DVDpedia : Library : Title : T

Theatrical: 2001

Studio: Sony Pictures

Genre: Action & Adventure

Duration: 109

Summary: Tailors are the secret-keepers of the power elite; customize fine apparel for the rich and powerful, and you'll hear things only whispered in the halls of government. Such is the sly conceit of "The Tailor of Panama", coadapted by John le Carré from his own novel, and directed by John Boorman with a delicious spin on the traditions of the spy genre. As British MI-6 agent Andy Osnard, Pierce Brosnan qualifies as James Bond's black-sheep sibling, viewing women only in terms of sexual conquest and conducting spy business by his own flexible set of rules. Banished to Panama to pay for recent indiscretions, Andy connects with Harry Pendel (Geoffrey Rush), a British ex-convict who's built a lucrative cover as tailor to Panama's highest officials. With the coveted Panama canal now under local control, Andy's arrived to see what Harry knows about the canal's pending multinational sale.
As Andy observes, Panama is ""Casablanca" without heroes," and that's precisely how Boorman depicts it: a melting pot of greed, ambition, and backroom maneuvering, where Andy can bed an embassy official (Catherine McCormack) while squeezing information from Harry, who concocts a phony "silent opposition" that puts British and American forces on full alert. Harry's wife (Jamie Lee Curtis) is pulled into the scenario by Andy's ruthless scheming, and "The Tailor of Panama" reveals how a simple fabrication can provoke trigger-happy forces around the globe. Part comedy and part political horror thriller--with a tragic supporting role for Brendan Gleason, from Boorman's "The General"--this is old-fashioned spy stuff made new by le Carré's inventive plotting and keen ear for the dialogue of rogues. "--Jeff Shannon"

Theatrical: 2008

Studio: 20th Century Fox

Genre: Mystery & Suspense

Duration: 93

Summary: What could be a skillful but ordinary action flick gets a surprising emotional heft from the presence of Liam Neeson as the hero. Bryan Mills (Neeson) has given up his career as a spy to form a relationship with his estranged teenage daughter--but when, on a trip to Paris, she's kidnapped by slavers, Mills uses all his connections and skills to turn the city of lights upside down and rescue her. Like most of the movies that writer/producer Luc Besson has a hand in (such as La Femme Nikita, The Transporter, Unleashed, and many other French action movies), Taken drips with lurid violence (a bit toned-down to get a PG-13 rating, but there's still plenty of it), deranged sentimentality, and stereotypes of all kinds. But this doesn't stop his movies from being effective thrill-rides, and Taken is no exception. Taken pays just enough attention to the illusion of procedure--making it seem like Mills knows all the right steps to track down his daughter--that the movie cheerfully seduces your suspension of disbelief, despite many plot holes and scenes where Mills doesn't get scratched despite bullets flying in all directions or pretends to be a French policeman despite not speaking French or even adopting a French accent. What holds it all together is Neeson; his gravitas and emotional availability make his character--the usual action fantasy of impossible competence and righteous fury--somehow seem real and relatable. --Bret Fetzer

Stills from Taken (Click for larger image)

Theatrical: 2000

Studio: Sony Pictures

Genre: Comedy

Duration: 87

Summary: In his college days Dex (Donal Logue) was a slim, cool, smooth-talking ladies' man. A decade later he's an overweight, underachieving kindergarten teacher, but he's honed his pick-up technique into a way of life--a mix of zen, tough-guy cool, and college philosophy he and his buddies call "the Tao of Steve," named after the manly triad of Steve Austin (a.k.a. the Six Million Dollar Man), Steve McGarrett (Jack Lord's unflappable cop on "Hawaii Five-0"), and the king of all Steves: Steve McQueen. Santa Fe is populated with his one-night stands, but then he runs into Syd (Greer Goodman), a smart, sexy old classmate with an arsenal of sharp retorts, at a college reunion.
This American indie take on the slacker lothario falls into the old familiar story: eternally adolescent man meets grown-up woman and is forced to face up to a life in which he has never taken an emotional risk or a life-changing plunge. Logue's easy charm and low-key confidence makes Dex an easy guy to like, and director Jenniphr Goodman (who cowrote the script with Greer, her sister and star of the film) invests his lifestyle of leisure (mostly guys chatting about girls and trading pop culture references) with an offhanded naturalness. But neither is she oblivious to the holding pattern his life has taken. Sure, there's an inevitability to this shaggy romance, but there's an undeniable pleasure in seeing the change in the landscape of a familiar road. "--Sean Axmaker"

Theatrical: 2004

Studio: Fox Home Entertainment

Genre: Action & Adventure

Duration: 97

Summary: Bumbling cop Washburn (Jimmy Fallon) is a terrible driver who loses his license and so recruits reluctant Belle (Queen Latifah) and her souped-up mega-cab after he stumbles onto a team of supermodel bank robbers. Several klutzy encounters and high-speed car chases ensue. If this sounds to you like the obvious result of a Hollywood pitch session ("Hey, let's pair some guy from "Saturday Night Live" with a tough-talking African-American and set them after babes on wheels!"), you're right; it doesn't mean, however, that you won't get in a few decent laughs before director Tim ("Barbershop") Story's amiable time-killer falls into a steaming pile of would-be blockbuster buddy film cliches. The ever-ingratiating Latifah has long since proved her star charisma, and Fallon does an amusingly offhand parody of failed machismo. They're clearly having a good time together, and you could do worse than their company. There isn't a frame here that isn't cheaply recycled from some other lame action comedy, but if you grit your teeth for the very bumpy ride, you'll come out without too many scratches."--Steve Wiecking"

Theatrical: 1999

Studio: Dimension

Genre: Comedy

Duration: 96

Summary: The poster for "Teaching Mrs. Tingle" may feature young TV cuties Katie Holmes ("Dawson's Creek"), Marisa Coughlin ("Wasteland"), and Barry Watson ("Seventh Heaven"), but the real star is the actress playing the title character: Helen Mirren. Mirren plays a bitter, tyrannical teacher who, due to circumstantial evidence, believes goody two-shoes Holmes is guilty of cheating on her history final. Holmes, Coughlin, and Watson go to Mirren's home to convince her that there's been a misunderstanding, but Mirren refuses to listen. Terrified that this will ruin her chances to go to college, Holmes and her compatriots knock Mirren out and tie her to her bed. Unfortunately, they haven't any idea what to do next; when Mirren awakes, the situation becomes a battle of wits in which the teenagers are hopelessly outmatched. Coughlin and Watson are pretty to look at and Holmes has some genuine talent and a lot of charm, but Mirren--who's played Shakespeare on the stage and been in movies ranging from lurid and trashy ("Caligula") to eerie and arty ("The Comfort of Strangers") to lurid, trashy, eerie, "and" arty ("The Cook, the Thief, His Wife, and Her Lover")--combines the cutting intelligence of Vanessa Redgrave, the steely will of Judi Dench, and a sensual energy that any young starlet would kill for. For fans of the British TV series "Prime Suspect", in which Mirren plays the tough yet vulnerable Inspector Tennyson, this teen comedy-thriller is just an amusing footnote in Mirren's career; but if you've never been transfixed by this actress's mischievous sidelong glances, "Teaching Mrs. Tingle" might provide a good start. "--Bret Fetzer"

Theatrical: 2004

Studio: Paramount

Genre: Action & Adventure

Duration: 98

Summary: An elite U.S. counter-terrorism squad loses a member while decimating half of Paris in the reckless pursuit of Middle Eastern maniacs; a Broadway actor with a traumatic childhood secret is naturally hired to replace him. Oh--and they're all marionettes. "South Park" maestros Trey Parker and Matt Stone (along with co-writer Pam Brady) came up with this shameless satire of pea-brained Hollywood action flicks and even smaller-minded global politics, so don't expect subtlety or even a hint of good taste. "Team America" is soon on the trail of North Korea's evil Kim Jong Il, who treats us to a tender song about his loneliness before ensnaring Alec Baldwin and the rest of the oblivious Film Actors Guild (F.A.G. for short) in a plot to blow up every major city on the planet. Just as the mindless squad cheerfully demolishes everything in sight, so do director Parker and company. Throwing punches Left, Right, and in-between, the movie's politics leave no turn un-stoned; there's even time to bludgeon the musical "Rent". It's offensive, irresponsible comic anarchy seemingly made by sniggering little boys. "Painfully funny" sniggering little boys."--Steve Wiecking"

Theatrical: 2003

Studio: Sony Pictures

Genre: Action & Adventure

Duration: 121

Summary: While it offers nothing new to the military action genre, "Tears of the Sun" distinguishes itself with fine acting, expert craftsmanship, and seriousness of purpose. Its familiar "extraction mission" plot is essentially similar to that of "Black Hawk Down", involving a crack team of U.S. Special Ops commandos struggling to rescue innocent missionaries amidst the bloody horror of Nigerian ethnic cleansing. With Bruce Willis as their grizzled, no-nonsense commander, the skillful team enters a hot zone that gets even hotter when their "package"--an American national (Monica Bellucci) who runs the isolated mission--demands that 70 Nigerian villagers be included in the rescue. Willis's uneasy conscience leads him to defy orders and expand his mission, and in an ambitious follow up to "Training Day", director Antoine Fuqua escalates tension and strike-force with considerable emotional impact. Originally considered as a potential entry in Willis's "Die Hard" series, and released on the eve of America's war with Iraq, "Tears of the Sun" admirably avoids jingoism with its rousing story of personal good vs. political evil. "--Jeff Shannon"

Theatrical: 2008

Studio: Image Entertainment

Genre: Science Fiction & Fantasy

Duration: 828

Summary: In the year 2045, an addictive computer-based reality drug called "tek" has ignited a war that stretches throughout society. Recruited by a mysterious benefactor to stop the advancing drug is Jake Cardigan (Melrose Place's Greg Evigan), a cop who teams up with a colorful array of partners as the government plots to stop him from revealing the truth. Also starring Eugene Clark (Land of the Dead) and Torri Higginson (Stargate: Atlantis), this riveting series is based on the hit sci-fi novel series by William Shatner (Star Trek, Boston Legal), who also makes special appearances throughout these 18 action-packed episodes!

