by Spacey's character to an investigating detective (Chazz Palmintieri), and "The Usual Suspects" is enjoyable for the way it keeps the viewer guessing right up to its surprise ending. Whether that ending will enhance or extinguish the pleasure is up to each viewer to decide. Even if it ultimately makes little or no sense at all, this is a funny and fiendish thriller, guaranteed to entertain even its vocal detractors. "--Jeff Shannon"

Vanilla Sky
Drama Paramount Home Video R
"Vanilla Sky" reunites director Cameron Crowe ("Jerry Maguire") with Über-playboy Tom Cruise, adds another sexy Cruz (Penélope) and Cameron Diaz for good measure, and delivers a wildly entertaining, bizarre venture into erotic science fiction. Adapted near exactly from Spanish filmmaker Alejandro Amenábar's 1997 romantic thriller "Open Your Eyes", the film follows David Aames (Cruise) as he falls from his graceful Manhattan perch of inordinate wealth, good looks, and newfound love with Sofia (Cruz) because of severe facial disfigurement in a car accident caused by a suicidal ex-lover (Diaz). What at first promises to be a conventional allegory of redemption via true love is turned on its head as Cruise's character, reduced to wearing a latex mask and spurned by his friends, wins back his princess only after a miracle of plastic surgery restores his former beauty. A series of plot twists follows as waking life, technological advances, and nightmares flip-flop to dizzying effect and David ultimately comes face to face with his own mortality. Despite a final conceit to some vague morality, the appeal of the film is the wonderfully callous message conveyed by the rest of it (money and physical beauty equal happiness) through an unabashed vanity perfectly embodied by Cruise and Cruz. A delicious, decadent treat. "--Fionn Meade"

Walkabout - Criterion Collection
Drama Criterion Collection R
Very few films achieve a kind of subliminal greatness with cross-cultural impact, but "Walkabout" is one of those films--a visual tone poem that functions more as an allegory than a conventionally plotted adventure. Considered a cult favorite for years, Nicolas Roeg's 1971 film--about two British children who are rescued in the Australian outback by a young aborigine--was originally released in the U.S. with an R rating, edited from its European length of 100 minutes. In 1997, the film was fully restored to its director's cut, and in its remastered video and DVD release, it's now wisely unrated (as Roeg had always intended) but still suitable for viewers of all ages. For parents this is a rare opportunity to treat well-supervised children (ages 5 and over) to an adventure that won't insult their intelligence, presenting scenes of frontal nudity and the hunting of animals in a context that invites valuable discussion and introspection. Through exquisite cinematography and a story of subtle human complexity, the film continues to resonate on many thematic and artistic levels. Roeg had always intended it to be a cautionary morality tale, in which the limitations and restrictions of civilization become painfully clear when the two children (played by Jenny Agutter and Roeg's young son, Lucien John) cannot survive without the aborigine's assistance. They become primitives themselves, if only temporarily, while the young aborigine proves ultimately and tragically unable to join the "family" of civilization. With its story of two worlds colliding, "Walkabout" now seems like a film for the ages, hypnotic and open to several compelling levels of interpretation. In addition to presenting the film in its original 1.77:1 aspect ratio, the Criterion Collection DVD of "Walkabout" includes a variety of bonus features, including a full-length commentary by Nicolas Roeg and Jenny Agutter, original theatrical trailers, and an essay by critic Roger Ebert. "--Jeff Shannon"

Wall Street
Drama Twentieth Century Fox Home Video R
Michael Douglas won an Oscar for perfectly embodying the Reagan-era credo that "greed is good." As a Donald Trump-like Wall Street raider aptly named Gordon Gecko (for his reptilian ability to attack corporate targets and swallow them whole), Douglas found a role tailor-made to his skill in portraying heartless men who've sacrificed humanity to power. He's a slick, seductive role model for the young ambitious Wall Street broker played by Charlie Sheen, who falls into Gecko's sphere of influence and instantly succumbs to the allure of risky deals and generous payoffs. With such perks as a high-rise apartment and women who love men for their money, Charlie's like a worm on Gecko's hook, blind to the corporate maneuvering that puts him at odds with his own father (played by Sheen's offscreen father, Martin). With his usual lack of subtlety, writer-director Oliver Stone drew from the brokering experience of his own father to tell this Faustian tale for the "me" decade, but the movie's sledgehammer style is undeniably effective. A cautionary warning that Stone delivers on highly entertaining terms, "Wall Street" grabs your attention while questioning the corrupted values of a system that worships profit at the cost of one's soul. "--Jeff Shannon"

