DVDpedia : Library : Title : C

Theatrical: 2000

Studio: Columbia Broadcasting System (CBS)

Genre: Drama

Duration: 994

Summary: The nation's top-rated program got back to basics for its fourth season. The personal lives of the Las Vegas crime scene investigators would take more of a backseat to the stories themselves: the victims, the cases, the criminals. After a successful operation, William Peterson's Gil Grissom has regained his hearing--and his "Manhunter"-era beard--and is back in fighting form. "You're like your old self," Captain Brass (Paul Guilfoyle) notes in "All for Our Country." Just in time, as he'll soon be promoting one of his staff to lead CSI, and it's between Sara Sidle (Jorja Fox) and Nick Stokes (George Eads). He also has a new politically minded sheriff with which to contend, Rory Atwater ("24"'s Xander Berkeley). The latter will make his first of several appearances in "Invisible Evidence," while the results of Grissom's lead CSI decision will be revealed in "No More Bets."
That said, one CSI will enjoy a bit of a personal life this season--Catherine Willows (Marg Helgenberger), who'll begin seeing nightclub owner Chris Bezich (Nicholas Lea, Krycek from "The X-Files") in "Early Rollout." The other CSIs, particularly the re-energized Grissom, will remain as married to their jobs as ever--although the latter's unspoken interest in Sara will be tested in "Butterflied."
Other episodes of note include "Feeling the Heat," with Stacy Edwards and Arye Gross, "Jackpot," with Henry Czerny and "Re-Animator"'s Jeffrey Combs, and the instantly infamous "Fur and Loathing," which was written by Jerry Stahl ("Permanent Midnight") and centers on the death of a "furry." As Grissom explains to Willows, "furries" are a "tribe of people who prefer to interact as furry animals." Stahl also penned "Getting Off," about the death of a clown, and continues to come up with some of this still-groundbreaking series' most colorful scenarios. "--Kathleen C. Fennessy"

Theatrical: 2000

Studio: Columbia Broadcasting System (CBS)

Genre: Drama

Duration: 1005

Summary: The second season of "CSI: Crime Scene Investigation" consolidates the show's well-deserved popular appeal, while beginning to explore (gently at first) beneath the slickly professional surface of the investigators themselves. Gradually we learn more about what makes Grissom and his astonishingly gifted forensics team tick, beyond merely that they are workaholics who seem to require no sleep at all. The show's trademark reveals of vital evidence--be it on the autopsy slab or under the microscope--add a fresh spin to what is, at heart, a good old-fashioned whodunit series. William Petersen brings the requisite air of antiquarianism to a character whose meticulous demeanor and love of order consciously inherits the mantle of Sherlock Holmes (whose vast collection of tobacco samples and bottles of chemicals are the ancestors of "CSI"'s high-tech crime lab). This is a series in which scientific evidence-gathering is elevated to the status of a religion. "When a tree falls in the forest, even if no one is around to hear, it "does" make a sound," affirms Grissom with the calm assurance of a yogi on the path to Enlightenment.
And just when "CSI" starts to seem a little "too" pat, just when the trail of clues seems a little "too" neat, the show always seems able to throw a surprise or two at us: perhaps there has been no crime after all; perhaps the evidence concerns a completely different crime altogether; or perhaps, as in one brave episode concerning brothers implicated in multiple murders, the evidence simply isn't good enough to convict the right man, even when Grissom knows which one really is guilty. As a result, every episode is simply compulsive viewing. "--Mark Walker"

Theatrical: 2001

Studio: Columbia Broadcasting System (CBS)

Genre: Drama

Duration: 1022

Summary: Now firmly established as the top-rated television drama, by its third year "CSI: Crime Scene Investigation" is a show positively glowing with confidence. Even when individual cases seem either too contrived or too easily resolved, the indefatigable night shift at the Las Vegas PD crime lab always look the part, solving conundrums and discovering microscopic damning evidence while, apparently, never shedding their own loose hair or skin cells all over the supposedly quarantined crime scenes. In reality, Catherine Willows's flowing blonde locks would contaminate any evidence she collected, but in the world of "CSI" only the bad guys leave body parts behind--the CSIs themselves are so good they're positively pristine.
The 23 episodes of season 3 on this five-disc set present more deliciously bizarre situations for the problem-solving sleuths: cannibalism, snuff movies, dwarfs, death while drag racing, bodies falling from the sky, and various dismemberments all tax the team's acumen. These are all double or multiple-case episodes, though in a characteristic trick of the writing sometimes apparently unrelated murders turn out to be connected (or vice versa, as in "Blood Lust," in which a road-accident victim is not what he seems, and the death of the driver at the hands of an angry mob is made all the more tragic). The mix of genuine forensic science with the glossiest Jerry Bruckheimer production values, plus the virtues of a good ensemble cast headed by William Peterson's modern-day Sherlock Holmes, remains as compelling as ever. "--Mark Walker"

Theatrical:

Studio: LIONS GATE HOME ENT.