Theatrical: 2004

Studio: Dreamworks Video

Genre: Comedy

Duration: 128

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

Theatrical: 1991

Studio: Live / Artisan

Genre: Action & Adventure

Duration: 137

Summary: 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. "--Jeff Shannon"

Theatrical: 2003

Studio: Warner Home Video

Genre: Action & Adventure

Duration: 109

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

Theatrical: 1983

Studio: Paramount

Genre: Drama

Duration: 89

Summary: There seemed to be a particular spike in nuclear-war paranoia in the early 1980s, probably having to do Reagan's finger being on the trigger. Whatever the cause, it resulted in two particularly powerful 1983 films on the subject: the made-for-TV "The Day After" and Lynne Littman's "Testament", which had a theatrical release before playing on PBS's "American Playhouse". Starring Jane Alexander (and Kevin Costner in a cameo), the film shows what happens to a suburban family in the Pacific Northwest after a nearby nuclear attack. As it turns out, those killed by the initial blast are the lucky ones; Alexander and her family must suffer through radiation poisoning and sickness, the daily diminution of life this causes, and, for Alexander, the eventual deaths of those around her. Quietly powerful and never overstated. "--Marshall Fine"

Theatrical: 2006

Studio: 20th Century Fox

Genre: Independently Distributed

Duration: 91

Summary: As the saying goes, Aaron Eckhart was born to play Nick Naylor, the 30-something "voice of Big Tobacco" in this brazen satire of corporate profits and what lobbyists will do to protect them. Right from the opening, Eckhart is in spin mode, turning the tables on a popular talk show when he states health officials want a young teen stricken by cancer to die more than big tobacco does, since the boy would be a martyr to them, but only a single lost customer to the industry. Audiences gasp, panelists guffaw, and the kid happily shakes Nick's hand. The Academy of Tobacco Studies has a colorful array of folks surrounding Nick, including his cantankerous boss (J.K. Simmons) and the Colonel (Robert Duvall), tobacco's undisputed leader. His closet friends are lobbyists for guns (David Koechner) and alcohol (Maria Bello) who discuss their odd businesses over regular lunches, but when a cutie-pie reporter (Katie Holmes) swings into Nick's life, things begin to unravel. Based on Christopher Buckley's even more outlandish novel, "Thank You for Smoking" is a bright light for the filmgoer tired of gutless films formulated by committee, and first-time filmmaker Jason Reitman has expertly cast the film, which includes deft turns by William H. Macy and Sam Elliot. Nick's son, a throwaway in the novel, becomes a major influence here in Nick's development and a key student of Naylorisms such as, "If you argue correctly, then you're never wrong," though a father and son trip to Hollywood to visit an uber agent (Rob Lowe at his most suave) demonstrates how the inclusion of the son both helps and hurts the film. Book fans will miss the wicked plot turn, but the final result is a sharp and smart comedy deserving of a long, savory drag. "--Doug Thomas"

Theatrical: 1998

Studio: 20th Century Fox

Genre: Comedy

Duration: 575

Summary: Long before Ashton met Demi or Topher got lost in "Traffic", the makers of "Third Rock from the Sun" stepped into the Wayback Machine and emerged with "That '70s Show". It would go on to become the Fox Network's most successful sitcom since "Married... with Children". Set in the Wisconsin suburbs of 1976, the action centers around 17-year-old Eric Forman (Topher Grace), his friends, and his family. He's an ordinary teenager, much like the slackers of Richard Linklater's "Dazed and Confused", with an interest in girls, cars, beer, and rock & roll (but not necessarily in that order).
Eric's friends include hipster Hyde (Danny Masterson), exchange student Fez (Wilmer Valderrama), and dim-bulb Kelso (Ashton Kutcher). Donna (Lora Prepon), Eric's neighbor, is also a friend, but she'll soon become something more, while Kelso already has a girlfriend, the bossy Jackie (Mila Kunis)--and a crush on Eric's sister Laurie (Lisa Robin Kelly). Kelso and Jackie will spend a good part of the first year breaking up just to make up, while Hyde pines for Donna and Fez for Jackie. Eric's family also includes father Red (Kurtwood Smith) and mother Kitty (Debra Jo Rupp). Donna's includes mother Midge (former Bond girl Tanya Roberts) and perm-sporting father Bob (Don Stark).
The first season boasts a period-perfect bevy of guest stars, including Danny Bonaduce ("Eric's Burger Job"), Eve Plumb ("The Keg"), and Marion Ross as Eric’s grandmother ("Sunday, Bloody Sunday" and other episodes). That said, if "That '70s Show" were just a nostalgia trip, it wouldn't have lasted for over seven seasons. Alas, lightning wouldn’t strike twice. When the same producers followed-up with "That '80s Show" a few years later, it would soon disappear without a trace. Accept no substitutes: "That '70s Show" is the real deal--a retro-comedy, like "Happy Days", with heart. "--Kathleen C. Fennessy"

Theatrical: 1998

Studio: 20th Century Fox

Genre: Comedy

Duration: 119

Summary: "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"

Theatrical: 1988

Studio: Universal Studios

Genre: Action & Adventure

Duration: 93

Summary: An economic crisis brings unemployed Nada (Roddy Piper) to L.A. in search of work. What he finds instead is that the ruling elite of the world are aliens in disguise, their aim being to keep humans in a state of mindless consumerism. His discovery comes when he dons a pair of special sunglasses made by a resistance group and sees for the first time reality unadorned. Billboards, store signs, magazine covers--all bear subliminal messages to OBEY, to CONSUME, to have NO INDEPENDENT THOUGHT. Money itself says THIS IS YOUR GOD. But worst of all, with these glasses you see which of us are really hideous, bug-eyed aliens. The conceptual breakthrough is hilarious while keeping its roots in darker matters. Although some fault the film for settling into its action plot, the ending has a great payoff. And the direction by John Carpenter is handled with superb workmanlike aplomb. One unforgettable set piece has Piper in a back-alley fistfight with a friend who won't put on the glasses that goes on and on, and just when you think it's over it goes another round. One of the most subversive films ever made in Hollywood, "They Live" was released on the eve of the 1988 elections. The first TV ads had two hideous alien politicians debating, then one accusing the other of being "No John Kennedy!" "--Jim Gay"

Theatrical: 2001

Studio: New Line Home Video

Genre: Action & Adventure

Duration: 145

Summary: When released in December 2000, "Thirteen Days" was pummeled for taking liberties with the facts of the Cuban missile crisis and smothering its compelling drama with phony Boston accents by its primary stars. More tolerant critics hailed it as one of the year's best films, and that's the opinion to believe for anyone who enjoys taut, intelligent political thrillers. For those too young to relate directly to the timeless urgency of the crisis that played out over 13 days in October 1962, "Thirteen Days" joins the classic TV treatment "The Missiles of October" (1973) as an intense and thought-provoking study of leadership under pressure.
The film (and costar-coproducer Kevin Costner) drew criticism for fictionally enhancing the White House role of presidential aide Kenneth O'Donnell, but while Costner's Boston accent may be grating, his fine performance as O'Donnell offers expert witness to the crisis, its nerve-wracking escalation, and the efforts of John F. Kennedy (Bruce Greenwood) and Robert F. Kennedy (Steven Culp) to negotiate a peaceful settlement with Russia. While Soviet missiles approach operational status in Cuba, director Roger Donaldson (who directed Costner in "No Way Out") cuts to exciting U.S. Navy flights over the missile site, ramping up the tension that history itself provided. Donaldson's occasional use of black and white is self-consciously distracting, and he's further guilty of allowing a shrillness (along with repetitive, ominous shots of nuclear explosions) to invade the urgency of David Self's screenplay. Still, as Hollywood history lessons go, "Thirteen Days" is riveting stuff. You may find yourself wondering what might happen if reality presented a repeat scenario under less intelligent leadership. "--Jeff Shannon"

Theatrical: 2001

Studio: Warner Home Video

Genre: Horror

Duration: 91

Summary: Cool sets, gory make-up, and frantic energy are given high priority in this glossy remake of William Castle's 1960 haunted-house chiller. The original boasted its "Illusion-O" ghost-viewing gimmick, so this remake's producers--as they did with 1999's "The House on Haunted Hill"--up the ante on Castle's showmanship by spilling ample amounts of blood, guts, and ghoulish glory. The plot's essentially the same: An impoverished family inherits a luxurious haunted mansion, only this time it's an elaborate, maze-like mechanism of glass, gears, and Latin incantations--"designed by the devil and powered by the dead"--with a cellar full of tormented, undead souls. As the family (including Tony Shalhoub and "American Pie"'s Shannon Elizabeth) enlists the aid of a psychic ("Scream" alumnus Matthew Lillard) and a ghostbusting paranormal (Embeth Davidtz), this updated "13 Ghosts" grows loud and ludicrous, trading shocks for yuks and nuance for nonsense. It's fun, to a point, after which it's just exhausting. "--Jeff Shannon"

