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Studio: Hbo Home Video Release Date: 11/17/2009 Run time: 1229 minutesAmazon.comFamily dysfunction. Treachery. Betrayal. Coarse profanity. Brutal violence. Graphic (and sometimes brutal) sex. No, it's not The Sopranos, it's Rome, HBO's madly ambitious series that transfixed viewers with its lavishly mounted spectacle and human dramas of the historical figures and fictional characters. Set in 52 B.C., Rome charts the dramatic shifts in the balance of power between former friends Pompey Magnus (Kenneth Cranham), leader of the Senate, and Julius Caesar (Ciaran Hinds), whose imminent return after eight years to Rome after conquering the Gauls, has the ruling class up in arms. At the heart of Rome is the odd couple friendship between two soldiers who fortuitously become heroes of the people. Lucius Vorenus (Kevin McKidd) is married, honorable, and steadfast. Titus Pullo (Ray Stevenson) is an amoral rogue whose philosophy is best summed up, "I kill my enemies, take their gold, and enjoy their women." Among Rome's most compelling subplots is Lucius's strained relationship with his wife, Niobe (Indira Varma), who is surprised to see her husband alive (but not as surprised as he is to find her upon his homecoming with a newborn baby in her arms!). Any viewer befuddlement over Rome's intrigues and machinations, and determining who is hero and who is foe, disappears the minute Golden Globe-nominee Polly Walker appears as Atia, Caesar's formidable niece and a villainess for the ages. In the first episode alone, she offers her already married daughter as a bride to the recently widowed Pompey, and the viewer eagerly awaits to see what (or who) she'll do next.Season 2 begins in the wake of Julius Caesar's assassination, and charts the power struggle to fill his sandals between "vulgar beast" Mark Antony (James Purefoy) and "clever boy" Octavian (Simon Woods), who is surprisingly named Caesar's sole heir. The series' most compelling relationship is between fellow soldiers and unlikely friends, the honorable Lucius Vorenus and Titus "Violence is the only trade I know" Pullo, who somewhat reverse roles when Vorenus is overcome with grief in the wake of his wife's suicide. Season 2 considerably ups the ante in the rivalry between Atia, who is Antony's mistress, and Servilia (Lindsay Duncan) with attempted poisonings and sickening torture. Another gripping subplot is Vorenus's estrangement from his children, who, at the climax of the season opener are presumed slaughtered, but whose true fate may be even more devastating to the father who cursed them. Rome is a painstakingly mounted production that earned well-deserved Emmy nominations in such categories as costumes, set design, and art direction. In writing Rome's epitaph, we come to praise this series, not to bury it. Although two seasons was not enough to establish a Rome empire, it stands as one of HBO's crowning achievements. --Donald Liebenson

Amazon.comIf a top-level spy decided he didn't want to be a spy anymore, could he just walk into HQ and hand in his resignation? With all that classified knowledge in his head, would he be allowed to become a civilian again, free to go about his life? The answer, according to the stylish, brilliantly conceived 1960s British TV series The Prisoner, is a resounding no. In fact, instead of receiving a gold watch for his years of faithful service, our hero (played by Patrick McGoohan) is followed home to his London flat and knocked unconscious. When he awakens, he finds himself in a picturesque village where everyone is known by a number. Where is it? Why was he brought here? And, most important, how does he leave?As we learn in Episode 1, Number 6 can't leave. The Village's "citizens" might dress colorfully and stroll around its manicured gardens while a band plays bouncy Strauss marches, but the place is actually a prison. Surveillance is near total, and if all else fails, there's always the large, mysterious white ball that subdues potential escapees by temporarily smothering them. Who runs the Village? An ever-changing Number 2, who wants to know why Number 6 resigned. If he'd only cooperate, he's told, life can be made very pleasant. "I've resigned," he fumes. "I will not be pushed, filed, stamped, indexed, briefed, debriefed, or numbered. My life is my own." So sets the stage for the ultimate battle of wills: Number 6's struggle to retain his privacy, sanity, and individuality against the array of psychological and physical methods the Village uses to break him. So does he ever escape? And does he ever find out who Number 1 is? "Questions are a burden to others," the Village saying goes. "Answers, a prison for oneself." Within this complete 17-episode set, all is revealed. Or is it? --Steve LandauAlso on the disc The 17 episodes are contained on four Blu-ray discs, and they look fantastic. This is older footage (1968) that really shows a marked improvement in high definition. Audio can be played in either Dolby Digital 5.1 or the original mono. Bonus features are included on the episode discs and on a fifth disc, which is a standard-definition DVD rather than a Blu-ray disc. Don't Knock Yourself Out is a 95-minute documentary from 2007 about the history of The Prisoner, including the early career of Patrick McGoohan and how a trip to Wales for Danger Man helped him discover Portmerion. New interviews with the original cast and crew are complemented by archive footage. There are two new featurettes--"The Pink Prisoner" and "You Make Sure It Fits!"--as well as production-crew commentaries on seven episodes, archive textless materials, extensive images and production archives, and a 30-second promo for the 2009 AMC miniseries. --David HoriuchiStudio: A&e Home Video Release Date: 10/27/2009

Amazon.comIf a top-level spy decided he didn't want to be a spy anymore, could he just walk into HQ and hand in his resignation? With all that classified knowledge in his head, would he be allowed to become a civilian again, free to go about his life? The answer, according to the stylish, brilliantly conceived 1960s British TV series The Prisoner, is a resounding no. In fact, instead of receiving a gold watch for his years of faithful service, our hero (played by Patrick McGoohan) is followed home to his London flat and knocked unconscious. When he awakens, he finds himself in a picturesque village where everyone is known by a number. Where is it? Why was he brought here? And, most important, how does he leave?As we learn in Episode 1, Number 6 can't leave. The Village's "citizens" might dress colorfully and stroll around its manicured gardens while a band plays bouncy Strauss marches, but the place is actually a prison. Surveillance is near total, and if all else fails, there's always the large, mysterious white ball that subdues potential escapees by temporarily smothering them. Who runs the Village? An ever-changing Number 2, who wants to know why Number 6 resigned. If he'd only cooperate, he's told, life can be made very pleasant. "I've resigned," he fumes. "I will not be pushed, filed, stamped, indexed, briefed, debriefed, or numbered. My life is my own." So sets the stage for the ultimate battle of wills: Number 6's struggle to retain his privacy, sanity, and individuality against the array of psychological and physical methods the Village uses to break him. So does he ever escape? And does he ever find out who Number 1 is? "Questions are a burden to others," the Village saying goes. "Answers, a prison for oneself." Within this complete 17-episode set, all is revealed. Or is it? --Steve LandauAlso on the disc The 17 episodes are contained on four Blu-ray discs, and they look fantastic. This is older footage (1968) that really shows a marked improvement in high definition. Audio can be played in either Dolby Digital 5.1 or the original mono. Bonus features are included on the episode discs and on a fifth disc, which is a standard-definition DVD rather than a Blu-ray disc. Don't Knock Yourself Out is a 95-minute documentary from 2007 about the history of The Prisoner, including the early career of Patrick McGoohan and how a trip to Wales for Danger Man helped him discover Portmerion. New interviews with the original cast and crew are complemented by archive footage. There are two new featurettes--"The Pink Prisoner" and "You Make Sure It Fits!"--as well as production-crew commentaries on seven episodes, archive textless materials, extensive images and production archives, and a 30-second promo for the 2009 AMC miniseries. --David HoriuchiStudio: A&e Home Video Release Date: 10/27/2009

Amazon.comClerksBefore Kevin Smith became a Hollywood darling with Chasing Amy, a film he wrote and directed, he made this $27,000 comedy about real-life experiences working for chump change at a New Jersey convenience store. A rude, foul-mouthed collection of anecdotes about the responsibilities that go with being on the wrong side of the till, the film is also a relationship story that takes some hilarious turns once the lovers start revealing their sexual histories to one another. In the best tradition of first-time, ultra-low budget independent films, Smith uses Clerks as an audition piece, demonstrating that he not only can handle two-character comedy but also has an eye for action--as proven in a smoothly handled rooftop hockey scene. Smith himself appears as a silent figure who hangs out on the fringes of the store's property. --Tom Keogh Chasing AmyWriter-director Kevin Smith (Clerks) makes a huge leap in sophistication with this strong story about a comic-book artist (Ben Affleck) who falls in love with a lesbian (Joey Lauren Adams) and actually gets his wish that she love him, too. Their relationship is attacked, however, by his business partner (Jason Lee), who pulls a very unsubtle Iago act to cast doubt over the whole affair. The film has the same sense of insiderness as Clerks--this time, Smith takes us within the arcane, funny world of comic-book cultism--but the themes of jealousy, deceit, and the high price of growing up enough to truly care for someone make this a very satisfying movie. --Tom Keogh Jay and Silent Bob Strike BackWith sidesplitting dialogue and rampant profanity, Jay and Silent Bob Strike Back reunites Kevin Smith's dynamic duo in supreme lowbrow style. It's the fifth comedy in Smith's celebrated New Jersey "trilogy." Here Quick-Stop potheads Jay (Jason Mewes) and Silent Bob (Smith) wreak vengeance on Hollywood, where Miramax is making a "Bluntman & Chronic" feature inspired by J. and S.B., but without their permission. En route from Jersey to La La Land, Jay and his "hetero life mate" encounter sexy jewel thieves (including the delightful Shannon Elizabeth), a precocious orangutan, a dimwit wildlife marshal (Will Ferrell), and a nonstop parade of in-jokes, harmless (yet controversial) gay jokes, and splendid celebrity cameos. While gently biting the Miramax hand that feeds him, and paying affectionate homage to the Star Wars saga, Smith sheds all inhibitions to give Jay and Silent Bob a stellar sendoff that's nasty, sassy, and undeniably hilarious. --Jeff ShannonStudio: Buena Vista Home Video Release Date: 11/17/2009 Run time: 309 minutes