Genre: Horror

Summary: A sneaky and surprisingly smart horror flick, "Cabin Fever" sets up all the cliches of its particular subgenre (what might be called the "sexy young people go into the woods" horror movie, featuring hostile redneck locals, dead animals on hooks, cars that suddenly stop running, etc.) and by the end has played a clever twist on every standard element, often to darkly comic effect. What's the plot? Well, five sexy young people (Rider Strong, Jordan Ladd, Joey Kern, Cerina Vincent, and James DeBello) go to an isolated cabin where they contract a nasty bacteria that eats their flesh; this, combined with a bad-tempered dog and a party-loving police deputy (Giuseppe Andrews, giving a particularly funny performance), leads everyone into confusion and bloody chaos. Some of the ironic twists are a little obvious, but most of them effectively subvert your expectations to entertaining effect. "--Bret Fetzer"

Theatrical: 1980

Studio: Warner Home Video

Genre: Comedy

Duration: 98

Summary: A no-brainer that has become a low-brow classic, this 1980 comedy makes anarchy the rule of the day, unleashing the antics of Bill Murray, Rodney Dangerfield, Ted Knight, and Chevy Chase. "Caddyshack" is about the scheme of a vulgar land developer (Dangerfield) who wants to build condominiums on the site of a ritzy country club. Director Harold Ramis (who later reunited with Murray to make "Groundhog Day") is content to let the comedy follow a variety of wacky detours, most notably Murray's maniacal war with a gopher that has been digging up the golf course. Dangerfield ultimately steals the show, firing off a battery of one-liners, insults, and tasteless gags. "Caddyshack" is the kind of movie some people have been known to watch several times a year, reciting every line of dialogue like the followers of a bizarre comedic ritual. "--Jeff Shannon"

Theatrical: 1998

Studio: Sony Pictures

Genre: Comedy

Duration: 100

Summary: This underrated teen comedy from 1998 is guilty of being a proud underachiever, and it doesn't bring anything new to the genre, but look closely and you'll find the makings of a much better movie buried under all the keg-party antics. The basic story is typical for this kind of comedy. A young, aspiring writer named Preston (Ethan Embry) has been lusting after class beauty Amanda (Jennifer Love Hewitt, from TV's "Party of Five") for four years of high school, but he's never had the nerve to tell her. Now that they're about to graduate he's finally worked up the courage to write her a soul-baring love letter. At the raucous graduation keg party that takes up most of the movie's 98 minutes, Preston agonizes while Amanda's selfish jock ex-boyfriend tries to win her back, and delivering his love letter turns out to be more difficult than he ever imagined. What's interesting about "Can't Hardly Wait" has little to do with its attractive leads, however. The most engagingly real and entertaining characters are the misfits who show up in the subplots, including a geek (Charlie Korsmo) who turns into the life of the party, and a pair of old friends (Seth Green, Lauren Ambrose) who confront each other about their mutual needs and insecurities. There are some really good scenes between these two, and this modest movie has a few other pleasant surprises up its sleeve. That doesn't make it particularly good, but it does make it an agreeable waste of time. "--Jeff Shannon"

Theatrical: 2009

Studio: Universal Studios Home Entertainment

Genre: Action & Adventure

Duration: 93

Summary:  


Stills from Caprica (Click for larger image)

Theatrical: 2010

Studio: SyFy

Genre: Thrillers

Summary:

Theatrical:

Studio: Universal Studios

Genre: Science Fiction

Duration: 394

Summary: Presented uninterrupted and in Dolby 5.1 surround sound, the first season of the critically-acclaimed drama from Executive Producers Ronald D. Moore and David Eick comes to a thrilling climax in Caprica Season 1.5. Fifty-eight years before the events of Battlestar Galactica, mankind is wrestling with the question of what makes one human, and sealing its own fate of certain destruction. Alliances are made, secrets are revealed, and lives are forever changed while the conflict between man and machine takes shape. As the season races towards its stunning conclusion, the seeds are sown for the inevitable, brutal clash between the newly-born Cylon race and its human creators.