Theatrical: 1999

Studio: Columbia Pictures

Genre: Mystery & Suspense

Duration: 100

Summary: Computer scientist Hannon Fuller (Armin Mueller-Stahl) finds something extremely important. Knowing that he's marked for assassination, he leaves a message in the virtual reality world he's designed, hoping it will be found by colleague Douglas Hall (Craig Bierko). Hall is a suspect in Fuller's murder and indeed finds a bloody shirt in his house, with no recollection of what he did the night before. Hall plunges headlong into Fuller's world (a re-creation of 1937 Los Angeles) to try to unravel the slaying and is soon knee-deep in confusion and trouble. What this film lacks in character depth and plot cohesiveness it makes up for in special effects and high concept. Fans of films like "Blade Runner", "Dark City", "eXistenZ", and even the game Sim City should find this appealing. Of course, there's the question of letting the computers do all the heavy lifting in films while the humans walk through the plot (an all-too-familiar scenario in 1999), but the re-creation of '30s Los Angeles is certainly something to see, pallid script and acting or not. "The Thirteenth Floor" is a stylish modern-day noir that raises questions about technology versus reality, all the while wrapped up in a murder-mystery story line. "--Jerry Renshaw"

Theatrical: 1999

Studio: MGM (Video & DVD)

Genre: Action & Adventure

Duration: 113

Summary: For the Hollywood remake rule, which dictates that an update of an older film be inferior to the original in almost every aspect, "The Thomas Crown Affair" stands as a glorious exception. The original 1968 film, starring a dapper Steve McQueen and a radiant Faye Dunaway, was a diverting pop confection of mod clothes and nifty break-ins, but not much more. John McTiernan's new version, though, cranks up the entertainment factor to mach speed, turning what was a languid flick into a high-adrenaline caper romance. Thomas Crown (Pierce Brosnan) is now a man of industry who likes to indulge in a little high-priced art theft on the side; Catherine Banning (Rene Russo) is the insurance investigator determined to get on his tail in more ways than one. If you're thinking cat-and-mouse game, think again--it's more like cat vs. smarter cat, as both the thief and the investigator try to outwit each other and "nothing" is off-limits, especially after they start a highly charged love affair that's a heated mix of business and pleasure.
What makes this "Thomas Crown" more enjoyable than its predecesor is McTiernan's attention to detail in both the set action pieces (no surprise from the man who helmed "Die Hard" with precision accuracy) and the developing romance, the witty and intelligent script by Leslie Dixon (she wrote the love scenes) and Kurt Wimmer (he wrote the action scenes), and, most of all, its two stunning leads (both over 40 to boot), combustible both in and out of bed. Brosnan, usually held prisoner in the James Bond straitjacket, lets loose with both a relaxed sensuality and a comic spirit he's rarely expressed before. The film, however, pretty much belongs to Russo, who doesn't just steal the spotlight, but bends it to her will. Beautiful, stylish, smart, self-possessed, incredibly sexy, she's practically a walking icon; it's no wonder Crown falls for her hook, line, and sinker. With Denis Leary as a police detective smitten with Russo, and Faye Dunaway in a throwaway but wholly enjoyable cameo as Brosnan's therapist. "--Mark Englehart"

Theatrical:

Studio: Paramount Pictures

Genre:

Duration: 115

Summary: Of all the folks in long underwear to be tapped for superhero films, Thor would seem to be the most problematic to properly pull off. (Hypothetical Hollywood conversation: "A guy in a tricked-out, easily merchandisable metal suit? Great! An Asgardian God of Thunder who says stuff like "thee" and "thou"? Um, is Moon Knight available?") Thankfully, the resulting film does its source material rather proud, via a committed cast and an approach that doesn't shy away from the over-the-top superheroics. When you're dealing with a flying guy wielding a huge hammer, gritty realism can be overrated, really. Blending elements from the celebrated comic arcs by Walter Simonson and J. Michael Straczynski, the story follows the headstrong Thunder God (Chris Hemsworth) as he is banished to Earth and stripped of his powers by his father Odin (Anthony Hopkins) after inadvertently starting a war with a planet of ticked-off Frost Giants. As his traitorous brother Loki (the terrific Tom Hiddleston) schemes in the wings, Thor must redeem himself and save the universe, with the aid of a beautiful scientist (Natalie Portman). Although director Kenneth Branagh certainly doesn't skimp on the in-jokes and fan-pleasing continuity references (be prepared to stick around after the credits, Marvel fans), his film distinguishes itself by adopting a larger-than-life cosmic Shakespearean air that sets itself apart from both the cerebral, grounded style made fashionable by "The Dark Knight" and the loose-limbed Rat Packish vibe of the "Iron Man" series. Glorying in the absolute unreality of its premise, Branagh's film is a swooping, Jack Kirby-inspired saga that brings the big-budget grins on a consistent basis, as well as tying in with the superhero battle royale "The Avengers". "--Andrew Wright"

Theatrical: 1999

Studio: Warner Home Video

Genre: Action & Adventure

Duration: 114

Summary: A confident hybrid of "M*A*S*H", "Treasure of the Sierra Madre", and "Dr. Strangelove", "Three Kings" is one of the most seriously funny war movies ever made. Improving the premise of "Kelly's Heroes" with scathing intelligence, it explores the odd connection between war and consumerism in the age of Humvees and cellular phones. Writer-director David O. Russell's third film (after "Spanking the Monkey" and "Flirting with Disaster"), it's a no-holds-barred portrait of personal conscience in the volatile arena of politics, played out by one of the most gifted filmmakers to emerge in the 1990s.
George Clooney, Mark Wahlberg, Ice Cube, and Spike Jonze (director of "Being John Malkovich") play a quartet of U.S. soldiers who, disillusioned by Operation Desert Storm, decide to steal $23 million in gold hijacked from Kuwait by Saddam Hussein's army. Getting the bullion out of an Iraqi stronghold is easy; keeping it is a potentially lethal proposition. By the end of their mercenary mission, the Americans can no longer ignore wartime atrocities (and neither can we--the film is boldly unflinching), and conscience demands their aid to Iraqi rebels abandoned by President George Bush's fickle wartime policy. This is serious stuff indeed, but Russell infuses "Three Kings" with a keen sense of the absurd, and the entire film is an exercise in breathtaking visual ingenuity. Despite a conventional ending that's mildly disappointing for such a brashly original film, "Three Kings" conveys the brutal madness of war while making you laugh out loud at the insanity. "--Jeff Shannon"

Theatrical: 1993

Studio: Walt Disney Video

Genre: Action & Adventure

Duration: 105

Summary: Nab the star-studded comedy-adventure that dazzled moviegoers everywhere! It's the action-packed tale of three loyal swordsmen (Charlie Sheen, Kiefer Sutherland, Oliver Platt) who are joined by an eager recruit (Chris O'Donnell) to protect the King of France. Together, the foursome battle enormous odds in their attempt to defeat an evil royal advisor (Tim Curry) and a seductive envoy (Rebecca De Mornay) plotting to overthrow France's crown -- fighting against both time and scores of enemies! You'll cheer out loud when these exciting muskeeteers face danger, fun, and adventure at every turn -- proving they are the greatest swashbucklers who ever lived!

Theatrical: 1987

Studio: Universal Studios

Genre: Comedy

Duration: 101

Summary: A BULLY CHALLENGES A CALIFORNIA HIGH-SCHOOL STUDENT TO A 3O'CLOCK FIGHT IN THE PARKING LOT.

Theatrical: 1999

Studio: Warner Home Video

Genre: Comedy

Duration: 98

Summary: A charming but problematic romantic comedy, "Three to Tango" wobbles between sublime farce and ridiculous contrivance in its detailing of the romantic triangle between an architect (Matthew Perry), a rich businessman (Dylan McDermott), and the businessman's mistress (Neve Campbell). What's the catch? Well, after an absurd misunderstanding, McDermott believes Perry to be gay when in actuality it's Perry's architectural partner (Oliver Platt) who is. Thinking Perry is "safe" material, the jealous McDermott enlists him to watch over Campbell so she doesn't flirt with any other guys, the tacit understanding being that if Perry keeps her out of anyone's arms, a lucrative job will be his. Of course, Perry's instantly smitten, and Campbell takes to him immediately. Both are flummoxed when McDermott reveals Perry's orientation, in one of the film's many subtly rich and funny scenes; Campbell's confused but accommodating, and Perry freaks out inside when he understands that if he wants to keep his job and stay out of debt he has to pretend to have no romantic feelings whatsoever for the woman he loves--"and" be her constant companion and closest friend. When it sticks to farce-screwball mixed with drawing-room comedy, "Three to Tango" closely resembles "Tootsie", in which another man pretended to be something he wasn't in order to keep his job and his proximity to the woman he loves. However, it's the "gay issue"--and that's exactly how it's dealt with, quotation marks and all--that sadly sabotages the film. Whereas in "Tootsie" Dustin Hoffman's cross-dressing was taken in stride, the issue of Perry's supposed homosexuality is treated as an oppressive burden; it's not only borderline offensive, it badly bungles the film's delicate dynamics, weighing down a feather-light romance with excess baggage. It's too bad, because Perry and Campbell are better than you'd ever have any reason to believe; their courtship is genuinely funny and touching, and after a while you'll find emotional investment in these two ending up together. Despite the film's problems, they manage to pull it over the finish line. "--Mark Englehart"

Theatrical: 1965

Studio: MGM (Video & DVD)