Amazon.comDavid O. Selznick wanted Gone with the Wind to be somehow more than a movie, a film that would broaden the very idea of what a film could be and do and look like. In many respects he got what he worked so hard to achieve in this 1939 epic (and all-time box-office champ in terms of tickets sold), and in some respects he fell far short of the goal. While the first half of this Civil War drama is taut and suspenseful and nostalgic, the second is ramshackle and arbitrary. But there's no question that the film is an enormous achievement in terms of its every resource--art direction, color, sound, cinematography--being pushed to new limits for the greater glory of telling an American story as fully as possible. Vivien Leigh is still magnificently narcissistic, Olivia de Havilland angelic and lovely, Leslie Howard reckless and aristocratic. As for Clark Gable: we're talking one of the most vital, masculine performances ever committed to film. --Tom KeoghAlso on the discThe Ultimate Collector's Edition of Gone with the Wind is beautifully restored for Blu-ray, showing off how good a movie can look even many decades after its release. The second Blu-ray disc has a wide variety of bonus material. New for the Ultimate Collector's Edition are two 2009 documentaries: 1939: Hollywood's Greatest Year is narrated by Kenneth Branagh and summarizes the famous films that debuted that year, including Gone with the Wind, The Wizard of Oz, Stagecoach, and Mr. Smith Goes to Washington; "Gone with the Wind: The Legend Lives On" is a 33-minute study of the legacy of the movie, with interviews of film critics, Ted Turner, former Georgia Senator Max Cleeland, and surviving cast member Anne Rutherford (Careen O'Hara). Also new for the UCE is Moviola: The Scarlett O'Hara War, a 1980 television movie that dramatizes the casting of Gone with the Wind, starring Tony Curtis, William H. Macy, Sharon Gless, Morgan Brittany, and others. Much of the rest was on the 2004 four-disc edition, including the commentary track by Rudy Behlmer and documentaries on Clark Gable, Vivien Leigh, other actors, and the filming and restoration of the movie. The third disc is a double-sided standard DVD of the documentary MGM: The Lion Roars, and the UCE comes in an oversize box with a beautiful photo book of stills and theatrical posters, reproductions of studio correspondence and a publicity booklet, a soundtrack CD sampler, and art cards. --David Horiuchi Stills from Gone with the Wind (70th Anniversary Ultimate Collector's Edition) (click for larger image) Studio: Warner Home Video Release Date: 11/17/2009 Run time: 158 minutes Rating: Nr

Amazon.comSeason 5 is a pivotal one for the riveting Grey's Anatomy. The doctors on staff at Seattle Grace Hospital bloom and show new layers, the drama meets and exceeds that of previous seasons, and the show marks an important milestone--its 100th episode--with developments that, as with all the great Grey's episodes, brim with belly laughs and moving tears. The season gets off to a slow start, with perhaps a bit more relationship angst than even diehard fans would prefer. Meredith (Ellen Pompeo) and Derek "McDreamy" (Patrick Dempsey) start out with the familiar push-pull of their love affair--but a resolution, at last, is in their future. Callie (the excellent, and newly glamorous, Sara Ramirez) wrestles with her sexual orientation. Cristina (Sandra Oh, never better) is still picking up the pieces from her ruined engagement to the departed Burke (Isaiah Washington). To help her, or maybe to throw her for another loop, the series introduces the gruff, macho military doc, Owen (one of TV's sexiest hunks, Kevin McKidd). Yet series creator and still active writer Shonda Rhimes unveils story arcs about midway through the season which have the surgeons' operating room dramas intersecting with the characters' private lives--with waves of heartbreaking results. Fans may take issue with "Dead Denny" (Jeffrey Dean Morgan) and his endless visitations--complete with sex--with Izzie (Katherine Heigl)--but as the season builds, Izzie's mystery illness, and her deep love for Alex (Justin Chambers) are treated with delicacy and respect, and Denny's character both reacts and ultimately supports. There's a wedding--a fairy-tale one--celebrating the show's 100th episode, and the love of the characters, and the pain they've overcome to get there--are equal parts of the very human, very lovely, result. The season finale is among the show's best ever, with the fate of two beloved characters, George (T.R. Knight) and Izzie, left unknown and laden with sorrow. The set's extras are a treat, including a rich 20-minute feature on the filming of the 100th episode. Oh exclaims of the gorgeous wedding cinematography, "I hope I'm lit like this for the rest of my life!" Fans will love hearing how scenes are edited, how characters are developed, and other juicy tidbits from Rhimes and her very talented crew. --A.T. HurleyIt's all about the moments at Seattle Grace Hospital, life saving and life changing moments. Grey's Anatomy: The Complete Fifth Season is the relationship drama with heartfelt emotion that focuses on moments in the balance of life and death, love and relationships and astounding medical cases.Bonus Features Include: Behind the scenes of the 100th episode, interview with Katherine Heigl, Justin Chambers, Jeffrey Dean Morgan, extended episodes, unaired episodes, bloopers

Amazon.comA special message from Lou Adler, an original promoter/producer for the Monterey International Pop Festival: It was the first major Rock ‘n’ Roll Festival. No prerequisite…no precedents. We had no idea what to expect. The question of would people come was answered by mid-week prior to the start of the festival. They came and kept on coming. A major surprise was the extent of mainstream media coverage. When John Phillips and I arrived at the fairgrounds on the morning of the first day there were camera crews, photographers and journalists from all over the world. Add to that the advent of FM radio; and the following year Rolling Stone Magazine…Rock ‘n’ Roll was here to stay. Monterey gave birth to the first rock charity Monterey International Pop Festival Foundation, which continues to fund worthwhile causes in the names of the artists who appeared at Monterey. Precedents and prerequisites would be set for future concerts and festivals, including the overall treatment of the artist…Derek Taylor’s handling of the press…Chip Monks’ sound and lights…Pennebaker’s groundbreaking movie “Monterey Pop. The true legacy of The Monterey International Pop Festival is not the crowd size…not the weather…not a violent incident…it is the music. The groundbreaking artists who were introduced (Janis Joplin, Jimi Hendrix, and The Who) and the “rock royalty” (Simon & Garfunkel, Otis Redding and The Mamas & The Papas) that performed there continue to be revered and continue to impact to this day the music and musicians who came after it happened in Monterey on June 16, 17, and 18, 1967.DescriptionOn a beautiful June weekend in 1967 at the height of the so-called "summer of love," the first and only Monterey International Pop Festival roared forward - capturing a decade's spirit and ushering in a new era of rock and roll. Monterey would launch the careers of Jimi Hendrix, Janis Joplin, and Otis Redding, but they were just a few among a wildly diverse cast including Simon and Garfunkel, The Mamas and the Papas, The Who, The Byrds, Hugh Masekela, and the extraordinary Ravi Shankar. With his characteristic verite style, D.A. Pennebaker captured it all, immortalizing those moments that have become legend: Pete Townshend destroying his guitar; Jimi Hendrix burning his. The Criterion Collection is proud to present the most comprehensive document of The Monterey International Pop Festival ever produced, featuring all three films of the festival - "Monterey Pop" (1967, 80min.), "Jimi Plays Monterey" (1986, 50min.) and "Shake! Otis At Monterey" (1987, 18min.) - along with nearly every complete performance filmed by Pennebaker and his crew, the "Outtakes" (1997, 120min.). Stills from Monterey Pop Festival (Click for larger image)