Theatrical:

Studio: Paramount Studios

Genre:

Duration: 124

Summary: The Marvel Comics superhero Captain America was born of World War II, so if you're going to do the origin story in a movie you'd better set it in the 1940s. But how, then, to reconcile that hero with the 21st-century mega-blockbuster "The Avengers", a 2012 summit meeting of the Marvel giants, where Captain America joins Iron Man and the Incredible Hulk and other super pals? Stick around, and we'll get to that. In 1943, a sawed-off (but gung-ho) military reject named Steve Rogers is enlisted in a super-secret experiment masterminded by adorable scientist Stanley Tucci and skeptical military bigwig Tommy Lee Jones. Rogers emerges, taller and sporting greatly expanded pectoral muscles, along with a keen ability to bounce back from injury. In both sections Rogers is played by Chris Evans, whose sly humor makes him a good choice for the otherwise stalwart Cap. ("Benjamin Button"-esque effects create the shrinky Rogers, with Evans's head attached.) The film comes up with a viable explanation for the red-white-and-blue suit 'n' shield--Rogers is initially trotted out as a war bonds fundraiser, in costume--and a rousing first combat mission for our hero, who finally gets fed up with being a poster boy. Director Joe Johnston ("The Wolfman") makes a lot of pretty pictures along the way, although the war action goes generic for a while and the climax feels a little rushed. Kudos to Hugo Weaving, who makes his Nazi villain a grand adversary (with, if the ear doesn't lie, an imitation of Werner Herzog's accent). If most of the movie is enjoyable, the final 15 minutes or so reveals a curious weakness in the overall design: because Captain America needs to pop up in "The Avengers", the resolution of the 1943 story line must include a bridge to the 21st century, which makes for some tortured (and unsatisfying) plot developments. Nevertheless: that shield is really cool. "--Robert Horton"

Theatrical: 1991

Studio: Universal Studios

Genre: Comedy

Duration: 83

Summary: If you're a lifetime member of the Jennifer Connelly fan club, you'll be in the passionate minority of people (100% male) who won't care that this 1991 comedy is wallowing in its own oily puddle of lameness. The gorgeous Ms. Connelly is conspicuously put on display in this typically lightweight fluff from writer-producer John Hughes. Frank Whaley does his best to liven up the male-fantasy plot about a semi-nerdy teen who gets a night-watchman job in a variety store, only to find himself locked in overnight with the local knockout (Connelly), who's as rich as she is beautiful. She's also really unhappy with her home life and her bully boyfriend (Dermot Mulroney), so it's Frank's big opportunity to make his move as a sympathetic Romeo. Shallow and contrived, the movie does have its standard moments of John Hughes delicacy, and a cameo by the late John Candy scores bonus points for comedy. Still, it's clear that the movie exists primarily to satisfy adolescent lust--and with Connelly as the object of desire, this otherwise tiresome comedy is a triumph of wish-fulfillment casting. "--Jeff Shannon"

Theatrical: 1995

Studio: MCA/Universal Pictures

Genre: Drama

Duration: 178

Summary: Director Martin Scorsese reunites with members of his "GoodFellas" gang (writer Nicholas Pileggi; actors Robert De Niro, Joe Pesci, and Frank Vincent) for a three-hour epic about the rise and fall of mobster Sam "Ace" Rothstein (De Niro), a character based on real-life gangster Frank "Lefty" Rosenthal. (It's modeled after on "Wiseguy" and "GoodFellas" and Pileggi's true crime book "Casino: Love and Honor in Las Vegas".) Through Rothstein, the picture tells the story of how the Mafia seized, and finally lost control of, Las Vegas gambling. The first hour plays like a fascinating documentary, intricately detailing the inner workings of Vegas casinos. Sharon Stone is the stand out among the actors; she nabbed an Oscar nomination for her role as the voracious Ginger, the glitzy call girl who becomes Rothstein's wife. The film is not as fast paced or gripping as Scorsese's earlier gangster pictures ("Mean Streets" and "GoodFellas"), but it's still absorbing. And, hey--it's Scorsese! "--Jim Emerson"

Theatrical: 2006

Studio: Columbia Pictures

Genre: Action & Adventure

Duration: 144

Borrowed By: Guy Mueller

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






























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













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Theatrical: 2000

Studio: 20th Century Fox

Genre: Action & Adventure

Duration: 143

Summary: "Cast Away" is a good movie that wants to be much better. While director Robert Zemeckis's earlier film "Contact" achieved a kind of mainstream spiritual significance, "Cast Away" falls just short of that goal. That may explain why the film's most emotionally powerful scene involves the loss of an inanimate object, even as it presents a heart-rending dilemma in its very human final act.
It's three movies in one, beginning when punctuality-obsessed Federal Express systems engineer Chuck Noland (Tom Hanks) departs on Christmas Eve to escort an ill-fated flight of FedEx packages. Following a mid-Pacific plane crash, movie number two chronicles Chuck's four-year survival on a remote island, totally alone save for a Wilson volleyball (aptly named "Wilson") that becomes Chuck's closest "friend." Movie number three leads up to Chuck's rescue and an awkward encounter with his ex-girlfriend Kelly (Helen Hunt, in a thankless role), for whom Chuck has seemingly risen from the grave.
It's fascinating to witness Chuck's emerging survival skills, and Hanks's remarkable physical transformation is matched by his finely tuned performance. With slow, rhythmic camera moves and brilliant use of sound, Zemeckis wisely avoids the postcard prettiness of "The Black Stallion" and "The Blue Lagoon" to emphasize the harshness of Chuck's ascetic solitude, and this stylistic restraint allows "Cast Away" to resonate more than one might expect. Even the final scene--which feels like a crowd-pleasing compromise--offers hope without shoving it down our throats. You may not feel the emotional rush that you're meant to feel, but "Cast Away" remains a respectable effort. "--Jeff Shannon"