Genre: Action & Adventure

Duration: 130

Summary: James Bond's fourth adventure takes him to the Bahamas, where a NATO warplane with a nuclear payload has disappeared into the sea. Bond (Sean Connery) travels from a tony health spa (where he tangles with a mechanized masseuse run amuck) to the casinos of Nassau and soon picks up the trail of SPECTRE's number-two man, Emilio Largo (Adolfo Celi), and his beautiful mistress, Domino (Claudine Auger), whom Bond soon seduces to his side. Equipped with more gadgets than ever, courtesy of the resourceful "Q" (Desmond Llewelyn), agent 007 escapes an ambush with a personal-size jet pack and takes to the water as he searches for the undersea plane, battles Largo's pet sharks, and finally leads the battle against Largo's scuba-equipped henchmen in a spectacular underwater climax. This thrilling Bond entry became Connery's most successful outing in the series and was remade in 1983 as "Never Say Never Again", with Connery returning to the role after a 12-year hiatus. Tom Jones belts out the bold theme song to another classic Maurice Binder title sequence. "--Sean Axmaker"

Theatrical: 1971

Studio: Warner Home Video

Genre: Drama

Duration: 88

Summary: Two-Disc Special Edition:
* Digitally remastered with THX certified sound
* Commentary by George Lucas and co-writer/sound effects editor Walter Murch
* "Theatre of Noise" sound-effects track with branching segments to 13 master sessions with Walter Murch
* 2 New documentaries: "A Legacy of Filmmakers: The Early Years of American Zoetrope" and "Artifacts from the Future: The Making of THX 1138"
* George Lucas's original student film "THX-11384EB"
* "Bald": 1971 production featurette
* Five new trailers from the 2004 theatrical release
* Original theatrical trailer

Theatrical: 1981

Studio: Starz / Anchor Bay

Genre: Action & Adventure

Duration: 110

Summary: Studio: Starz/sphe Release Date: 06/08/2004 Run time: 115 minutes Rating: Pg

Theatrical: 2002

Studio: Dreamworks Video

Genre: Action & Adventure

Duration: 96

Summary: While the 1960 version of "The Time Machine" remains a science fiction classic, this adaptation of the H.G. Wells novel benefits from a dazzling CGI facelift. Digital wizardry shows us the awesome splendor of eons passing in an eye blink, while Wells's heroic time traveler--played with appealing conviction by "Memento"'s Guy Pearce--is given a stronger motivation for piloting his time machine 800,000 years into the future. Long after New York City has crumbled and the moon shattered by a nuclear accident, Pearce finds a new home with the peacefully primitive Eloi, after confronting the subterranean Morlocks (courtesy of Stan Winson's monster shop) and their evil overlord (Jeremy Irons in wicked, pigmentless makeup). Trading Wells's social commentary for pure adventure, director Simon Wells (the author's great-grandson) maintains the story's legacy of wonder, despite a few hokey embellishments. Catering to a younger audience, this "Time Machine" is fun without being particularly distinguished--a treat for the eyes, if not the brain. "--Jeff Shannon"

Theatrical: 1996

Studio: Warner Home Video

Genre: Drama

Duration: 149

Summary: 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"

Theatrical: 1994

Studio: Universal Studios

Genre: Action & Adventure

Duration: 98

Summary: Pay no attention to the fact that "Timecop" is an insult to intelligent science fiction, and that it gradually succumbs to an acute case of the sillies. It is a Jean-Claude Van Damme movie, after all, so check your brain at the door and enjoy this action flick set in the year 2004. Van Damme plays an officer in the Time Enforcement Police, assigned to prevent criminals from traveling to the past with the intent of altering the future. Ron Silver plays the evil politician who plots to retrieve a stockpile of gold from the Civil War to finance his latest campaign. The film is clever to a point, and entertaining if you can ignore the dumb jokes and inconsistencies. Best of all, it's an above-average vehicle for Van Damme (relatively speaking), who gets to kick some villainous butt and share a few scenes with Mia Sara, who plays the Timecop's wife. As Van Damme fans can tell you, this is one of the action star's better movies. "--Jeff Shannon"

Theatrical: 2003

Studio: Paramount

Genre: Action & Adventure

Duration: 116

Summary: Just enough of Michael Crichton's novel survives in "Timeline" to make it a passable popcorn thriller. It's likely that Crichton fans will lament the shallowness of director Richard Donner's film, and its gee-whiz style of acting lays waste to any scientific credibility that Crichton's scenario might have retained. Still, the Crichton formula is a sturdy one, following the model of "Westworld" and "Jurassic Park" by involving a small band of adventurers in a fantastical realm of danger and death. In this case, a group of archaeologists and combat experts (led by Paul Walker and Frances O'Connor) use a "3-D fax machine" (so much for technobabble!) to time-travel back to France in 1357, in hopes of retrieving Walker's father (Billy Connolly) and returning safely to the present. No such luck! Fending for themselves against marauding hordes of medieval French warriors at war with the invading British, these semi-intrepid travelers find their body count rising, and the deadline for their return home is rapidly approaching. All well and good, so far, and the castles-and-crossbows action reaches a fever pitch, but it's obvious that Donner's too lazy to make the much better film that this could and should have been. Despite its enjoyable highlights, "Timeline" is perfunctory entertainment. "--Jeff Shannon"

Theatrical: 1982

Studio: Starz / Anchor Bay

Genre: Action & Adventure

Duration: 93

Summary: As time-travel adventures go, this 1983 outing is an enjoyable one: a loosey-goosey shaggy-dog story about an '80s kind of guy who gets tossed back to the '70s--the 1870s, that is. Fred Ward plays the hero, a motocross racer who, along with his motorcycle, accidentally rides into the middle of a science experiment and is transported to the Old West. There, he runs into a cast of bad guys that includes some of the best character actors of the period: L.Q. Jones, Tracey Walter, Richard Masur, Ed Lauter, and Peter Coyote. It's your classic fish-out-of-water setup, with Ward as the slightly dippy wise guy who startles the heck out of the cowboys and pioneers of the period with his motorized bike, until he runs out of gas. The movie runs out of fuel as well, but it's an enjoyable ride while it lasts. Notable for its coproducer and cowriter: Michael Nesmith, formerly of the Monkees. "--Marshall Fine"

Theatrical: 2007

Studio: Rhi Entertainment

Genre: Action & Adventure

Duration: 265

Summary: A tent-pole miniseries release from RHI Entertainment and SCI FI Channel, Tin Man is a modern science fiction update of L. Frank Baum’s timeless "The Wonderful Wizard of Oz." When a sorceress named Azkadellia scorches the once-beautiful land of OZ into a desolate wasteland, the only hope lies in an "outsider" named DG, a young Midwestern woman, whose troubling dreams have summoned her to the doomed paradise. D.G. embarks on a journey to find the great mystic man to save the O.Z. and on her way she befriends a scarecrow named Glitch, a tin cop named Cain, and gentle manimal named Raw. Journey beyond the yellow brick road withTin Man, now on DVD for the first time in this 2-Disc Collector's Edition with amazing bonus features and collectible packaging.

Theatrical: 2000

Studio: 20th Century Fox

Genre: Action & Adventure

Duration: 94

Summary: A visual knockout, "Titan A.E." is an ambitious animated feature that combines traditional animations, computer-generated imagery, and special effects in the service of a science fiction adventure plotted with narrative conventions familiar from "Star Wars" and "Star Trek". Credit directors Don Bluth ("An American Tail", "The Secret of NIMH", "Anastasia") and Gary Goldman with crafting a vivid, convincing look to this deep space saga, which conjures some stunning images. A tense opening sequence climaxing in the destruction of Earth, a watery planet where delicate but deadly hydrogen trees float, joyriding in a starship while pursued by playful "space angels," and a nerve-wracking journey through a lethal maze of massive ice crystals each qualify as mesmerizing sequences in any film context.
What's visually stunning proves intermittently stunted on the narrative front, however. Orphaned when the evil Drej atomize Earth, protagonist Cale (voiced by Matt Damon) must journey across space to unlock the mystery of his late father's final project, the "Titan" spacecraft, in a test of faith and filial identity that echoes "Star Wars". The "Titan" itself ultimately poses a cosmic potential familiar to admirers of "Star Trek II: The Wrath of Khan". Comical sidekicks (Nathan Lane, Janeane Garofalo, John Leguizamo), a sultry love interest (Drew Barrymore), and a roguish mentor (Bill Pullman) all verge on the generic, narrowly redeemed by dialogue from a writing team including "Buffy the Vampire Slayer" creator Joss Whedon.
It's likely that "Titan"'s target audience of young males prompted the filmmakers to walk a tightrope between softer family features and more violent, hard-edged anime. "Titan"'s brief bloodshed and coy nudity stop short of PG-13 terrain, though younger viewers might be unsettled by the violence. Young teens will find the proceedings tamer than the video games and anime fantasies that have influenced it. "--Sam Sutherland"

Theatrical: 2000

Studio: Starz / Anchor Bay

Genre: Comedy

Duration: 462

Summary: The comedic chronicles of Christopher Titus's profoundly dysfunctional family came to an end with "Titus"'s third season (2001-2002), and while it's not known if Titus and his co-producers knew that the bell was tolling for their risky show, the go-for-broke tone of these episodes certainly suggests that they weren't going to leave the airwaves without raising a ruckus. How else to explain such hit-the-brakes storylines as "The Trial," which has Titus's mother (played in this season by Connie Stevens) facing a jury for the murder of her abusive husband (with former spouse Ken Titus, played by the consistently uproarious Stacey Keach, itching to testify against her), or the verboten romance between Tommy (David Shawtraw) and Titus's pregnant sister (Elizabeth Berkely) in "Tommy's Crush," or the two-parter "Insanity Genetic," where Titus's fears that his family's instability might threaten his relationship with Erin ("Lost"'s Cynthia Watros) land him in jail. The episodes compiled in this set are raw, occasionally taboo, and definitely not TV Family Night material (although maybe they should be), but series fans and those looking for comedy with some emotional bite will appreciate that this underappreciated series has finally made it to DVD. The set includes commentary by Titus and co-producers Brian Hargrove and Jack Kenney, and interviews with Keach, Watros, and Zack Ward, who played Titus's brother Dave. "--Paul Gaita"

Theatrical: 2000

Studio: Starz / Anchor Bay

Genre: Comedy

Duration: 760

Summary: Christopher Titus guides us through his world, which includes a drunken father, a dimwitted brother, a goody-goody best friend and a surprisingly "normal" girlfriend.