Amazon.comThe Sopranos, writer-producer-director David Chase's extraordinary television series, is nominally an urban gangster drama, but its true impact strikes closer to home: Like 1999's other screen touchstone, American Beauty, the HBO series chronicles a dysfunctional, suburban American family in bold relief. And for protagonist Tony Soprano, there's the added complexity posed by heading twin families, his collegial mob clan and his own, nouveau riche brood. The series' brilliant first season is built around what Tony learns when, whipsawed between those two worlds, he finds himself plunged into depression and seeks psychotherapy--a gesture at odds with his midlevel capo's machismo, yet instantly recognizable as a modern emotional test. With analysis built into the very spine of the show's elaborate episodic structure, creator Chase and his formidable corps of directors, writers, and actors weave an unpredictable series of parallel and intersecting plot arcs that twist from tragedy to farce to social realism. While creating for a smaller screen, they enjoy a far larger canvas than a single movie would afford, and the results, like the very best episodic television, attain a richness and scope far closer to a novel than movies normally get. Unlike Francis Coppola's operatic dramatization of Mario Puzo's Godfather epic, The Sopranos sustains a poignant, even mundane intimacy in its focus on Tony, brought to vivid life by James Gandolfini's mercurial performance. Alternately seductive, exasperated, fearful, and murderous, Gandolfini is utterly convincing even when executing brutal shifts between domestic comedy and dramatic violence. Both he and the superb team of Italian-American actors recruited as his loyal (and, sometimes, not-so-loyal) henchmen and their various "associates" make this mob as credible as the evocative Bronx and New Jersey locations where the episodes were filmed. The first season's other life force is Livia Soprano, Tony's monstrous, meddlesome mother. As Livia, the late Nancy Marchand eclipses her long career of patrician performances to create an indelibly earthy, calculating matriarch who shakes up both families; Livia also serves as foil and rival to Tony's loyal, usually level-headed wife, Carmela (Edie Falco). Lorraine Bracco makes Tony's therapist, Dr. Melfi, a convincing confidante, by turns "professional," perceptive, and sexy; the duo's therapeutic relationship is also depicted with uncommon accuracy. Such grace notes only enrich what's not merely an aesthetic high point for commercial television, but an absorbing film masterwork that deepens with subsequent screenings. --Sam Sutherland Stills from The Sopranos: The Complete First Season Studio: Hbo Home Video Release Date: 11/24/2009 Run time: 780 minutes

Amazon.comWhen a television series opens its new season with a lead character crawling out of his grave after escaping Hell itself, one cannot help but wonder: how will the rest of the episodes ever follow that? In the case of Supernatural's fourth season, the answer comes from above with the introduction of Misha Collins's Castiel, an angel dispatched to rescue Dean Winchester (Jensen Ackles) from infernal torment and reunite him with brother Sam (Jared Padalecki) for a very special mission. That quest--to stop the demonic Lilith from opening the 66 seals required to bring Lucifer to Earth and launch the Apocalypse--forms the backbone of the 22 episodes, which takes some fairly adventurous risks with the core of the show. Chief among these is the rift that deepens between Dean and Sam as they attempt to work together, despite their divergent destinies; also agreeable is the season's tonal shift away from its previous Monster of the Week format (though that's still intact for many episodes) and toward a single, more ambitious story and thematic arc. The sea change deepens the show's drama, intensifies the level of suspense and stakes in each episode, and pushes it several big steps away from its teen-friendly origins. Of course, there's still plenty of the show's trademark irreverence and humor to be found, especially in the clever "Monster Movie," which pits the brothers against a Shapeshifter that takes the form of classic movie fiends, and "The Monster at the End of This Book," where Sam and Dean discover a comic book with plot lines very similar to their own lives. By the time Supernatural's fourth season reaches its cliffhanger ending with "Lucifer Rising" (the title neatly sums up the plot), viewers should be fairly hungering for the next episode--a good sign that a veteran series is still hitting its stride. Extras on the six-disc set include commentary for three episodes: "In the Beginning," with executive producer Eric Kripke and writer Jeremy Carver; "When the Levee Breaks," with director Robert Singer and writer Sara Gamble; and "Lucifer Rising" with Kripke. Extended scenes are also available for several episodes, and the features are rounded out by a trio of somewhat ponderous featurettes on the concepts of Heaven, Purgatory, and Hell, as depicted in scenes from the show and discussed by its writers, theologians, paranormal investigators, and the like. Clocking in between 10 and 25 minutes apiece, the docs feel padded and somewhat undernourished in the information department. However, they're unlikely to detract from one's enjoyment of this stellar season. --Paul GaitaStudio: Warner Home Video Release Date: 09/01/2009 Run time: 1152 minutes Rating: Nr

Amazon.comWhen you add up all the best things about The Island, you might just conclude that there's hope yet for Hollywood's most critically reviled hit-maker, Michael Bay. Recruited by Steven Spielberg to direct this lavish and often breathtaking sci-fi action thriller, Bay rises to the occasion with an ambitious production that is, by his standards (and compared to Bay's earlier hits like The Rock and Armageddon), surprisingly intelligent as it explores the repercussions of cloning in a sealed-off society where humans are cultivated for spare parts, surrogate parenthood, and full-body replacements for wealthy clientele. But when two of the clones (Ewan McGregor, Scarlett Johanssen) begin to question their fate and the motives of their keepers, they escape into the real world and The Island becomes just another Michael Bay action extravaganza, albeit an impressively exciting one. With elaborate chase scenes and a high-tech feast of CGI to dazzle the eye, The Island recycles much of the plot from 1979's Clonus while borrowing elements from Logan's Run, Gattaca and Minority Report, and while it's not as smartly conceived as those earlier films, there's no denying that, in many ways, it's Bay's best film to date. --Jeff ShannonRegion All Blu-Ray pressing. In this action thriller from director Michael Bay (PEARL HARBOR, ARMAGEDDON), survivors of global contamination live in a sterile, self-contained world where their every move is monitored. The rules are easy: be pleasant, refrain from asking questions, and don't rock the boat. Everything they need is provided for them, from the white uniforms that magically appear in their closets, to their customized cafeteria-style meals. The survivors all eagerly await their big payoff: winning the lottery and being sent to The Island, the only remaining untainted land in the world. But Lincoln Six-Echo (Ewan McGregor) yearns for more from his life and begins to wonder what really lies outside the thick walls. When his best friend, Jordan Two-Delta (Scarlett Johansson), wins the lottery, he knows that he has to find out the truth about their world before she departs. What he finds is terrifying enough to send Lincoln and Jordan fleeing from the facility to the real world where they quickly discover that they are clones, and that both The Island and global contamination are a ruse. The clones sole purpose is to be harvested for replacement parts when their sponsors need them. With his business now in jeopardy, Dr. Merrick (Sean Bean), the founder of the cloning company, hires a crack team led by Albert Laurent (Djimon Hounsou) to track down his escaped product. Wild chase scenes through Los Angeles circa 2050 are punctuated by high-tech transportation as Lincoln and Jordan run for their lives

Amazon.comStargate - The Ark of TruthFans disappointed by the demise of the Stargate SG-1 television series after ten fruitful seasons will delight in The Ark of Truth, the first full-length movie to follow in the show’s wake. In fact, some will be more than pleased--they’ll be relieved. For not only does the 102-minute film offer an opportunity to enjoy the same likable characters, reliable effects work, superior writing, and other elements that made the series so appealing, but after season upon season in which viewers were left wondering how everything turned out, The Ark finally brings at least one cliffhanger to a conclusion: the storyline involving the villains known as the Ori, who dominated SG-1’s final two years. Our heroes (including Ben Browder as fearless leader Lt. Col. Cameron Mitchell, Amanda Tapping as the intrepid Lt. Col. Samantha Carter, Christopher Judge as the implacable alien Teal’c, Michael Shanks as the ever-resourceful Dr. Daniel Jackson, and Claudia Black as the irreverent Vala) have long known that the Ori are perhaps the most irresistible force they’ve ever encountered, in part because they are "ascended" beings who don’t exist in recognizable physical form (their spaceships do, and they're huge). But now the team faces an even greater threat: the Ori have set their sights on good ol’ Planet Earth. That’s where the Ark comes in; if the good guys can just get their hands on it, they hope this ancient artifact will effectively put the big, bad Ori, their minions, and their entire religion (known as "Origin") out of business. Of course, it ain’t easy. Both collectively and individually, the team will be severely tested, their task complicated not only by the Ori but by an arrogant, clueless government official whose meddling results in the return of the metallic, insect-like Replicators. There’s little doubt about how it will all turn out--after all, there’s at least one more movie already in the pipeline--but it’s all about the ride, and despite a few flaws (as was sometimes the case with the series, the script leans a bit too hard on exposition and techno babble), this one is lots of fun. Bonus features include commentary by writer-director Robert Cooper and others, a lengthy "making of," and a helpful "prelude" to bring the uninitiated up to speed. --Sam Graham Beyond Stargate: Ark of Truth & Continuum Stargate: Continuum Blu-ray Stargate SG-1 - The Complete Series Collection Stargate: Ark of Truth & Continuum Blu-ray Stills from Stargate - The Ark of Truth (Click for larger image) Stills from Stargate: Continuum (Click for larger image) Studio: Tcfhe Release Date: 03/03/2009 Run time: 200 minutes Rating: Nr