Theatrical: 1988

Studio: Universal Studios

Genre: Comedy

Duration: 88

Summary: Never have the 1980s felt so painfully time-warped. This 1988 movie, which was directed by Geneviève Roberts and adapted by Wendy Goldman and Judy Toll from their stage play, is proof as to why we've rarely heard their names again. "Casual Sex?" is an oxymoron of a title that chronicles the plight of two best-friends-since-childhood who are suffering from celibacy in the AIDS-addled '80s. One, Stacy (Lea Thompson), misses the easy promiscuity of the past though she longs for a guy who is a true friend. Melissa (Victoria Jackson from "Saturday Night Live") has only had sex with two men--the second of whom was her fiancé, and she longs for her first orgasm. When they decide to take a holiday to the Oasis Spa in order to find some nice guys, they have little notion that they're about to find the wrong Mr. Right(s). Combine the tired premise with some asides to the screen (that probably worked better on stage) and a couple of role-playing fantasies, and "Casual Sex?" is proof that a movie on this topic might be written by women, but it still might not have anything new or groundbreaking to reveal. "Casual Sex?" ultimately pairs one of its protagonists with comic Andrew Dice Clay, who plays a Jersey thug named "The Vin Man," and it's embarrassing to watch him mug his way through the film. With such lines as "You and I have more in common now that we're both afraid of sex" and "Not being attracted to anybody scares me more than AIDS," viewers will wonder if these two have a brain in their heads at all. They ultimately come across as less than enlightened about sex and love and seem--along with the movie itself--more than a little desperate. "--Paula Nechak"

Theatrical: 2007

Studio: Sony Pictures

Genre: Comedy

Duration: 112

Summary: Jennifer Garner's lips grow more Angelina-esque every year. In the romantic comedy "Catch and Release", Garner ("Alias, 13 Going On 30") plays Gray Wheeler, a young woman whose fiance dies unexpectedly before the wedding, leaving Gray unable to afford her home--so she moves in with her fiance's best friends, Sam (Kevin Smith, director of "Clerks" and "Dogma") and Dennis (Sam Jaeger, "Lucky Number Slevin"). But the presence of another old friend named Fritz (Timothy Olyphant, "Deadwood") leads to the unveiling of a secret: Gray's fiance had a child with another woman. "Catch and Release" lacks the clear story structure that most romantic comedies are built on, but trades it for a richer sense of the ambiguities of human relationships. Garner, though lovely and personable, is a bit bland--fortunately, she's surrounded by actors with all kinds of edges, including Smith (who shows an unexpected and uncloying earnest side), Fiona Shaw (from the "Harry Potter" movies) as the fiance's grieving mother, and Juliette Lewis ("Cape Fear"), who demonstrates once again her powers as a fearless and surprising actress. "Catch and Release" is an uneven movie, with a remarkably elegant visual style that sometimes clashes with the workmanlike dialogue, but it can't be written off as the same old Hollywood claptrap. Though a happy ending is inevitable, the path it takes has some surprising turns and flashes of unexpected emotional depth.-- "Bret Fetzer"













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Theatrical: 2002

Studio: Dreamworks Video

Genre: Action & Adventure

Duration: 141

Summary: An enormously entertaining (if somewhat shallow) affair from blockbuster director Steven Spielberg. Leonardo DiCaprio stars as Frank Abagnale, Jr., a dazzling young con man who spent four years impersonating an airline pilot, a doctor, and a lawyer--all before he turned 21. All the while he's pursued by a dedicated FBI agent named Carl Hanratty (Tom Hanks), whose dogged determination stays one step behind Abagnale's spontaneous wits. Both DiCaprio and Hanks turn in enjoyable performances and the movie has a bouncy rhythm that keeps it zipping along. However, it never gets under the surface of Frank's drive to lose himself in other identities, other than a simplistic desire to please his father (Christopher Walken, excellent as always), nor does it explore the complex mechanics of fraud with any depth. By the movie's end, it feels like one of Frank's pilot uniforms--appearance without substance. "--Bret Fetzer"