Theatrical:

Studio: Funimation Prod

Genre: Anime & Manga

Duration: 86

Summary: Elliptical Orbit: Fifteen years after its last contact with our world, a space freighter known as the Flying Dutchman requests permission to dock at a remote moon base. This mysterious ship carries liquid protons: a power source essential to the survival of Earth’s population. But before the precious cargo can be delivered, the base is ambushed by galactic terrorists who seek to destroy the new form of energy and issue a death sentence to all of humanity.
Symbiotic Planet: Against a backdrop of peculiar alien life forms, Aon and Elena – star-crossed lovers from rival countries – struggle to build a life together despite the objections of their superiors. Their budding romance is thwarted by an outbreak of potent alien fungus and the interference of a cutthroat militaristic madman. To survive, the young couple must maintain their faith in each other – and learn to trust the unique creatures which inhabit this strange and wondrous planet.

Theatrical: 1995

Studio: Paramount

Genre: Action & Adventure

Duration: 97

Summary: Before his death, comedian Chris Farley made a pair of surprisingly successful comedies that teamed him with "Saturday Night Live" colleague David Spade. Their relationship in each film was pretty much the same, but then so was Abbott and Costello's or Laurel and Hardy's (not that Farley and Spade are in their league). In "Tommy Boy", Farley plays the ne'er-do-well son of a successful auto parts manufacturer (Brian Dennehy). When Dad drops dead just after marrying a young new wife, it's up to Tommy (aided by sarcastic bean-counter Spade) to rescue the company by taking over for his father. "Black Sheep" features a slightly different plot: This time, Spade is hired by Farley's brother (Tim Matheson), a candidate for governor, to keep Farley (an accident-prone buffoon) out of sight until after the election. Farley has a likable quality that is exploited by continuous slapstick centered on his clumsiness, both physically and socially. "--Marshall Fine"

Theatrical: 1973

Studio: A&E Home Video

Genre: Drama

Duration: 624

Summary: Thames Television's "The Tomorrow People" (1973-79) was a fondly remembered U.K. science fiction TV series that drew in teen and adult audiences on both sides of the Atlantic with its thought-provoking premise and cliffhanger stories; the show's first two seasons make their American DVD debut in an impressive four-disc collection. For any kid struggling with growing pains, the show provided an irresistible hook: Stephen Jameson (Peter Vaughn-Clarke) discovers that he is no average teen, but one of the "Tomorrow People," a select group of youths with extraordinary powers who protect Earth from a host of threats from space and time.
Series creator Roger Price (later the man behind "You Can't Do That on Television" and other Canadian programming shown on Nickelodeon, where the "Tomorrow People" also aired in the '80s) penned the six serialized stories compiled here (three are co-written with Brian Finch), which pit the Tomorrow People against a shape-shifting robot ("Slaves of Jedikiah" and "The Medusa Strain," the latter featuring an appearance by David "Darth Vader" Prowse), an evil military organization ("The Doomsday Men"), and a villain who attempts to change the course of history ("A Rift in Time"). Modern teens might guffaw over the show's primitive special effects, but the stories are engaging and exciting enough to win over even diehard CGI fans; older viewers should appreciate the care with which this program has been preserved on DVD. All 26 episodes of the first and second season are presented here, with cast members Vaughn-Clarke, Nicholas Young (who played John), and Sammie Winmill (Carol) contributing commentary on "Slaves of Jedikiah." Bios for the cast round out the extras on this entertaining collection. "--Paul Gaita"

Theatrical: 1987

Studio: Paramount

Genre: Comedy

Duration: 292

Summary: PRETTY IN PINK - Young Andie (Molly Ringwald) is one of the not-so-popular girls in high school. She usually hangs out with her friends Iona (Annie Potts) or Duckie (Jon Cryer). Duckie has always had a crush on her, but now she has met a new guy from school, Blane (Andrew McCarthy). He's one of the rich and popular guys but can the two worlds meet? FERRIS BUELLER’S DAY OFF - Ferris (Matthew Broderick) is a street-wise kid who knows all the tricks. Today he decides to take the day off school. When Ferris takes the day off, so must his best friends, Cameron (Alan Ruck) and Sloane (Mia Sara). Cameron is reluctantly persuaded to borrow his father's Ferrari, and together they hatch a plan to get Sloane out of class. Suspicious dean of students Ed Rooney (Jeffrey Jones) knows all about Ferris, but can never catch him. Ferris' sister Jeanie (Jennifer Grey) is also frustrated that Ferris always gets away with his tricks and she doesn't. Furthermore, Ferris is an 'angel' in his parent’s eyes. It's Ferris' day off, he's out to enjoy himself, and he does! SOME KIND OF WONDERFUL - A young tomboy, Watts (Mary Stuart Masterson), finds her feelings for her best friend, Keith (Eric Stoltz), run deeper than just friendship when he gets a date with the most popular girl in school, Amanda (Lea Thompson). Unfortunately, the girl's old boyfriend, Hardy (Craig Sheffer) who is from the rich section of town, is unable to let go of her, and plans to get back at Keith.

Theatrical: 1984

Studio: Paramount

Genre: Action & Adventure

Duration: 90

Summary: In between the disaster movie satire "Airplane!" in 1980 and the hardboiled cop show parody "The Naked Gun" in 1988, the comedy crew of Jerry Zucker, Jim Abrahams, and David Zucker put together a picture that's almost as funny as their better-known hits. "Top Secret!" sends up spy movies "and" cheesy teen rock & roll musicals. Val Kilmer stars as swivel-hipped American rocker Nick Rivers, a sort of blonde Elvis whose secret weapon is Little Richard's tune "Tutti Fruitti." On tour behind the Iron Curtain, Nick strikes blows for democracy overtly and covertly, with his music as well as his espionage skills. In short, this is a very, very silly motion picture. Some great gags, including a subtitled scene in a Swedish book shop, and an inspired bit with a Ford Pinto that not everybody may get anymore. (The Pinto, you may or may not recall, was notoriously prone to gas tank explosions when rear-ended.) "--Jim Emerson"

Theatrical: 2004

Studio: Sony Music

Genre: Music Video & Concerts

Duration: 179

Summary: Tori Amos's first concert-length live DVD, "Welcome to Sunny Florida", is a riveting showcase for the artist's formidable vocal and instrumental chops and preciously off-kilter pop music. Taped on a wet day in September 2003 at West Palm Beach (the final stop on Amos's Lottapianos tour), the show was well performed, stunningly recorded, and lusciously lensed, if too frantically cut. Session ace Matt Chamberlain on drums and the nimble-fingered Jon Evans on bass provide just enough firepower to flesh out Amos's moody micro-epics while leaving sufficient space to keep her voice and keyboards the focus of our attention. Most songs feature brilliantly reworked arrangements, and the band uses the venue's acoustics to heighten the music's magic. Amos, a vital 40, enjoys a reputation as a great live act, and it's easy to see why as she loses herself in song, head thrown back, one hand on the keys of her Bösendorfer grand and the other on an accompanying Wurlitzer.

Be warned: "Professional Widow" suffers from repeated vocal muting on potentially offensive words, which happens to wreck the effect of this particular song. ("Precious Things" is, thankfully, intact.) The DVD comes with a 6-track CD, "Scarlet's Hidden Treasures" (a reference to Amos' 2002 "Scarlet's Walk" album), which includes in its 33 minutes a studio version of "Tombigbee," the first encore from the Florida show. "--Michael Mikesell"

Theatrical: 1990

Studio: TriStar Pictures

Genre: Action & Adventure

Duration: 113

Summary: This science fiction blockbuster from 1990 began its production life as a very different movie than the one that was released. An adaptation of the Philip K. Dick short story "We Can Remember It for You Wholesale," "Total Recall" was originally conceived of with Richard Dreyfuss starring as a Walter Mitty-like character who experiences a variety of artificially induced fantasies. The movie we know is a mega-budget action epic set on Mars. Arnold Schwarzenegger plays a normal working man who discovers that his entire reality has been invented to conceal a plot of planetary domination. Oscar-winning special effects and violent action propel the twisting plot, in which Arnold manipulates his manipulators in a world of dazzling high technology. Director Paul Verhoeven ("Robocop") indulges his usual penchant for gratuitous bloodshed, but the movie has enough cleverness to rise above its excesses. "--Jeff Shannon"

Theatrical: 1991

Studio: Sony Pictures

Genre: Action & Adventure

Duration: 111

Summary: "Toy Soldiers" is a slick dose of high-concept absurdity, and lots of fun if you don't think about it afterward. Adapted from a novel by William P. Kennedy, it's got the swift momentum that's a specialty of screenwriter David Koepp, whose later credits include "Jurassic Park" and "Spider-Man". Matching Koepp's narrative energy is director and cowriter Daniel Petrie Jr., who wrote "Beverly Hills Cop", and whose big-screen career stalled after this crowd-pleasing debut. The hokey plot involves a class of prep-school misfits (led by Sean Astin and Wil Wheaton) who use their rebellious ingenuity to foil Colombian terrorists who've taken over their school. The lead villain (Andrew Divoff) demands the return of his extradited drug-lord father (one of the prep students is the residing judge's son), and the inevitable showdown provides a heady mix of nonsense, graphic violence, and military muscle. It shouldn't work but it does, especially if you've got a tolerance for "Die Hard" clones that barely pass inspection. "--Jeff Shannon"