Amazon.comIt takes a certain kind of comic genius to create a character who is, to quote the classic Sondheim lyric, appealing and appalling. But be forewarned: Borat is not "something for everyone." It arrives as advertised as one of the most outrageous, most offensive, and funniest films in years. Kazakhstan journalist Borat Sagdiyev (Sacha Baron Cohen reprising the popular character from his Da Ali G Show), leaves his humble village to come to "U.S. and A" to film a documentary. After catching an episode of Baywatch in his New York hotel room, he impulsively scuttles his plans and, accompanied by his fat, hirsute producer (Hardy to his Laurel), proceeds to California to pursue the object of his obsession, Pamela Anderson. Borat is not about how he finds America; it's about how America finds him in a series of increasingly cringe-worthy scenes. Borat, with his '70s mustache, well-worn grey suit, and outrageously backwards attitudes (especially where Jews are concerned) interacts with a cross-section of the populace, catching them, a la Alan Funt on Candid Camera, in the act of being themselves. Early on, an unwitting humor coach advises Borat about various types of jokes. Borat asks if his brother's retardation is a ripe subject for comedy. The coach patiently replies, "That would not be funny in America." NOT! Borat is subversively, bracingly funny. When it comes to exploring uncharted territory of what is and is not appropriate or politically correct, Borat knows no boundaries, as when he brings a fancy dinner with the southern gentry to a halt after returning from the bathroom with a bag of his feces ("The cultural differences are vast," his hostess graciously/patronizingly offers), or turns cheers to boos at a rodeo when he calls for bloodlust against the Iraqis and mangles "The Star Spangled Banner." Success, John F. Kennedy once said, has a thousand fathers. A paternity test on Borat might reveal traces of Bill Dana's Jose Jimenez, Andy Kaufman, Michael Moore, The Jamie Kennedy Xperiment, and Jackass. Some scenes seem to have been staged (a game Anderson, whom Borat confronts at a book signing, was reportedly in on the setup), but others, as the growing litany of lawsuits attests, were not. All too real is Borat's encounter with loutish Southern frat boys who reveal their sexism and racism, and the disturbing moment when he asks a gun store owner what gun he would recommend to "kill a Jew" (a Glock automatic is the matter-of-fact reply). Comedy is not pretty, and in Borat it can get downright ugly, as when Borat and his producer get jiggly with it during a nude fight that spills out from their hotel room into the hallway, elevator, lobby and finally, a mortgage brokers association banquet. High-five! --Donald Liebenson

Studio: Funimation Prod Inc Release Date: 11/10/2009 Run time: 625 minutesAmazon.comThe shojo (girl's) series Tsubasa Reservoir Chronicle offers new adventures for the characters from the Clamp Studio's popular Cardcaptor Sakura. Sakura is now the princess of the Kingdom of Clow; Syaoran is the dedicated son of an archaeologist. When a mysterious power seizes Sakura in an ancient temple, her spirit appears as a pair of graceful white wings that shatter, sending the feathers of her memories flying through time and space. Syaoran must recapture them or Sakura will die. Launched on their journey by Yuko the Dimensional Witch, Syaoran and Sakura are joined by three new characters: the rabbitlike Mokona; Kurogane, a hot-tempered warrior who served Princess Tomoyo; and Fay, a wizard who resembles Kaoru in Evangelion. As the travelers move from world to world searching for the Feathers, they help the inhabitants they encounter. After defeating the evil magician Tambal, Syaoran presents Sakura with a Feather of memory. She can't see him in the birthday party she recalls, only his empty chair: he can restore all her memories except the ones of him. The enhanced color and clarity of the Blu-ray process showcases the imaginative visuals in Tsubasa. When Kurogane blindfolds Syaoran to teach him to rely not on his vision but on his inner senses when fighting with a sword, the artists suggest his sightless world with reversed colors and evocative music. In one striking sequence, a character uses a Feather to cause the world of Outo to implode, revealing it's just a virtual reality game. These adventures are entertaining, but the filmmakers suggest that Sakura, Syaoran, and their friends may just be pawns in a greater struggle between Yuko and the mysterious Fei Wang and his assistant Xing Huo. Tsubasa is a picaresque tale that plays more like Fullmetal Alchemist than Cardcaptor Sakura, but Clamp fans will enjoy the mixture of enchantment, romance, adventure, and self-sacrifice. (Rated TV PG, suitable for ages 10 and older: violence, alcohol use) --Charles Solomon (1. Destinies Converge, 2. The Power to Fight, 3. Sword of Demon Destruction, 4. Innocent Wandering, 5. The Battle of the Mage, 6. Unshed Tears, 7. The Broken Memento, 8. God's Beloved Daughter, 9. Princess of Shadows, 10. Mirror of Separation, 11. The Chosen Tomorrow, 12. A Warm Smile, 13. Advocate of Illusions, 14. Truth in History, 15. A Heart That Believes, 16. Strength and Kindness, 17. Demon Hunters, 18. Cats and Dogs, 19. Resolution to Live, 20. The Afternoon Piano, 21. The Demon's True Face, 22. Indelible Memory, 23. The Fading Life, 24. Blade of a Desperate Fight, 25. The Ultimate Game, 26. The Last Wish)

Amazon.comThe Mask of ZorroA lusty and rousing adventure, this calls to mind those glorious costume dramas produced so capably by the old Hollywood studio system--hardly surprising, in that its title character, a de facto Robin Hood in Old California, provided starring vehicles for Douglas Fairbanks and Tyrone Power, the '50s TV hit, and dozens of serials and features. Zorro, a pop-fiction creation invented by Johnston McCulley in 1918, is given new blood in this fast-moving and engaging version, which actually works as a sequel to the story line in the Fairbanks-Power saga, The Mark of Zorro. A self-assured Anthony Hopkins is Don Diego de la Vega, a Mexican freedom fighter captured and imprisoned just as Spain concedes California to Santa Ana. Twenty years later, he escapes from prison to face down his mortal enemy, a land grabbing governor played with slimy spitefulness by Stuart Wilson. Too old to save the local peasants on his own, he trains bandito Antonio Banderas to take his place. Much swashbuckling ensues as Banderas woos Catherine Zeta-Jones, becomes a better human being, and saves the disenfranchised rabble. Director Martin Campbell wisely instills a measure of frivolity into the deftly choreographed action sequences, while letting a serious tone creep in when appropriate. This covers much ground under the banner of romantic-action-adventure, and it does so most excellently. --Rochelle O'GormanThe Legend of ZorroThe Zorro brand of hot-blooded derring-do returns with The Legend of Zorro, starring Antonio Banderas and Catherine Zeta-Jones in the roles that brought them stardom with The Mask of Zorro. Now married for ten years and parents to young rascal Joaquim (charming Adrian Alonso, perhaps being set up for a future Son of Zorro), dashing swordsman Alejandro (Banderas, a Spaniard playing a Mexican) and sultry spitfire Elena De La Vega (Zeta-Jones, a Welshwoman playing a Spaniard) abruptly divorce, sending Alejandro on a drunken binge--which only gets worse when he learns Elena is being wooed by the mysterious Armand (Rufus Sewell, a Brit playing a Frenchman). Little does Alejandro know that Elena has ulterior motives, and that a worldwide conspiracy and a secret weapon will soon threaten the integrity of the U.S. The Legend of Zorro has way too much plot, leaving room for only two genuinely preposterous donnybrooks and a handful of lackluster brawls. Banderas and Zeta-Jones flash a bit of their considerable charisma, but by and large they (and the movie as a whole) are on autopilot. Not awful, but lacking any real spark. --Bret FetzerNo description available for this title.Item Type: BLU-RAY DVD MovieItem Rating: PG13Street Date: 12/01/09Wide Screen: yesDirector Cut: noSpecial Edition: noLanguage: ENGLISHForeign Film: noSubtitles: noDubbed: noFull Frame: noRe-Release: noPackaging: Sleeve

Amazon.comLust, Caution, Ang Lee's follow up to Brokeback Mountain, for which he won the Academy Award® for Best Director, continues his exploration of people with a passion for each other trapped in a world where their passion could be life-threatening, but in a very different context this time. Set in China during the Japanese occupation of early World War II, the underlying plot concerns the story of young Wong Chia Chi (Tang Wei), an actress and member of a small group of student resistors planning to infiltrate the home of Mr. Yee (Tony Leung), a high-ranking collaborationist government official, in order to kill him for his role in the torture and executions of Chinese resistance fighters. Chi ingratiates herself with Yee's wife, the sophisticated and cultured Mrs. Yee (Joan Chen) under the guise of being the wife of a wealthy but unseen tycoon. Flashbacks tell the tale of how Chi came to be involved with the resistors: her acting ability is her most valuable asset, and her assignment is to act the role of Mr. Yee's lover, right down to the sex. The story of their love and the painful intimacy it involves for both of them is told through their sexual relationship, which starts out violently, drifts into S&M, and shifts with their feelings, moving from pain and fear to some sort of desperate connection. This is lust with a capital L; the film's sex scenes have become famous for their frankness and acrobatic portrayals (they took 12 days to film), but amazingly enough, it's never prurient. The nature of their sexual relationship, and not the sex itself, is the point. Chi falls in love with the man she's supposed to kill, but there is no stopping the mission and she knows it. The danger of it all collapsing for them both is ever present, and that's the Caution. The cinematography and direction in Lust, Caution is masterful, and every scene is beautiful. The film does drift into a languid pace, and at times one wonders why Lee would feel the need to draw it out at the expense of delaying the crucial climactic scenes. Still, it's a wonderful piece of storytelling that should only help solidify Ang Lee's place in cinematic history as a master of films that express the difficulty of being essentially human in an inhumane world. --Daniel Vancini Stills from Lust, Caution (click for larger image) Korean Blu-Ray pressing. Region A (compatible with US players.) Provocative thrilling and sensual Lust Caution is the daring new film from acclaimed Academy Award®-winning director Ang Lee (Brokeback Mountain; Crouching Tiger Hidden Dragon). Set against the backdrop of a transforming country a young woman finds herself swept up in a radical plot to assassinate a ruthless and secretive intelligence agent. As she immerses herself in her role as a cosmopolitan seductress she becomes entangled in a dangerous game of emotional intrigue love and betrayal.