Theatrical: 2001

Studio: Warner Home Video

Genre: Action & Adventure

Duration: 87

Summary: How can you hate a movie that features ninja Siamese cats wreaking havoc with their kung fu prowess? That's one of the highlights in "Cats & Dogs", an effects-laden family film that mystifies cat fanciers by casting dogs as the undisputed heroes in all-out warfare with nefarious felines. Hidden headquarters and high-tech gadgets are featured on both sides of this age-old battle. On the feline side, the longhaired Persian Mr. Tinkles (voice of Sean Hayes) plots to sabotage the efforts of Professor Brody (Jeff Goldblum) to discover a cure for human allergies to dogs. On the canine side, stalwart shepherd Butch (voice of Alec Baldwin) trains the mistakenly recruited beagle puppy Lou (voice of Tobey Maguire) to foil Mr. Tinkles's scheme--a mission that begins when Mrs. Brody (Elizabeth Perkins) adopts Lou for her son Scott (Alexander Pollock).
Using combinations of live animals, animatronic puppets, and digital wizardry, "Cats & Dogs" has just enough imagination to match its effects, climaxing with a feline global-domination scheme involving mice sprayed with chemicals that will make all humans allergic to dogs. Goldblum and Perkins gamely play second fiddles to this menagerie of mayhem, and as madcap "realism" gives way to cartoonish fantasy, the movie escalates into utter chaos, burdened by lame jokes but highlighted by a furry supporting cast including a Saluki hound (voice of Susan Sarandon), a shaggy sheepdog (voice of Michael Clarke Duncan), and a Chinese hairless techno-geek named Peek (voice of Joe Pantoliano). Though never as charming as the "Babe" movies, "Cats & Dogs" is harmless fun--especially for dog lovers. "--Jeff Shannon"

Theatrical: 2000

Studio: New Line Home Video

Genre: Drama

Duration: 107

Summary: Schizoid serial killer Carl Stargher (Vincent D'Onofrio) has been captured at last, but a neurological seizure has rendered him comatose, and FBI agent Peter Novak (Vince Vaughan) has no way to determine the location of Stargher's latest and still-living victim. To probe the secrets contained in Stargher's traumatized psyche, the FBI recruits psychologist Catherine Deane (Jennifer Lopez), who has mastered a new technology that allows her to enter the mind of another person. What she finds in Stargher's head is a theater of the grotesque, which, as envisioned by first-time director Tarsem Singh, is a smorgasbord of the surreal that borrows liberally from the Brothers Quay, Czech animator Jan Svankmajer, Hieronymous Bosch, Salvador Dali, and a surplus of other cannibalized sources.
This provides one of the wildest, weirdest visual feasts ever committed to film, and "The Cell" earns a place among such movie mind-trips as "2001: A Space Odyssey", "Altered States", "What Dreams May Come", and "Un Chien Andalou". Is this a good thing? Sure, if all you want is freakazoid eye-candy. If you're looking for emotional depth, substantial plot, and artistic coherence, "The Cell" is sure to disappoint. The pop-psychology pablum of Mark Protosevich's screenplay would be laughable if it weren't given such somber significance, and Singh's exploitative use of sadomasochistic imagery is repugnant (this movie makes "Seven" look tame), so you're better off marveling at the nightmare visions that are realized with astonishing potency. "The Cell" is too shallow to stay in your head for long, but while it's there, it's one hell of a show. "--Jeff Shannon"

Theatrical: 1996

Studio: 20th Century Fox

Genre: Action & Adventure

Duration: 107

Summary: Anyone want to venture a guess that Keanu Reeves was sorry he passed up "Speed 2" to make this turkey? Both a ridiculous suspense piece about a renegade intelligence community and an ill-considered hunk of do-gooder agitprop about alternative energy technology, "Chain Reaction" makes Reeves and almost everyone else involved look about as dumb as dumb can be. Hollywood's own Little Buddha plays a streetwise lab technician who survives an organized assault on his hydrogen-power project. The FBI assumes he's really a spy working for some foreign power, but the truth is that a CIA offshoot is behind the project's funding. Morgan Freeman plays the ramrod-straight company man who sabotages Keanu's excellent experiment, and Rachel Weisz portrays a physicist who goes on the run with the alleged saboteur. Directed by Andrew Davis ("The Fugitive"), who seems more interested in seeing how many absurd places he can mount a chase scene than offering a solid clue as to who these characters are and why we should care about them. "--Tom Keogh"

Theatrical:

Studio: Universal Pictures

Genre: Comedy

Duration: 113

Summary:

Theatrical: 2002

Studio: Paramount

Genre: Drama

Duration: 98

Summary: Impeccably crafted and smarter than your average thriller, "Changing Lanes" proves that revenge is a dish best served cold. A high-powered attorney (Ben Affleck) learns that lesson the hard way after he flees the scene of an accident involving an insurance salesman (Samuel L. Jackson) who holds a powerful advantage in his retaliatory strike against the lawyer's arrogant behavior. Affleck has everything to gain if he can retrieve a lost document from Jackson, who has everything to lose (wife, family, savings) when threatened with financial sabotage. To his versatile credit, "Notting Hill" director Roger Michell never plays the race card in this escalating battle of wills, focusing instead on the percolating resentments of men at opposite ends of the economic scale. As he did in "Eyes Wide Shut", actor-director Sydney Pollack chillingly embodies the venal elite in a pivotal supporting role, and "Changing Lanes" potently illustrates the wisdom of heeding a guilty conscience. "--Jeff Shannon"

Theatrical: 2007

Studio: Castle Rock

Genre: Comedy

Duration: 87

Summary: Ryan Reynolds’ exceptional performance as an efficiency expert off his game is the best reason to see "Chaos Theory", a drama-comedy full of surprises. Reynolds plays Frank, a compulsive list-maker and paragon of punctuality who gets behind schedule one day by a mere ten minutes and watches his world fall down around him. Arriving late for one of his own seminars, the rattled Frank becomes vulnerable to a serial seducer (Sarah Chalke) of married men, and drawn into a baby-delivery emergency. The ensuing confusion causes a rift between Frank and his suspicious wife (Emily Mortimer), which is nothing compared to what happens after Frank--trying to resolve his problems--discovers he’s not the father of his daughter, Jesse (Elisabeth Harnois). Daniel Taplitz’s screenplay feels a little random in its first act, though there is a lot to enjoy, particularly a preface that finds Frank around age 50, a wily observer of human nature advising his future son-in-law on how to survive tough times in marriage. (The film’s story proper is actually told in flashback.) Reynolds co-stars, including Stuart Townsend as Frank’s best friend, are all very good. But Reynolds has lately been perfecting such rising-toward-clarity roles as Frank (see also "The Nines"), and he is superb at conveying competing emotions under extreme stress. Equally ludicrous and sympathetic, Frank gives "Chaos Theory" an absurdist soul. "--Tom Keogh"

Theatrical: 2003

Studio: Comedy Central

Genre: Comedy

Duration: 283

Summary: The 2003 debut of "Chappelle's Show" on Comedy Central marked a high point for the cable channel, and now the entire, wildly creative first season can be seen, with hundreds of bleeps removed. That's not to say "Chappelle's Show" is perfect entertainment: there are too many moments among the 12 episodes here that descend into pointless scatology and booty fever. But for the most part, Chappelle, a talented comic slowly growing into greatness, is trying to push the sketch-humor envelope and succeeds at surprising us with original concepts and merciless execution.
The merely clever material includes "National Geography's Third World Girls Gone Wild," basically an update on those topless-native-women gags of yore, and Chappelle's "Educated Guess Line," in which the sage comic eschews psychic powers to logically deduce racial insights from his callers' questions. Far more wicked is an in-your-face satire on such autobiographical film fare as "Antwone Fisher" and "8 Mile", in which Chappelle plays himself ascending from street hustler to rapper-comedian to bona fide savior of America. The best thing here, however, is a parallel-universe version of "The Real World", in which the usual racial proportions on MTV's workhorse series are reversed, thrusting a token white guy into a Hoboken houseful of crazy African Americans. There are also laughs in "Ask a Gay Guy with Mario Cantoned," as well as a sketch about an "inner-thoughts cam" and a nasty piece about Chappelle's Make-a-Wish visit to a dying child, which decays into a cruel video game competition. Overlooking the series' weaker material, this is outstanding television comedy. "--Tom Keogh"

Theatrical: 2003

Studio: Comedy Central

Genre: Comedy

Duration: 30

Summary: Outrageous, intelligent and provocative, Chappelle's Show - The Lost Episodes proves that Dave Chappelle is now and forever one of the funniest, most boundary-pushing comedians to ever appear on television.

Theatrical:

Studio: Paramount

Genre: Television

Summary:

Theatrical: 2000

Studio: Sony Pictures

Genre: Action & Adventure

Duration: 98

Summary: For every TV-into-movie success like "The Fugitive", there are dozens of uninspired films like "The Mod Squad". Happily--and surprisingly--this breezy update of the seminal '70s jiggle show falls into the first category, with Cameron Diaz, Drew Barrymore (who also produced), and Lucy Liu starring as the hair-tossing, fashion-setting, kung fu-fighting trio employed by the mysterious Charlie (voiced by the original Charlie, John Forsythe). When a high-tech programmer (Sam Rockwell) is kidnapped, the angels seek out the suspects, with the daffy Bosley (Bill Murray in a casting coup) in tow. A happy, cornball popcorn flick, "Charlie's Angels" is played for laughs with plenty of ribbing references to the old TV show as well as modern caper films like "Mission: Impossible". McG, a music video director making his feature film debut (usually a death warrant for a movie's integrity), infuses the film with plenty of "Matrix"-style combat pyrotechnics, and the result is the first successful all-American Hong Kong-style action flick. Plenty of movies boast a New Age feminism that has their stars touting their sexuality while being their own women, but unlike something as obnoxious as "Coyote Ugly", "Angels" succeeds with a positive spin on Girl Power for the new millennium (Diaz especially sizzles in her role of crack super agent/airhead blonde). From the send-up of the TV show's credit sequence to the outtakes over the end credits, "Charlie's Angels" is a delight. "--Doug Thomas"