Theatrical: 1999

Studio: Disney/Pixar

Genre: Action & Adventure

Duration: 173

Summary: "Toy Story"
There is greatness in film that can be discussed, dissected, and talked about late into the night. Then there is genius that is right in front of our faces--we smile at the spell it puts us into and are refreshed, and nary a word needs to be spoken. This kind of entertainment is what they used to call "movie magic," and there is loads of it in this irresistible computer animation feature. Just a picture of these bright toys on the cover of "Toy Story" looks intriguing, reawakening the kid in us. Filmmaker John Lasseter's shorts (namely "Knickknack" and "Tin Toy", which can be found on the Pixar video "Tiny Toy Stories") illustrate not only a technical brilliance but also a great sense of humor--one in which the pun is always intended. Lasseter thinks of himself as a storyteller first and an animator second, much like another film innovator, Walt Disney.
Lasseter's story is universal and magical: what do toys do when they're not played with? Cowboy Woody (voiced by Tom Hanks), Andy's favorite bedroom toy, tries to calm the other toys (some original, some classic) during a wrenching time of year--the birthday party, when newer toys may replace them. Sure enough, Space Ranger Buzz Lightyear (Tim Allen) is the new toy that takes over the throne. Buzz has a crucial flaw, though--he believes he's the real Buzz Lightyear, not a toy. Bright and cheerful, "Toy Story" is much more than a 90-minute commercial for the inevitable bonanza of Woody and Buzz toys. Lasseter further scores with perfect voice casting, including Don Rickles as Mr. Potato Head and Wallace Shawn as a meek dinosaur. The director-animator won a special Oscar for "the development and inspired application of techniques that have made possible the first feature-length computer-animated film." In other words, the movie is great. "--Doug Thomas"
"Toy Story 2"
John Lasseter and his gang of high-tech creators at Pixar create another entertainment for the ages. Like the few great movie sequels, "Toy Story 2" comments on why the first one was so wonderful while finding a fresh angle worthy of a new film. The craze of toy collecting becomes the focus here, as we find out Woody (voiced by Tom Hanks) is not only a beloved toy to Andy but also a rare doll from a popular '60s children's show. When a greedy collector takes Woody, Buzz Lightyear (Tim Allen) launches a rescue mission with Andy's other toys. To say more would be a crime because this is one of the most creative and smile-inducing films since, well, the first "Toy Story".
Although the toys look the same as in the 1994 feature, Pixar shows how much technology has advanced: the human characters look more human, backgrounds are superior, and two action sequences that book-end the film are dazzling. And it's a hoot for kids and adults. The film is packed with spoofs, easily accessible in-jokes, and inspired voice casting (with newcomer Joan Cusack especially a delight as Cowgirl Jessie). But as the Pixar canon of films illustrates, the filmmakers are storytellers first. Woody's heart-tugging predicament can easily be translated into the eternal debate of living a good life versus living forever. "Toy Story 2" also achieved something in the U.S. two other outstanding 1999 animated features ("The Iron Giant", "Princess Mononoke") could not: it became a huge box-office hit. "--Doug Thomas"

Theatrical: 2010

Studio: Disney*Pixar

Genre: Animation

Duration: 102

Summary: What made the original "Toy Story" so great, besides its significant achievement as the first-ever feature-length computer animated film, was its ability to instantly transport viewers into a magical world where it seemed completely plausible that toys were living, thinking beings who sprang to life the minute they were alone and wanted nothing more than to be loved and played with by their children. "Toy Story 3" absolutely succeeds in the very same thing--adults and children alike, whether they've seen the original film or not, find themselves immediately immersed in a world in which Woody (Tom Hanks), Buzz Lightyear (Tim Allen), Jessie (Joan Cusack), Mr. and Mrs. Potato Head (Don Rickles and Estelle Harris), Ham (John Ratzenberger), Rex (Wallace Shawn), the aliens, and the rest of Andy's toys remain completely devoted to Andy (John Morris) even as he's getting ready to pack up and leave for college. Woody scoffs at the other toys' worries that they'll end up in the garbage, assuring them that they've earned a spot of honor in the attic, but when the toys are mistakenly donated to Sunnyside Daycare, Woody is the only toy whose devotion to Andy outweighs the promise of getting played with each and every day. Woody sets off toward home alone while the other toys settle in for some daycare fun, but things don't turn out quite as expected at the daycare thanks to the scheming, strawberry-scented old-timer bear Lots-o'-Huggin' (Ned Beatty). Eventually, Woody rejoins his friends and they all attempt a daring escape from the daycare, which could destroy them all. The pacing of the film is impeccable at this point, although the sense of peril may prove almost too intense for a few young viewers. Pixar's 3-D computer animation is top-notch as always and the voice talent in this film is tremendous, but in the end, it's Pixar's uncanny ability to combine drama, action, and humor in a way that irresistibly draws viewers into the world of the film that makes "Toy Story 3" such great family entertainment. (Ages 7 and older) "--Tami Horiuchi"

Theatrical: 1992

Studio: 20th Century Fox

Genre: Comedy

Duration: 118

Summary: There are two reasons to see "Toys": some phenomenal visual spectacle and the utterly adorable performance of Joan Cusack. The story: When the founder of the Zevo toy factory dies, he leaves it to his militaristic brother Leland (Michael Gambon) instead of to his whimsical son Leslie (Robin Williams). When Leland starts making war toys (and worse, actual weapons masquerading as toys), Leslie is forced to stop being capricious and take on some authority. "Toys" is supposedly about innocence and peace, but really it's director Barry Levinson's cry of anxiety about modern-day playthings, particularly video games--which is almost psychic of him, given how video games have started to devour the entertainment market. Fans of Williams will enjoy his performance; the visual design really is gorgeous; and Cusack, as Leslie's sister Alsatia, is so lovely she almost carries the film through its muddled themes. Almost. "--Bret Fetzer"

Theatrical: 1983

Studio: Paramount

Genre: Comedy

Duration: 118

Summary: 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"

Theatrical: 2000

Studio: Polygram USA Video

Genre: Drama

Duration: 147

Summary: Featuring a huge cast of characters, the ambitious and breathtaking "Traffic" is a tapestry of three separate stories woven together by a common theme: the war on drugs. In Ohio, there's the newly appointed government drug czar (Michael Douglas) who realizes after he's accepted the job that he may have gotten into a no-win situation. Not only that, his teenage daughter (Erika Christensen) is herself quietly developing a nasty addiction problem. In San Diego, a drug kingpin (Steven Bauer) is arrested on information provided by an informant (Miguel Ferrer) who was nabbed by two undercover detectives (Don Cheadle and Luis Guzmán). The kingpin's wife (Catherine Zeta-Jones), heretofore ignorant of where her husband's wealth comes from, gets a crash course in the drug business and its nasty side effects. And south of the border, a Mexican cop (Benicio Del Toro) finds himself caught between both his home country and the U.S., as corrupt government officials duke it out with the drug cartel for control of trafficking various drugs back and forth across the border.
Bold in scope, "Traffic" showcases Steven Soderbergh at the top of his game, directing a peerless ensemble cast in a gritty, multifaceted tale that will captivate you from beginning to end. Utilizing the no-frills techniques of the Dogme 95 school, Soderbergh enhances his hand-held filming with imaginative editing and film-stock manipulation that eerily captures the atmosphere of each location: a washed-out, grainy Mexico; a blue and chilly Ohio; and a sleek, sun-dappled San Diego. But "Traffic" is more than a film-school exercise. Soderbergh and screenwriter Stephen Gaghan (adapting the British TV miniseries "Traffik" to the U.S.) seamlessly weave the threads of each separate plotline into one solid tale, with the actions of one plot having quiet repercussions on the other two. And if you needed more proof that Soderbergh takes unparalleled care with his actors, practically all the members of this cast turn in their best work ever, the standout being an Oscar-worthy Del Toro as the conflicted moral conscience of the film. While no story is fully resolved in the film, you'll be haunted by these characters days after you've seen the film. By far one of the best movies of 2000. "--Mark Englehart"

Theatrical: 1996

Studio: Walt Disney Video

Genre: Art House & International

Duration: 94

Summary: With its hallucinatory visions of crawling dead babies and a grungy plunge into the filthiest toilet in Scotland, you might not think "Trainspotting" could have been one of the best movies of 1996, but Danny Boyle's film about unrepentant heroin addicts in Edinburgh is all that and more. That doesn't make it everybody's cup of tea (so unsuspecting viewers beware), but the film's blend of hyperkinetic humor and real-life horror is constantly fascinating, and the entire cast (led by Ewan McGregor and "Full Monty" star Robert Carlyle) bursts off of the screen in a supernova of outrageous energy. Adapted by John Hodge from the acclaimed novel by Irving Welsh, the film was a phenomenal hit in England, Scotland, and (to a lesser extent) the U.S. For all of its comedic vitality and invigorating filmmaking, the movie is no ode to heroin, nor is it a straight-laced cautionary tale. "Trainspotting" is just a very honest and well-made film about the nature of addiction, and it doesn't pull any punches when it is time to show the alternating pleasure and pain of substance abuse. "--Jeff Shannon"