Amazon.comFor director Julian Jarrold (Becoming Jane), this sumptuous production represents a two-fold challenge: taking on a classic novel and a celebrated television production (Brideshead Revisited premiered on PBS in 1982). Thankfully, he's up to the task. Adapted by Andrew Davies (Pride and Prejudice) and Jeremy Brock (Mrs. Brown), Evelyn Waugh's 1945 text tracks the hard-won maturation of artist-turned-soldier Charles Ryder (Match Point's Matthew Goode). At the optimistic outset, the middle-class striver enters Oxford where he meets Sebastian Flyte (Perfume's Ben Whishaw), black-sheep scion of the Catholic Marchmain clan. Through his hedonistic friend, Ryder gets to know Flyte's sister, Julia (Hayley Atwell), and the dynamic changes. Were this a Jane Austen adaptation, Ryder's financial shortcomings would present the biggest obstacle, but the indomitable Lady Marchmain (Emma Thompson, cast against type) concentrates her disapproval on Ryder's atheism. Sebastian, on the other hand, wants Charles for himself; his drinking accelerates once he realizes Ryder loves Julia more. As World War I gives way to II, Ryder tangles with the Marchmains until forced to choose between freedom and compromise. In the end, comparing a two-hour movie to a 12-hour series makes as much sense as comparing a drawing to a sculpture. Both qualify as art, but one reveals more dimensions than the other. Like the series, Jarrold's narrative loses some steam once the focus shifts from Sebastian to Julia, but Goode's deft performance as Charles Ryder is just as riveting as that of Jeremy Irons before him. --Kathleen C. Fennessy Stills from Brideshead Revisited (Click for larger image) UK Import Blu-Ray/Region All pressing.Please note the extras are in standard definition and in the PAL format so they will be unviewable on US Blu-Ray players.Import Blu-Ray/Region All pressing. The unworldly undergraduate Charles Ryder (Matthew Goode) is befriended by the flamboyant and aristocratic Sebastian Flyte (Ben Whishaw), son of Lord and Lady Marchmain (Michael Gambon and Emma Thompson), and is thrilled by an invitation to Brideshead, the Marchmain s magnificent ancestral home. Beguiled by his surroundings, Charles is entranced by the opulent house and the glamorous world of this eccentric family. While Lord Marchmain lives in Venice with his mistress, Lady Marchmain runs the house, the failure of her marriage redoubling the fierce Catholic faith imposed on her children - Sebastian and the beautiful Julia (Hayley Atwell). As Charles s infatuation moves from the provocative Sebastian to the sophisticated Julia, it is a faith with which he finds himself increasingly at odds.

Amazon.comAlmost Famous is the movie Cameron Crowe has been waiting a lifetime to tell. The fictionalization of Crowe's days as a teenage reporter for Creem and Rolling Stone has all the well-written characters and wonderful "movie moments" that we expect from Crowe (Jerry Maguire), but the film has an intangible something extra--an insider's touch that will turn the film into the ode to '70s rock & roll for years to come. We are introduced to Crowe's alter ego, William Miller (Patrick Fugit), at home, where his progressive mom (Frances McDormand, just superb) has outlawed rock music and sister Anita (Zooey Deschanel) has slipped him LPs that will "set his mind free." Following the wisdom of Creem's disheveled editor, Lester Bangs (Philip Seymour Hoffman in an instant-classic performance), Miller gets on the inside with the up-and-coming band Stillwater (a fictionalized mixture of the Allman Brothers, Led Zeppelin, and others). A simple visit with the band turns into a three-week, life-altering odyssey into the heyday of American rock. Of the characters he meets on the road, the two most important are groupie extraordinaire Penny Lane (Kate Hudson in a star-making performance) and Stillwater's enigmatic lead guitarist (Billy Crudup), who keeps stringing Miller along for an interview. From the handwritten credits (done by Crowe) to the bittersweet finale, Crowe's comedic valentine is an indelible, heartbreaking romance of music, women, and the privilege of youth. --Doug ThomasUK All Region Blu-Ray pressing. Writer-director Cameron Crowe brings the 1970s music scene to life with his semi-autobiographical story of a teen journalist who goes on the road with a rock band. Uncool 15-year-old William Miller (Patrick Fugit) is living every teenager's dream. He's touring with Stillwater, an up-and-coming rock band featuring lead singer Jeff Bebe (Jason Lee) and charismatic lead guitarist Russell Hammond (Billy Crudup) and writing about it for Rolling Stone magazine, whose editors are unaware of his young age. Though Miller's mentor, legendary rock critic Lester Bangs--portrayed with humour and heart by Philip Seymour Hoffman--cautions him not to befriend the musicians, Miller takes it a step further and befriends both the band and the Band-Aids--the girls who hang around with the band because they love the music. Newcomer Fugit is the perfect William Miller: baby-faced, slightly gawky, and an awestruck observer. Kate Hudson sparkles as Penny Lane, the leader of the Band-Aids, and Frances McDormand delivers a stellar performance as Elaine, Miller's protective and mildly paranoid mother. In the tradition of Say Anything and Jerry Maguire, Crowe's coming-of-age tale is intelligent, well written, and infused with humour in unlikely places.

Amazon.comThe cinematic equivalent of a half case of Red Bull chased with donuts, Kick-Ass is a giddy, violent experience--and not your average superhero movie. Based on the comic book by Mark Millar and John Romita Jr., it offers a set of heroes who are decidedly without superpowers: Dave Lizewski (Aaron Johnson) decides he'll be just like a comic-book character, and puts on a ridiculous green suit to fight crime as the mysterious Kick-Ass. Luckily, somebody else had the same idea and comes along to rescue the incompetent crusader: Big Daddy (Nicolas Cage) and his daughter Hit Girl (Chloe Moretz), who also happen to be running around town wearing masks and vanquishing evil. And here we have the movie's masterstroke: Hit Girl, a pint-sized preteen who slaughters bad guys and swears like a sailor on leave (and was the focus of a measure of controversy when the movie was released). The main target of our heroes is a gangster (Mark Strong, Sherlock Holmes), whose neglected son (Christopher Mintz-Plasse, McLovin from Superbad) figures he might just pull on a costume himself and becomeâ?¦ Red Mist! (One of the many funny things about Kick-Ass is that the superhero names are hopelessly lame.) Director Matthew Vaughn is operating at the same glib level as his Layer Cake, with cutesy song cues galore and a freewheeling appetite for cartoon violence. This means the movie's high wears off quickly, but it does get high--a crazy, hilarious (and by the way: decidedly R-rated) kick. All that, plus Nicolas Cage executes a deadly Adam West imitation when he pulls on his cape and cowl. That's entertainment. --Robert HortonStills from Kick-Ass (Click for larger image) â??How come nobodyâ??s ever tried to be a superhero?â?� When Dave Lizewski â?? ordinary New York teenager and rabid comic-book geek â?? dons a green-and-yellow Internet-bought wetsuit to become the no-nonsense vigilante Kick-Ass, he soon finds an answer to his own question: because it hurts. But, over coming all the odds, the eager yet inexperienced Dave quickly becomes a phenomenon, capturing the imagination of the public. However, heâ??s not the only superhero out there â?? the fearless and highly trained father-daughter crime-fighting duo, Big Daddy and Hit-Girl, have been slowly but surely taking down the criminal empire of local mafioso Frank Dâ??Amico. And, as Kick-Ass gets drawn into their no-holds-barred world of bullets and bloodletting with Frankâ??s son Chris, now reborn as Kick-Assâ??s arch-nemesis Red Mist, the stage is set for a final showdown between the forces of good and evil, in which the DIY hero will have to live up to his name. Or die tryingâ?¦