Theatrical: 1997

Studio: Miramax

Genre: Art House & International

Duration: 113

Summary: Writer-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"

Theatrical: 2003

Studio: 20th Century Fox

Genre: Comedy

Duration: 98

Summary: Steve Martin and Bonnie Hunt corral a wild herd of rampaging children in "Cheaper by the Dozen", an enjoyable family flick. When Kate Baker (Hunt, "Jerry Maguire") gets a book deal for her chronicle of their abundant family life, she also gets drawn into a book tour--leaving Tom (Martin, "Bringing Down the House", "The Jerk") to run the house and cope with his new, high-pressure job as a football coach. Naturally, chaos erupts, bringing the family to the brink of meltdown. "Cheaper by the Dozen" is not a great movie or an important movie or even a surprising movie, but it "is" a warm-hearted crowd-pleaser. The Bakers' family life is a bit idealized and antiseptic, but anyone looking for an escape from their own less-ideal family lives won't mind. Also featuring Tom Welling, Hilary Duff, Piper Perabo, and an uncredited Ashton Kutcher. "--Bret Fetzer"

Theatrical: 2002

Studio: New Line Home Entertainment

Genre: Comedy

Duration: 100

Summary: "Cherish" starts out with a promising idea: An erratic young woman named Zoe (Robin Tunney, "The Craft", "Niagara, Niagara") under house arrest with a bracelet around her ankle that sets off an alarm if she tries to leave her apartment, begins an unlikely romance with Bill (Tim Blake Nelson, "O Brother, Where Art Thou?", "The Good Girl"), the lonely guy who monitors the bracelet. Unfortunately, about halfway through the movie mutates into a poorly thought-out thriller, in which Zoe tries to trap the stalker who got her arrested in the first place. Tunney and Nelson are both engaging, inventive actors; if the movie had trusted their charm, instead of trying to concoct implausible plot twists, this could have been delightful. Also featuring Jason Priestley, Nora Dunn, and indie rock star Liz Phair. "--Bret Fetzer"

Theatrical: 2002

Studio: Miramax Home Entertainment

Genre: Comedy

Duration: 113

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

Theatrical: 2000

Studio: Dreamworks Animated

Genre: Action & Adventure

Duration: 84

Summary: There were a lot of disappointments in the 2000 summer movie season, but "Chicken Run" wasn't one of them. Made by Aardman Animations, which produced the Oscar-winning Wallace & Gromit shorts, this is a dazzling stop-motion animation film that is both deftly funny and surprisingly touching. The concept is simple: "The Great Escape"--with chickens. But directors Peter Lord and Nick Park take it much further than that (and remember: there's a whole generation out there that has no idea who Steve McQueen is). Julia Sawalha voices Ginger, a plucky English hen who has been trying to escape from Tweedy's chicken farm, where the vicious Mrs. Tweedy (Miranda Richardson) fries up any chicken who doesn't produce enough eggs. When egg profits slump, Mrs. Tweedy decides to turn her farm into a chicken-pie factory, giving new urgency to Ginger's plan. Enter Rocky the Flying Rooster (Mel Gibson), a brash American who has escaped from a circus and promises to teach the chickens to fly to safety. The film is filled with innumerable visual touches and the animation has a tactile quality that makes you want to reach out and touch these funny fowl. Above all, it's played with intelligence, wit, and heart--a rare combination in any film. While "Chicken Run" is being marketed to a youth audience, it truly is a family film that operates on both a child and an adult level. It would be a shame if grownups skipped it because they thought it was strictly for kids. "--Marshall Fine"

Theatrical: 2006

Studio: Universal Studios Home Entertainment

Genre: Action & Adventure

Duration: 109

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

Theatrical: 1999

Studio: Hbo Home Video

Genre: African American Cinema

Duration: 65

Summary: Comedian Chris Rock makes a raucous return to his stand-up roots in this HBO special filmed at Harlem's legendary Apollo Theater. Despite his manic and profane delivery, Rock's comedy is often rooted in traditional subjects for comedians: family relationships, misunderstandings between men and women, and observations on how childhood has changed. But he takes his material right to the edge, proving himself to be a sharp-eyed satirist. Serious and timely issues, such as school shootings or children being neglected by partying parents, are tackled by Rock, who's not afraid to slip in a serious point while being hysterically funny. His defense of President Clinton against his accusers is a good example of how Rock's material is almost always bound to offend someone: he slices through the self-righteous rhetoric of the impeachment spectacle, but even the behavior he defends comes in for ridicule with jokes that are extremely funny as well as extremely coarse. The pace of this one-hour show is uneven, and some viewers will no doubt find Rock's penchant for using profanity as punctuation tiresome. But those who like intelligent comedy with a hard edge will find much to laugh at in "Chris Rock: Bigger and Blacker". "-- Robert J. McNamara"