Theatrical: 2007

Studio: Paramount

Genre: Kids & Family

Duration: 144

Summary: "I bought a car. Turned out to be an alien robot. Who knew?" deadpans Sam Witwicky, hero and human heart of Michael Bay's rollicking robot-smackdown fest, "Transformers". Witwicky (the sweetly nerdy Shia LaBeouf, channeling a young John Cusack) is the perfect counterpoint to the nearly nonstop exhilarating action. The plot is simple: an alien civil war (the Autobots vs. the evil Decepticons) has spilled onto Earth, and young Sam is caught in the fray by his newly purchased souped-up Camaro. Which has a mind--and identity, as a noble-warrior robot named Bumblebee--of its own. The effects, especially the mind-blowing transformations of the robots into their earthly forms and back again, are stellar.
Fans of the earlier film and TV series will be thrilled at this cutting-edge incarnation, but this version should please all fans of high-adrenaline action. Director Bay gleefully salts the movie with homages to pop-culture touchstones like "Raiders of the Lost Ark", "King Kong", and the early technothriller "WarGames". The actors, though clearly all supporting those kickass robots, are uniformly on-target, including the dashing Josh Duhamel as a U.S. Army sergeant fighting an enemy he never anticipated; Jon Voight, as a tough yet sympathetic Secretary of Defense in over his head; and John Turturro, whose special agent manages to be confidently unctuous, even stripped to his undies. But the film belongs to Bumblebee, Optimus Prime, and the dastardly Megatron--and the wicked stunts they collide in all over the globe. Long live Transformers! -"-A.T. Hurley"

More Than Meets the Eye
The Original Movie
Transformers Mania
The Soundtrack
"Transformers" Image Gallery (click for larger image)

Theatrical: 2009

Studio: Paramount

Genre: Thrillers

Duration: 150

Summary: Pure. Popcorn. Entertainment. That's an exact classification of director Michael Bay's Transformers: Revenge of the Fallen. Think of Transformers 1 on crack. In other words, this sequel took all of the extreme elements that made fans love the first movie and increased them exponentially. The action is nonstop, with battles and explosions from start to finish. The camera (without any subtlety) exploits Megan Fox's hotness to the max. As if she weren't enough, a new sex kitten (Isabel Lucas) is thrown into the equation. Shia LaBeouf is as charismatic as ever, and fills the starring role with ease. And then there's the humor. Sam's parents (Kevin Dunn and Julie White)provided some semi-raunchy laugh-out-loud moments in the first movie, but now they take it to the next level. Sometimes it seems like they are trying a little too hard, but it is still hilarious.
As far as the “plot” goes, the writers didn't waste much time--it's really just a context for the giant-robot death matches and dramatic slow-mo sequences. The movie kicks off two years later where the Autobots have formed an alliance with the U.S. government, creating an elite team led by Major Lennox (Josh Duhamel), in an effort to snuff out any remaining Decepticons that show up. The bad guys keep coming, and it turns out that a much more menacing force than Megatron is out there--and it is looking for something on Earth that is tied to the very origin of the Transformers race. Fans of the franchise will be delighted by the addition of many new robot characters (there are well over 40 in the sequel, versus only 13 in the first). The second Transformers has shaped up to be one of the worst reviewed and most successful movies of all time. This strange pairing is really just an indication that this movie has one purpose: to entertain. The creators didn't want to waste time bogging down the action and drama with substance--which was arguably a good decision. --Jordan Thompson

Stills from Transformers: Revenge of the Fallen (Click for larger image)

Theatrical: 2002

Studio: Fox Home Entertainme

Genre: Action & Adventure

Duration: 92

Summary: Move over, Vin Diesel, because "The Transporter", Hong Kong action veteran Corey Yuen's English-language directorial debut, is revving up to steal your thunder. As the "other" top-billed action star to emerge in 2002, British hunk Jason Statham--previously seen in "Snatch", "Ghosts of Mars", and "The One"--plays a hard-driving courier for well-heeled underworld clients. He follows simple rules: (1) Stick to the deal; (2) Don't ask names; and (3) Don't look in the packages he transports. All's well until he violates rule 3, discovering a Chinese beauty (Qi Shu) in the trunk of his tricked-out BMW, and foiling a deadly plot to smuggle Chinese slaves through the port of Marseilles. The first hour is ass-kickin' fun, and the stuntwork is impressive throughout, even as the plot degenerates into a predictable series of bone-breaking showdowns. Statham boasts an appealing combination of brains "and" brawn, suggesting the suave versatility of a promising career. Coproduced by action auteur Luc Besson and filmed on dazzling French locations, "The Transporter" is an action fan's delight. "--Jeff Shannon"

Theatrical: 2005

Studio: Twentieth Century-Fox Film Corporation

Genre: Action & Adventure

Duration: 87

Summary: "Transporter 2" knows what its audience wants and--like its title character--it delivers. This is a movie that has not only a fight choreographer but also a car stunt choreographer; a movie in which a female assassin wears nothing but a bra and panties because, presumably, additional clothing would be too cumbersome; a movie in which crashing through a concrete wall in order to leap over a four-lane street will not even rumple the hood of the hero's car; a movie in which a drunken supermodel, after her advances are chastely and gently rebuffed by the hero, says "Thanks for the respect--that's what I needed most"; a movie, in short, for those who liked the first "Transporter" but found it too subdued and character-driven. Jason Statham ("The Italian Job") reprises his role as Frank Martin, a perhaps overly diligent chauffer who will break bones if his duty is impeded. The sheer glee with which "Transporter 2" casts aside logic, probability, and the laws of physics is infectious. If the sequence in which Frank flips his car upside-down in order to detach the bomb attached to his undercarriage doesn't reduce you to intoxicated giggles, well...you're watching the wrong movie. "Transporter 2" is utterly shameless, unstoppably ridiculous, and completely enjoyable. Also featuring Amber Valetta ("Hitch"), Jason Flemyng ("Snatch"), and Matthew Modine. "--Bret Fetzer"

Theatrical: 2002

Studio: Sony Pictures

Genre: Action & Adventure

Duration: 106

Summary: Kevin Bacon and Charlize Theron square off in a smarter-than-average kidnapping thriller. Joe (Bacon), Cheryl (Courtney Love), and Marvin (Pruitt Taylor Vince) are a kidnapping team with the perfect plan. Perfect, that is, until they pick on the wrong wholesome but incredibly feisty young family. There's the plot, and boom--you're off. Though it certainly hits all the right buttons, "Trapped" is far from a by-the-numbers suspense movie. There are a few genuinely surprising plot twists, and while many movies dull their villains' edges by cartoonishly over- or underplaying their evil, "Trapped" is refreshingly unafraid to make Joe realistically, skin-crawlingly vile. Even our heroes turn out to have surprising sadistic streaks. Toward the end, the movie takes a sharp right turn toward the ludicrous, with nearly every major character making at least one completely illogical decision, but by that point you're already strapped in, so you may as well just sit back and enjoy. "--Ali Davis"

Theatrical: 2007

Studio: ANCHOR BAY

Genre: Animation

Duration: 75

Summary: They're rude, crude, and thoroughly unrespectable. And now, the crew of the Jupiter 42 is uncensored in "Tripping the Rift: The Movie", the first feature-length adventure from the popular Canadian animated series. By "uncensored," the producers mean that the gloves are off in regard to language and sexual innuendo, though nudity remains off the table (a disappointment, one might assume, for admirers of Rift's voluptuous android, Six of Nine, who's voiced by Jenny McCarthy). And the added level of raunch does boost the level of laughs in this occasionally lightweight story, which has Captain Chode (Stephen Root) and his crew serving as bodyguards for a hideous princess while avoiding a clown-faced robot assassin. The series' penchant for knocking (or paying tribute to) pop-culture touchstones gets a workout here, with nods to "Young Frankenstein" (the black-and-white animation looks terrific), "The Terminator", and even "Desperate Housewives". The endless riffing and sophomoric humor wears thin after a while, but series fans should find it all to their liking. The DVD includes a brief featurette offering interviews with Root, McCarthy, and voice talent Maurice LaMarche and John Melendez, as well as previews for other Anchor Bay titles. "--Paul Gaita"

Theatrical: 1996

Studio: Ambrose Video

Genre: Documentary

Duration: 165

Summary: It happened more or less by accident; the people who made it happen wereamateurs; and for the most part they still are. From his own Silicon Valley garage, author Bob Cringley puts PC bigshots and nerds on the spot, and tells their incredible true stories. Like the industry itself, the series is informative, funny and brash. Some of the episode participants include: Bill Gates (Chairman of Microsoft, the richest man in the world), Steve Jobs (Hippie co-founder of Apple Computer; CEO of NeXT Computer; and the man who wanted to change the world), and Steve Wozniak (Co-founder of Apple Computer; engineering genius, practical joker).
Written and Presented by: Bob Cringely
All 3 volumes on 1 DVD:
*Impressing Their Friends
*Riding the Bear
*Great Artists Steal
DVD has English Sub-titles that can be turned on or off.