Wayne's World
Comedy Paramount Home Video PG-13
TV's "Saturday Night Live" has been like the evil twin of the legendary alchemist's stone, which supposedly could turn lead into gold. "SNL" usually does the opposite, taking rich comic premises from short skits and extrapolating them into overblown and unfunny full-length films. ("The Coneheads"? Puh-leeze!) But this film proved to be the exception, thanks to Mike Myers's wonderfully rude lowbrow humor and his full-bodied understanding of who his character is. Wayne Campbell (Myers) and his nerdy pal Garth (Dana Carvey) are teens who live at home and have their own low-rent cable-access show in Aurora, Illinios, in which they celebrate their favorite female movie stars and heavy-metal bands. When a Chicago TV station smells a potential youth-audience ratings hit, the station's weasely executive (Rob Lowe) tries to coopt the show--and steal Wayne's new rock & roll girlfriend (Tia Carrere) at the same time. It's filled with all kinds of knowing spoofs of movie conventions, from Wayne talking to the camera (and forbidding other characters to do so) to hilariously self-conscious product placements and labeling a moment a "Gratuitous Sex Scene." Dumb--and very funny. "--Marshall Fine"

What About Bob?
Comedy Walt Disney Home Video PG
Comic wizard Bill Murray (CRADLE WILL ROCK, THE ROYAL TENENBAUMS) teams up with Academy Award(R)-winner Richard Dreyfuss teams up with (Best Actor, 1978, THE GOODBYE GIRL) in an outrageously wild comedy that's sure to drive you off the deep end! Murray plays Bob Wiley, a troubled but lovable therapy patient who fears everything! After seeking help from noted psychiatrist Dr. Leo Marvin (Dreyfuss), Bob feels revived. But when the good doctor skips town to go on a quiet family vacation, Bob, afraid of being alone, follows -- showing up unexpectedly at the therapist's lakeside retreat. That's when the fun really begins! Bob innocently becomes the houseguest who just won't leave -- endearing himself to the other family members ... and, in the end, driving the stressed-out shrink absolutely crazy!

What's Eating Gilbert Grape
Comedy Paramount Home Video PG-13
This is the movie that Leonardo DiCaprio received an Oscar nomination for, five years before "Titanic". And, in fact, this is the movie that should have made him a star, he's so good in it. Based on the novel by Peter Hedges (who adapted his own book) and directed by Lasse HallstrÖm ("My Life as a Dog"), this is the funny, moody tale of a young man named Gilbert Grape (Johnny Depp) who lives at home in a small town with his 500-pound Momma (beautifully played by nonpro Darlene Cates), his mentally retarded younger brother Arnie (DiCaprio, utterly convincing), and his sisters. Not a lot happens--Arnie keeps climbing a water tower and getting stuck; Gilbert is involved with a married woman (Mary Steenburgen), then meets a nice new girl in town who's closer to his age (Juliette Lewis). And that's exactly what makes this movie so much more than your run-of-the-mill Hollywood product: it's not about some mechanical, formulaic plot; it's about these characters, and it allows you to spend some time with them and get to know them. Depp may have started out as a TV teen idol on "21 Jump Street", but his feature film choices since then--in such wonderfully offbeat and diverse movies as "Cry-Baby", "Edward Scissorhands", "Benny & Joon", "Donnie Brasco"--have made him one of the most interesting, unpredictable, and risk-taking young actors in American movies. "--Jim Emerson"

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



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