Amazon.comIntriguingly scaled more along the lines of a good sci-fi short story than a steroid-enhanced action picture, Surrogates proposes a variation on spectatorship-run-amok. In the near future, human beings need no longer leave their homes: mechanical surrogates, similar in appearance (but younger looking, fitter, with fewer wrinkles and more hair) can move about in the world on the user's behalf, following commands and absorbing physical wear and tear. A cop (Bruce Willis) begins investigating a mystifying case of a user who died when his surrogate got blasted by a fancy ray-gun in the street--that's a definite violation of the company guarantee. In the course of a trim, sub-90-minute running time, the Willis character himself is forced to enter the mean streets in his own flesh-and-blood version, not his surrogate, a move that puzzles both his wife (Rosamund Pike) and partner (Radha Mitchell). In the movie's scheme of perfect surrogates and digitally-smoothed faces, the grizzled humanity of Bruce Willis comes blazing through; what a relief to see a battered human in the midst of the beautiful people. Director Jonathan Mostow (Terminator 3) gets the world right, but one waits in vain for a fuller picture of the effects of this surrogate population, or a deeper study of the creator (James Cromwell) of the technology, or a reason to get involved in the rebel leader (Ving Rhames in a fright wig) and his reservation populated by defiant non-surrogates. Sprinting along as it does, Surrogates doesn't find time for these presumably crucial details, and the result feels just a little skin-deep. --Robert HortonStills from Surrogates (Click for larger image) How do you save humanity when the only thing that's real is you? From the director of TERMINATOR 3 comes a jaw-dropping psychological thriller starring the ultimate action hero, Bruce Willis. In the not-so-distant future, where people experience life through perfect surrogates controlled from the safety of their own homes, murder is a thing of the past. But when a college student linked to the creator of these replicants is killed, one FBI agent must re-enter reality and risk his life to unravel the mystery. In the battle of technology versus humanity, who can you trust? Experience every electrifying moment of this mind-blowing movie. Based on the acclaimed graphic novel and exploding with unforgettable action, SURROGATES is nonstop entertainment from start to finish!Bonus Features include: Exclusive To Blu-ray: Deleted Scenes, Exclusive To Blu-ray: A More Perfect You: The Science Of Surrogates, Exclusive To Blu-ray: Breaking The Frame: A Graphic Novel Comes To Life, I Will Not Bow Music Video By Breaking Benjamin, Feature Audio Commentary By Director Jonathan Mostow

Amazon.comAdapted from Elizabeth Gaskell's novels, the five-episode miniseries Cranford focuses on female characters in the 19th-century British town to thematically contemplate encroaching modernity in rural England. With the camera roving house to house, each drama within the grander story is constructed of scenes featuring dialogue between several gossipy ladies obsessed with moral code, romantic ideas about courtship, and social occasions. Three main characters, the ever-appropriate Deborah Jenkyns (Eileen Atkins), her sweet sister, Matilda (Judi Dench), and their younger, more savvy relative, Miss Smith (Lisa Dillon), continuously weigh in on situations, providing a dependable view when other ladies, like the nosey Miss Pole (Imelda Staunton) are too judgmental. In fine period dress, the women of Cranford remind the viewer of how little action was needed in their small-town lives to provide unceasing entertainment. The series'most intriguing aspect lies not in the ample female conversation but rather in its display of earlier technologies and ways of life. Part One, for example, quickly launches a main narrative thread that runs throughout the series, namely the arrival and assimilation of London doctor, Frank Harrison (Simon Woods), into village society. Dr. Harrison's medical practices, such as his refusal to amputate a man's arm because it's broken, are all the more radical because they are so fundamental by today's standards. In subsequent episodes, he recommends Miss Smith get spectacles to cure her headaches, and saves his love's life by cooling her fever after conservative doctor, Dr. Morgan (John Bowe), recommends the old school practice of burying her in blankets in front of a raging fire. In Part Two, Lady Ludlow (Francesca Annis) throws a garden party at her estate, treating all the women in their fancy hats to a new novelty: ice cream. This scene foreshadows Ludlow's future concern at a railroad plan involving her land that would connect Cranford to Manchester, symbolizing the ruin of this idyllic setting. In fact, fluffy and clever as some scenes are, death and rebirth assert themselves in each showing, both physically and idealistically. Part Four shows an auctioning off of a deceased man's antiques, and focuses on issues of class and women's education, as Mr. Carter teaches a peasant boy to read while his assistant fumes at her trappings as a seamstress. Part Five ushers in a new period of medical emergencies, securing Dr. Harrison's shaky position in town. In total, Cranford offers a powerful, if sentimental, look at how death begets life, love, and passion. --Trinie DaltonStudio: Warner Home Video Release Date: 04/14/2009 Run time: 291 minutes Rating: Nr

Studio: Image Entertainment Release Date: 05/12/2009 Run time: 160 minutesAmazon.comA Special Message from Jonathon Turell, Criterion CEOI was nine when the Apollo 11 Eagle landed on the moon. I remember vividly watching it on a small black-and-white TV at sleepaway camp that summer of 1969. I’ve been hooked on the space program ever since. Just about twenty years ago, a friend told me he had seen a rough cut of a new space movie and I should see it. I got a tape and watched For All Mankind for the first time. It was unlike anything I had seen before, and I knew that I wanted to be a part of it. I met Al Reinert and we became friends. Janus Films helped to finish the film, and I became an associate producer as we completed the movie. For All Mankind was nominated for the Academy Award for Best Documentaryâ??losing out to Common Threads: Stories from the Quilt. It played festivals around the world. There was a special screening for NASA and the astronauts in Galveston, Texas, and the film showed at the Air and Space Museum at the celebration of the twentieth anniversary of the moon landing. We started working on the laserdisc release of For All Mankind before the film was complete, and I traveled to Houston to meet Al and interview Apollo 12 astronaut Alan Bean for inclusion on the disc. Bean’s comments were so good that Al recut the film to include a wonderful story about piloting the lunar module in orbit around moon. Meeting one of the astronauts who walked on the moon is still one of the greatest thrills of my life. Last year, when we began working on our Blu-ray release of For All Mankind, we got in touch with Bean again and asked him to participate. He happily agreed to update the feature on his paintings and also to sit down and talk with us about a subject I had become very interested inâ??science versus art. I wanted to explore the question of whether the astronauts (or the people at NASA) realized they were shooting some of the most artistic images ever recorded (and now some of the most famous) or if it was really all about moon rocks and beating the Russians. This second meeting with Bean didn’t disappoint; he says some wonderful things that are included on the disc. When we finished taping our interview session, he gave me a ride to lunch. The famous Apollo 12 Corvette is gone, replaced by a truck to carry his paintings, but that ten-minute ride will stay with me forever. He talked about walking on the moon; I talked about what movies I like. It didn’t seem quite parallelâ??for him it was an interesting conversation, for me, it was an audience with a hero. Over the years, I think I’ve seen every film and TV miniseries about the Apollo program (at least twice), but for me For All Mankind still stands apart. It is unique in its poetic approach and ability to capture the pure emotion of the greatest journey of our time.

Amazon.comWeeds: Season Three continues the dark line of comedy that emerged in the previous season for this Showtime series. The story picks up exactly where it left off, with Nancy Botwin (Mary-Louise Parker) faced with a half-dozen guns pointing at her in her own kitchen, while an Armenian gang and Nancy's buyer, U-Turn (Page Kennedy), both demand she turn over her entire stash of marijuana (worth several hundred thousand dollars). Problem is, the pot is in the trunk of on-again, off-again friend Celia (Elizabeth Perkins), whose car has been stolen by Nancy's oldest son, Silas (Hunter Parrish). Silas wants in on mom's business, but his timing couldn't be worse as Celia and a police officer show up to reclaim the car while Nancy is still at gunpoint. The fallout from all this is that Nancy ends up working for U-Turn to repay her debt to him, a dangerous relationship that sends Nancy down a rabbit hole of underworld threats and violence. Meanwhile, Celia gets booted out of her home by her husband and becomes estranged from her young daughter, Isabelle (Allie Grant), who insists she's a lesbian. Celia rebounds a bit when a corrupt developer (Matthew Modine) gives her a house in exchange for her support on city council for one of his schemes. That goes wrong, too, when Celia allows Nancy, Doug (Kevin Nealon), and Conrad (Romany Malco), all of whom go into business after U-Turn stops being a problem, to put their endangered trove of marijuana plants in her house. Nancy's other son, Shane (Alexander Gould), claims he can see and talk to the ghost of Nancy's late husband, and Nancy's brother-in-law Andy (Justin Kirk) goes AWOL from the U.S. Army after his comrade is deliberately killed in an experimental missile test. As always, it's one thing after another on Weeds, and the blend of humor and suspense is uniquely compelling. Parker and the rest of the cast pull off some pretty surreal situations with great credibility. The show's lead star, particularly, can carry moments of blended terror and comedy: one of the season's most memorable moments finds Nancy forced to put on a sexy dance for a group of drug dealers in order to pick up a package U-Turn requires. The scene is humiliating, frightening, sexy, and comical all at once. Few actresses could have pulled it off, but Parker does. --Tom KeoghDescriptionAmerica's favorite pot-dealing soccer mom is more addictive than ever in the third season of WEEDS, the highly acclaimed Showtime(r) Original Series. Emmy (r) and Golden Globe(r) winner MARY-LOUISE PARKER stars as Nancy Botwin, a single mom who resorts to dealing pot after her husband dies suddenly. But when an off beat way to make ends meet grows into a mini-empire, the mother of all dealers finds she may be in over her head - and on the verge of taking everyone else with her. Hilarious and subversive, WEEDS is the hit that put the herb in suburb.