Theatrical: 1982

Studio: Walt Disney Video

Genre: Cult Movies

Duration: 96

Summary: The surprising truth about Disney's 1982 computer-game fantasy is that it's still visually impressive (though technologically quaint by later high-definition standards) and a lot of fun. It's about a computer wizard named Flynn (Jeff Bridges) who is digitally broken down into a data stream by a villainous software pirate (David Warner) and reconstituted into the internal, 3-D graphical world of computers. It is there, in the blazingly colorful, geometrically intense landscapes of cyberspace, that Flynn joins forces with Tron (Bruce Boxleitner) to outmaneuver the Master Control program that holds them captive in the equivalent of a gigantic, infinitely challenging computer game. Disney's wizards used a variety of cinematic techniques and early-'80s state-of-the-art computer-generated graphics to accomplish their dynamic visual goals, and the result was a milestone in cyberentertainment, catering to technogeeks while providing a dazzling adventure for hackers and nonhackers alike. Appearing just in time to celebrate the nascent cyberpunk movement in science fiction, "Tron" received a decidedly mixed reaction when originally released, but has since become a high-tech favorite and a landmark in special effects, with a loyal following of fans. DVD is a perfect format for the movie's neon-glow color scheme, and the musical score by synthesizer pioneer Wendy Carlos is faithfully preserved on the digitally remastered soundtrack. "--Jeff Shannon"

Theatrical:

Studio: Walt Disney Pictures

Genre: Thrillers

Duration: 125

Summary: The luminescent lines and shimmering surfaces of "Tron: Legacy" will tantalize anyone who's lusted after the latest smartphone. The long-ago disappearance of his computer-genius father has left Sam Flynn (Garrett Hedlund, "Four Brothers") with existential ennui and a lot of money. When he discovers his father's secret workshop, he gets sucked into a computerized realm ruled by a megalomaniac computer program named Clu--who just happens to be his father's virtual doppelganger. To find his real father (Jeff Bridges, reprising his role from the original "Tron", with a bit of his role from "The Big Lebowski" thrown in for kicks), Sam has to fight in gladiatorial games, drive in digital demolition derbies, and be stripped and dressed by slinky pneumatic babes. For all the techno-babble and quasi-philosophy the characters spout, this is a movie without an idea in its shiny head. It would be pointless to describe the many sillinesses because "Tron: Legacy" isn't actually trying to be smart; it's trying to look cool. It succeeds. Olivia Wilde ("House") looks like the coolest action figure ever (if the entire movie could be nothing but the shot of her lounging on a futuristic sofa, it would be a masterpiece of avant-garde gizmo-fetishism). The facemasks are cool, the glowing skintight outfits are cool, the light-cycles are really, really cool--and let's be honest, it's all about the light-cycles. That's what the audience for "Tron" wants, and that's what "Tron: Legacy" delivers. "--Bret Fetzer"

Theatrical: 2004

Studio: Warner Home Video

Genre: Action & Adventure

Duration: 163

Summary: No doubt about it, the 196-minute unrated director's cut of "Troy" represents a significant improvement over the film's original 162-minute theatrical release--and not just because it has more sex and violence. As director Wolfgang Petersen notes in his new "Troy Revisited" video introduction to this 2-disc special edition, he didn't have the time or directorial discretion (prior to "Troy"'s release in 2004) to present a cut that more closely matched his vision for the film. Three years later, Petersen approached the film with a more relaxed perspective, and the result is a well-crafted expansion on a film that was previously underrated, with 30 minutes of previously unseen material. Character dynamics have been improved and intensified; the epic-scale narrative is now easier to follow, with greater emphasis on the inner turmoil of Achilles (well played by Brad Pitt) and his rivalry with Hector (Eric Bana); and viewers will feel a more satisfying escalation of tension and suspense from battle to battle. The film's enormous battle scenes (impressively enhanced with CGI) are bloodier and gorier, but they're also more effectively integrated into the political story, which goes beyond Homer's "The Iliad" and the death of Hector to incorporate elements of Virgil and a more revealing study of the differences between Trojan king Priam (Peter O'Toole) and his megalomanical Greek rival, king Agamemnon (Brian Cox), whose lust for revenge is now one of the film's most powerful ingredients. Some of Troy's original weaknesses remain (such as Orlando Bloom's wimpy performance as Paris), but overall, this director's cut easily justifies its existence, regardless of the film's overblown and historically inaccurate depiction of "Troy" as a gigantic city of massive columns and statuary. The good parts are better, and the not-so-good parts are more easily forgiven. And no matter how you cut it, "Troy" is a lavish feast for the eyes. "--Jeff Shannon"

Theatrical: 1994

Studio: 20th Century Fox

Genre: Action & Adventure

Duration: 141

Summary: From "The Terminator" to "Titanic", you can always rely on writer-director James Cameron to show you something you've never seen on the big screen before. The guy may not consistently pen the most scintillating dialogue in the world (and, especially in this movie, he doesn't seem to have a particularly high regard for women), but as a director of kinetic, push-the-envelope action sequences, he is in a class by himself. In "True Lies", the highlight is a breathtaking third-act jet and car chase through the Florida Keys. Arnold Schwarzenegger plays a covert intelligence agent whose wife of 15 years (Jamie Lee Curtis) finally finds out that he's not really a computer salesman and who becomes mixed up in a case involving nuclear arms smuggling. Tom Arnold is surprisingly funny and engaging as Schwarzenegger's longtime spy partner, and Bill Paxton is a smarmy used-car salesman (is that redundant?) whom Arnold thinks is having an affair with his wife. Purely in terms of spectacular action and high-tech hardware, "True Lies" is a blast. "--Jim Emerson"

Theatrical: 1995

Studio: Hbo Home Video

Genre: Drama

Duration: 135

Summary: Harry S. Truman had a hard row to hoe as the 33rd president and he never enjoyed popularity while in office. Think about what occurred on Truman's watch: the bombing of Hiroshima, a nationwide railroad strike, the rise of the Southern States' Rights Party, integration of the armed forces, the ascendancy of McCarthyism, the early cold war, and finally the Korean Conflict and Truman's decision to fire General MacArthur. Few American presidents have been faced with more difficult and dangerous times than Truman. It wasn't until some 50 years later that Harry Truman, a farmer from Missouri, got his due appreciation in the history books. "Truman" follows the man from his beginnings as an artillery officer in WWI through his connections with Missouri's Pendergast political machine and onward to Washington. The always-excellent Gary Sinise is a perfect fit for the Truman character, having obviously studied the President's plainspoken Missouri twang and ramrod-straight bearing at great length. Diana Scarwid is also very good as Truman's long-suffering wife Bess; the film studies the relationship between the two in some depth, and also sheds light on the men who surrounded Truman in Washington. "Truman"'s chief failing is that in its effort to detail 40 years of the man's life, certain historical events are given short shrift in order to fit them all in. Nonetheless, Sinise inhabits the character well; the scene where the President ruminates on dining alone in the White House (while Bess is back in Missouri) is a great, understated comment on the loneliness, isolation, and stress of the job. "--Jerry Renshaw"

Theatrical: 1998

Studio: Paramount

Genre: Comedy

Duration: 103

Summary: 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"

Theatrical: 2002

Studio: Dreamworks Video

Genre: Action & Adventure

Duration: 99

Summary: Jackie Chan looks spiffy in "The Tuxedo", but the movie needs a tailor. No Jackie Chan movie could be a total misfire, however, and he's charmingly self-effacing here as a hapless chauffeur who inadvertently replaces his injured super-agent boss (Jason Issacs) and foils a madman (Ritchie Coster) who plans to infect the "world's" water supply (!) and reap a fortune selling pure bottled water. Jackie's a bumbling superhero after donning his boss's high-tech, "Inspector Gadget"-like tuxedo (it even has a "Mambo" setting), and curvaceous co-agent Jennifer Love Hewitt coaches him in crime fighting while closing in on the bad guys. It's all as routinely ridiculous as it sounds--Jackie's faux James Brown act is the only real highlight--and as critic Roger Ebert observed, the climax hinges on an insect queen that doesn't exist in nature! So, while Jackie and Jennifer provide a few moments of stellar stunts and random amusement, you can blame this mess on screenwriters who didn't do their homework. "--Jeff Shannon"

Theatrical: 1996

Studio: Warner Home Video

Genre: Action & Adventure

Duration: 113

Summary: "Twister" was a mega-million-dollar blockbuster--helmed by a director (Dutchman Jan de Bont) hot off another scorcher hit ("Speed")--that flaunted state-of-the-art digital effects and featured a popular leading actress (Helen Hunt) who would win an Academy Award for her next film ("As Good As It Gets"). But ask anybody who's seen it and they'll tell you who the real star of "Twister" is: the cow. Not to give anything away, but the cow is one of those inspired little touches (like, say, Bronson Pinchot's career-making cameo in "Beverly Hills Cop") that adds a touch of personality to a gigantic Hollywood production. The story is blown out the window after an impressive prologue in which Hunt's character, as a little girl, witnesses her daddy being sucked into a tornado. Basically, Hunt and Bill Paxton are thrill-seeking meteorologists chasing twisters in order to study them (and help warn people of them, of course) with a new technology they've developed. If you thought the Kansas tornado in "The Wizard of Oz" was every bit as scary as the Wicked Witch of the West, then this may be the movie for you. "--Jim Emerson"

Theatrical: 2002

Studio: Warner Home Video

Genre: Comedy

Duration: 101

Summary: You'd expect a cavalcade of cuteness from any pairing of Sandra Bullock and Hugh Grant, but "Two Weeks Notice" admirably avoids the obvious. You get plenty of Bullock's pratfalls and feisty sex appeal, and Grant's snappy comebacks are never in short supply, but first-time writer-director Marc Lawrence (who wrote Bullock's previous hit, "Miss Congeniality") adds just enough antagonism to keep this romantic comedy from being a completely foregone conclusion. Neurotic lawyer, environmentalist, and landmark-preservation activist Lucy Kelson (Bullock) is determined to thwart the efforts of billionaire developer and jet-setting playboy George Wade (Grant); of course, fate brings them together and then rips them apart, just as they're beginning to feel the panicky pangs of love. A replacement attorney (Alicia Witt) defies formula by being genuinely sweet, and Lawrence steers clear of the most familiar clichés. It's formulaic anyway, but in "Two Weeks Notice" it's a comforting formula, delivered by stars who thrive within their limitations. "--Jeff Shannon"