Amazon.comMichael Moore's didactic documentary style is actually a source of inspiration in Capitalism: A Love Story. This film, which explores the history of incongruence between American capitalism and democracy, is evidently a culmination of Moore's lifetime of research into this topic: he begins the movie by admitting his longstanding interest, rooted in childhood experiences in Flint, Michigan. As a result, the film displays an expertise that is less irritating than in Moore's earlier works, in which various loopholes can be found in one-sided presentations (see Bowling for Columbine). Here Moore employs his trademark tactics to make a satirical documentary that functions as a film-based, grassroots political strategy meant to provoke revolt. Consisting of patched-together clips from various eras and media outlets, the film weaves a narrative that underscores Moore's argument that while America is a success because of its democracy, it has been denigrated by capitalism, which he calls "a system of taking and giving, mostly taking." Capitalism: A Love Story is a patriotic call to arms that seeks to ignite rage in the viewer who is tired of political stupidity resulting in poverty and hardship among a dwindling middle class. It begins by tracing the growing gap between the rich and poor, from the Depression through the 1950s "free enterprise" boom. Using clips of FDR and Jimmy Carter warning against greed and inequality, Moore shows how gradually Americans came to accept Reaganomics, corporate corruption, then Bush-era swindling over time. This history serves as context for his explanation of the housing crisis, the collapse of banks, and Bush's covert, last-ditch efforts to pass sketchy bills on the cusp of Obama's election. Moore asks several lawyers, senators, and bankers, "What the **** happened?" and each offers intelligent assessments of situations that many American viewers still struggle to comprehend. Unfortunately, there are corny Moore moments throughout the film, such as when he takes an armored truck to various banking headquarters and harasses security guards to let him in to reclaim money stolen from the American public. Clips of Bush dancing juxtaposed with shots of people crying because they've lost their homes are melodramatic and only weaken Moore's arguments. Like Robin Hood, Moore seeks justice, but his greatest strength is as a translator between those speaking a complex political language and his viewers. Capitalism: A Love Story, while it does have a condescending tone throughout, does much to relay a complicated history that we all need to know for the sake of our own empowerment. --Trinie DaltonStills from Capitalism: A Love Story (Click for larger image) A look into the greed that is at the center of capitalism.

Amazon.comMichael Moore's didactic documentary style is actually a source of inspiration in Capitalism: A Love Story. This film, which explores the history of incongruence between American capitalism and democracy, is evidently a culmination of Moore's lifetime of research into this topic: he begins the movie by admitting his longstanding interest, rooted in childhood experiences in Flint, Michigan. As a result, the film displays an expertise that is less irritating than in Moore's earlier works, in which various loopholes can be found in one-sided presentations (see Bowling for Columbine). Here Moore employs his trademark tactics to make a satirical documentary that functions as a film-based, grassroots political strategy meant to provoke revolt. Consisting of patched-together clips from various eras and media outlets, the film weaves a narrative that underscores Moore's argument that while America is a success because of its democracy, it has been denigrated by capitalism, which he calls "a system of taking and giving, mostly taking." Capitalism: A Love Story is a patriotic call to arms that seeks to ignite rage in the viewer who is tired of political stupidity resulting in poverty and hardship among a dwindling middle class. It begins by tracing the growing gap between the rich and poor, from the Depression through the 1950s "free enterprise" boom. Using clips of FDR and Jimmy Carter warning against greed and inequality, Moore shows how gradually Americans came to accept Reaganomics, corporate corruption, then Bush-era swindling over time. This history serves as context for his explanation of the housing crisis, the collapse of banks, and Bush's covert, last-ditch efforts to pass sketchy bills on the cusp of Obama's election. Moore asks several lawyers, senators, and bankers, "What the **** happened?" and each offers intelligent assessments of situations that many American viewers still struggle to comprehend. Unfortunately, there are corny Moore moments throughout the film, such as when he takes an armored truck to various banking headquarters and harasses security guards to let him in to reclaim money stolen from the American public. Clips of Bush dancing juxtaposed with shots of people crying because they've lost their homes are melodramatic and only weaken Moore's arguments. Like Robin Hood, Moore seeks justice, but his greatest strength is as a translator between those speaking a complex political language and his viewers. Capitalism: A Love Story, while it does have a condescending tone throughout, does much to relay a complicated history that we all need to know for the sake of our own empowerment. --Trinie DaltonStills from Capitalism: A Love Story (Click for larger image) A look into the greed that is at the center of capitalism.

Studio: Uni Dist Corp. (mca) Release Date: 12/15/2009 Run time: 153 minutes Rating: RAmazon.comAlthough Quentin Tarantino has cherished Enzo G. Castellari's 1978 "macaroni" war flick The Inglorious Bastards for most of his film-geek life, his own Inglourious Basterds is no remake. Instead, as hinted by the Tarantino-esque misspelling, this is a lunatic fantasia of WWII, a brazen re-imagining of both history and the behind-enemy-lines war film subgenre. There's a Dirty Not-Quite-Dozen of mostly Jewish commandos, led by a Tennessee good ol' boy named Aldo Raine (Brad Pitt) who reckons each warrior owes him one hundred Nazi scalps--and he means that literally. Even as Raine's band strikes terror into the Nazi occupiers of France, a diabolically smart and self-assured German officer named Landa (Christoph Waltz) is busy validating his own legend as "The Jew Hunter." Along the way, he wipes out the rural family of a grave young girl (Melanie Laurent) who will reappear years later in Paris, dreaming of vengeance on an epic scale. Now, this isn't one more big-screen comic book. As the masterly opening sequence reaffirms, Tarantino is a true filmmaker, with a deep respect for the integrity of screen space and the tension that can accumulate in contemplating two men seated at a table having a polite conversation. IB reunites QT with cinematographer Robert Richardson (who shot Kill Bill), and the colors and textures they serve up can be riveting, from the eerie red-hot glow of a tabletop in Adolf Hitler's den, to the creamy swirl of a Parisian pastry in which Landa parks his cigarette. The action has been divided, Pulp Fiction-like, into five chapters, each featuring at least one spellbinding set-piece. It's testimony to the integrity we mentioned that Tarantino can lock in the ferocious suspense of a scene for minutes on end, then explode the situation almost faster than the eye and ear can register, and then take the rest of the sequence to a new, wholly unanticipated level within seconds. Again, be warned: This is not your "Greatest Generation," Saving Private Ryan WWII. The sadism of Raine and his boys can be as unsavory as the Nazi variety; Tarantino's latest cinematic protégé, Eli (director of Hostel) Roth, is aptly cast as a self-styled "golem" fond of pulping Nazis with a baseball bat. But get past that, and the sometimes disconcerting shifts to another location and another set of characters, and the movie should gather you up like a growing floodtide. Tarantino told the Cannes Film Festival audience that he wanted to show "Adolf Hitler defeated by cinema." Cinema wins. --Richard T. Jameson

Michael Myers continues his murderous rampage.Amazon.comRocker turned writer-director Rob Zombie returns to the horror field with this visually ambitious and aggressively brutal follow-up to his 2007 reinvention of John Carpenter’s seminal slasher Halloween. The 1981 sequel to the Carpenter film is completely ignored here (and for good reason) in favor of an extension of the central focus of Zombie’s Halloween, and all of his films, for that matter: the corruption at the heart of the nuclear family. Here, Laurie Strode (Scout Taylor Compton) is attempting to heal the psychic wounds from her previous encounter with brother Michael Myers (Tyler Mane) by bonding with Sheriff Brackett (Brad Dourif, a pleasure to watch as always) and his daughter Anne (Danielle Harris, herself a vet from the original run of Halloween sequels). Her previous surrogate father, Dr. Loomis (Malcolm McDowell) has forsaken his connection to Laurie by exploiting his connection to Michael with a tell-all book; meanwhile, Michael himself roams the lonely outskirts of Haddonfield, driven by visions of his mother (Sheri Moon Zombie) and a single-minded urge to bond with his sister at any cost. Aesthetically, H2 is striking, thanks largely to the ashen color scheme by cinematographer Brandon Trost (Crank 2: High Voltage), which underscores the doom-laded spiral track each of the main characters seem to travel in the film. And Zombie is to be commended for venturing outside of his comfort zone--the grimy, pop-culture ironic, white trash environment his characters frequently inhabit--with the scenes between Michael and his mother. But again, his ambitions don’t meet with his abilities--Moon looks impressive, but her apocalyptic mutterings ring more silly than spectral, especially when she’s forced to play opposite an enormous pale horse (insert heavy-handed Biblical imagery here). Most fans will find these moments more tedious than inspired, and a distraction from the murders, which retain Zombie’s preference for mayhem. He succeeds in this department, but if the end result is a menu of ugly killings, the point of revamping the Halloween franchise is somewhat moot, since the threadbare follow-ups to the Carpenter original already achieved that goal. Zombie’s knack for offbeat casting remains his most inspired talent: Haddonfield is filled with cult icons like Caroline Williams (Texas Chainsaw Massacre 2), Margot Kidder, and Daniel Roebuck, who jostle for space with rough-hewn character players like Duane Whitaker, Mark Boone Junior, and Dayton Callie (Deadwood) and left-field cameos by Howard Hesseman and “Weird Al” Yankovic. --Paul Gaita

Amazon.comMuch was written about Will Ferrell's first "dramatic role" as Harold Crick, an IRS auditor who begins hearing a voice narrating his life. But Stranger Than Fiction is hardly a drama. However, what Ferrell does--like Jim Carrey before him in The Truman Show--is handle a toned-down character with genuineness and affection: you believe he is this guy. Crick leads a lonely life filled with numbers and routines. While at first he considers the voice a nuisance, Crick decides more action is needed when it speaks of "his demise." Enter Professor Jules Hilbert (Dustin Hoffman), who takes on the absurd notion with revelry, trying to find out what kind of book Crick's life is leading. It turns out that the voice Crick is hearing belongs to Kay Eiffel (Emma Thompson), a very real--and troubled--author who is writing a book in which Crick is a fictional character. As usual with these things, the stuffed shirt learns to live a better life--Crick even falls for one of his audits, a brash baker named Ana (Maggie Gyllenhaal). Marc Foster (Monster's Ball, Finding Neverland) has the right tone for the film, using great urban scenes (the unnamed city is Chicago) with interesting visualizations of Crick's world of numbers. He also directs Ferrell, Hoffman, and Gyllenhaal to their most charming performances (plus Linda Hunt and Tom Hulce pop up in two funny scenes). Ferrell succeeds in being a romantic lead you can root for; a scene where he eats Ana's freshly baked cookies is totally delightful without a hint of sarcasm. Screenwriter Zach Helm has two personal traits with his story: like Crick he followed his heart (he stopped rewriting scripts and only worked on his own) and like Eiffel, the final results are not a masterpiece, but good, and entertaining enough. Britt Daniel of the band Spoon worked on the dynamite soundtrack.--Doug Thomas Extras from Stranger Than Fiction "Counting Brush Strokes," A featurette on the filming of Stranger Than Fictionhigh bandwidth Tax Man!: A clip from the filmhigh bandwidth Queen Latifah on working with Emma Thompsonhigh bandwidth Stills from Stranger Than Fiction (click for larger image) Beyond Stranger Than Fiction on Amazon.com Comic Actors Go Dramatic CD Soundtrack Emma Thompson Essentials A novelist comes face-to-face with one of her characters.

A novelist comes face-to-face with one of her characters.Amazon.comMuch was written about Will Ferrell's first "dramatic role" as Harold Crick, an IRS auditor who begins hearing a voice narrating his life. But Stranger Than Fiction is hardly a drama. However, what Ferrell does--like Jim Carrey before him in The Truman Show--is handle a toned-down character with genuineness and affection: you believe he is this guy. Crick leads a lonely life filled with numbers and routines. While at first he considers the voice a nuisance, Crick decides more action is needed when it speaks of "his demise." Enter Professor Jules Hilbert (Dustin Hoffman), who takes on the absurd notion with revelry, trying to find out what kind of book Crick's life is leading. It turns out that the voice Crick is hearing belongs to Kay Eiffel (Emma Thompson), a very real--and troubled--author who is writing a book in which Crick is a fictional character. As usual with these things, the stuffed shirt learns to live a better life--Crick even falls for one of his audits, a brash baker named Ana (Maggie Gyllenhaal). Marc Foster (Monster's Ball, Finding Neverland) has the right tone for the film, using great urban scenes (the unnamed city is Chicago) with interesting visualizations of Crick's world of numbers. He also directs Ferrell, Hoffman, and Gyllenhaal to their most charming performances (plus Linda Hunt and Tom Hulce pop up in two funny scenes). Ferrell succeeds in being a romantic lead you can root for; a scene where he eats Ana's freshly baked cookies is totally delightful without a hint of sarcasm. Screenwriter Zach Helm has two personal traits with his story: like Crick he followed his heart (he stopped rewriting scripts and only worked on his own) and like Eiffel, the final results are not a masterpiece, but good, and entertaining enough. Britt Daniel of the band Spoon worked on the dynamite soundtrack.--Doug Thomas Extras from Stranger Than Fiction "Counting Brush Strokes," A featurette on the filming of Stranger Than Fictionhigh bandwidth Tax Man!: A clip from the filmhigh bandwidth Queen Latifah on working with Emma Thompsonhigh bandwidth Stills from Stranger Than Fiction (click for larger image) Beyond Stranger Than Fiction on Amazon.com Comic Actors Go Dramatic CD Soundtrack Emma Thompson Essentials

Amazon.comA daffy, adorable, and very funny celebration of DIY spirit, Be Kind Rewind stars Mos Def (The Hitchhiker's Guide to the Galaxy) as Mike, a clerk at a failing video store in a rundown New Jersey neighborhood. When his friend Jerry (Jack Black), who's been magnetized in a power station accident, wipes all of the videotapes blank, the two of them decide to recreate the movies themselves rather than face the store's owner (Danny Glover). The pure charm of Be Kind Rewind can't be captured in that spare plot synopsis. The blend of the movie's great cast (which also includes Mia Farrow, Melonie Diaz of American Son, and Sigourney Weaver) and pitch-perfect writing and direction from writer-director Michel Gondry (director of Eternal Sunshine of the Spotless Mind, writer-director of The Science of Sleep) culminates in a truly delightful movie--sweet without being saccharine, richly comic without irony or sarcasm (which, given the presence of Black, is surprising), sentimental without losing sight of the hard edges of life. Mos Def turns in a standout performance, deeply sympathetic without a moment of grandstanding. An absolutely winning film. --Bret FetzerMusic-video-director-turned-auteur Michel Gondry continues to charm with his low-tech offering BE KIND REWIND. Set in dreary Passaic New Jersey the comedy centers on two of the town's residents: trouble-making Jerry (Jack Black) and well-meaning Mike (Mos Def). Mike works in a video store in an age where the VHS is long dead but the store's owner Mr. Fletcher (Danny Glover) doesn't seem to be in any hurry to change. When Mr. Fletcher leaves town for a trip he entrusts his store to Mike with one piece of advice: don't let Jerry in the store. But after some mischief Jerry returns to the store in a strange state. Not only is he weirder than usual but he's also magnetized which causes the entire store's stock to be erased. In order to keep the struggling business afloat Mike and Jerry begin remaking the films in the store one by one. Their hilariously low-budget versions of films such as GHOSTBUSTERS and RUSH HOUR 2 soon begin to draw attention and business to the store but that creates a whole new set of problems for the pair. Though Gondry's three previous fiction films--HUMAN NATURE ETERNAL SUNSHINE OF THE SPOTLESS MIND and THE SCIENCE OF SLEEP--were all essentially love stories BE KIND REWIND captures another kind of romance. Both the writer-director and his characters are in love with the cinematic medium itself and their devotion shows. BE KIND REWIND doesn't reach the heights of ETERNAL SUNSHINE but it doesn't seem to be aiming for that genius. This is simply a hilarious comedy fun for film fans of all stripes which celebrates the sheer joy of watching and making films.System Requirements:Running Time: 101 minutesFormat: BLU-RAY DISC Genre: COMEDY/BUDDY FILMS Rating: PG-13 UPC: 794043123252 Manufacturer No: 1000040435

Amazon.comIt's the greatest work of literature, but nobody had ever filmed Hamlet uncut--until Kenneth Branagh went about the task for his lavish 1996 production. The result is a sumptuous, star-studded version that scores a palpable hit on its avowed goal: to make the text as clear and urgent as possible. Branagh himself plays the melancholy son of the Danish court, caught in a famous muddle about whether to seek revenge against his royal father's presumed slayer… the man who now sits on the throne and shares the bed of Hamlet's mother. (Or, as the song "That's Entertainment" summarizes the plot: "A ghost and a prince meet / And everyone winds up mincemeat.") As a director, Branagh (who shot the movie in 70 mm.) uses the vast, cold interiors of a vaguely 19th-century manor to gorgeous effect; the story might scurry down this hallway, into that back chamber, or sprawl out into the enormous main room. With its endless collection of mirrors, the place is as big and empty as Citizen Kane's Xanadu. That all works; what doesn't work is Branagh's tendency to over-direct the big dramatic moments. He indulges in quick cutting and flashbacks as though to fend off the audience's objections to the four-hour running time, and the style sometimes looks like wasted energy. The experienced Shakespearians in the cast come off nicely; Derek Jacobi's Claudius, Richard Briers' Polonius, and Michael Maloney's Laertes are just terrific. Julie Christie is a suitably attractive Gertrude, and Kate Winslet makes the most of Ophelia's mad scenes. Branagh's habit of folding in unexpected American performers is on the mark, too: Billy Crystal is surprisingly good as the Gravedigger, Robin Williams predictably camps up Osric, and Charlton Heston is an inspired choice as the grandiloquent Player King. The biggest irony here is that Branagh himself is not quite spot-on as Hamlet. Of course he speaks the lines beautifully, but Branagh's screen personality radiates certainty and clarity of vision; there's little of the doubt that might make him Hamlet-esque. Still, tremendous credit for fending off slings and arrows to get the movie made. --Robert Horton"Hamlet has the kind of power, energy and excitement that movies can truly exploit," actor/director Kenneth Branagh says. In this first full-text film of William Shakespeare's play â?? shot on 65mm film and exhibited in Panavision Super 70, power surges through every scene. The timeless tale of murder, corruption and revenge is reset in a lavish 19th-century world, using sprawling Blenheim Palace as Elsinore and staging much of the action in mirrored, gold-filled interiors. A landmark cast (Julie Christie, Kate Winslet, Billy Crystal, Robin Williams, Charlton Heston and more), the excitement of the Bard's words and an energetic filmmaking style lift the story from its often shadowy ambience to fully-lit pageantry and rage.