Theatrical: 1996

Studio: Dreamworks

Genre: Comedy

Duration: 58

Summary: Studio: Uni Dist Corp (music) Release Date: 10/01/2002

Theatrical: 1983

Studio: Warner Home Video

Genre: Art House & International

Duration: 94

Summary: This delightfully funny holiday gem tells the story of Ralphie Parker (Peter Billingsly) a 1940's nine-year-old who pulls out all the stops to obtain the ultimate Christmas present.

Theatrical: 2004

Studio: Universal

Genre: Action & Adventure

Duration: 119

Summary: Bigger isn't always better, but for anyone who enjoyed "Pitch Black", a nominal sequel like "The Chronicles of Riddick" should prove adequately entertaining. Writer-director David Twohy returns with expansive sets, detailed costumes, an army of CGI effects artists, and the star he helped launch--Vin Diesel--bearing his franchise burden quite nicely as he reprises his title role. The Furian renegade Riddick has another bounty on his head, but when he escapes from his mercenary captors, he's plunged into an epic-scale war waged by the Necromongers. A fascist master race led by Lord Marshal (Colm Feore), they're determined to conquer all enemies in their quest for the Underverse, the appeal of which is largely unexplained (since Twohy is presumably reserving details for subsequent "chronicles"). With tissue-thin plotting, scant character development, and skimpy roles that waste the talents of Thandie Newton (as a Necromonger conspirator) and Judi Dench (as a wispy "Elemental" priestess), Twohy's back in the B-movie territory he started in (with "The Arrival"), brought to vivid life on a vast digital landscape with the conceptual allure of a lavish graphic novel. But does Riddick have leadership skills on his resumé? To get an answer to that question, sci-fi fans will welcome another sequel. "--Jeff Shannon"

Theatrical: 1998

Studio: Warner Home Video

Genre: Action & Adventure

Duration: 114

Summary: Some critics complained that "City of Angels" could never compare to Wim Wenders's exquisite German film "Wings of Desire", which served as the later film's primary inspiration. The better argument to make is that any such comparisons are beside the point, because "Wings of Desire" was a much more deeply poetic, artfully contemplative film, whereas "City of Angels" is an enchanting product of mainstream Hollywood. Meg Ryan stars as Dr. Maggie Rice, a heart surgeon who is grieving over a lost patient when an angel named Seth (Nicolas Cage) appears to comfort her. She can see him despite the "rule" that angels are invisible, and Seth's love for Maggie forces him to choose between angelic immortality and a normal human existence on earth with her. Featuring heavenly roles for TV veterans Andre Braugher and Dennis Franz, the film liberally borrows imagery from "Wings of Desire", but it also creates its own charming identity. Cage and Ryan give fine performances as lovers convinced they are soul mates, and although the plot relies on a last-minute twist that doesn't quite work, this earnest love story struck a chord with audiences and proved to be one of the surprise hits of 1998. "--Jeff Shannon"

Theatrical: 2008

Studio: 20th Century Fox

Genre: Action & Adventure

Duration: 90

Summary: Light bulbs speckle the sky instead of stars in "City of Ember", a fantasy in which a secret city has been built to preserve mankind from worldwide disaster. But over time, the purpose of the city is lost--and the city gradually decays. As power failures threaten to bring on the collapse of everything, young messenger Lina Mayfleet (Saoirse Ronan, "Atonement") discovers damaged instructions for leaving the city. Her friend, pipeworker Doon Harrow (Harry Treadaway, "Brothers of the Head"), helps her find the hidden mechanisms that will let everyone escape...but the city's corrupt Mayor (Bill Murray) is more interested in personal gain and tries to stop Lina. "City of Ember" begins marvelously; the story unfolds smoothly, the production design is rich and engaging, the young leads are charming (Ronan is particularly good), and Murray is as superb as ever. Unfortunately, the movie starts to stumble; some plot turns are baffling (there seems to be some connective tissue left on the cutting room floor) and what should be an action climax flounders with subpar special effects. But even when the movie loses its sure-footedness, there are delightful moments and visual wonders. The strong supporting cast includes Tim Robbins, Mary Kay Place ("Sweet Home Alabama"), Mackenzie Crook ("The Office"), Toby Jones ("Infamous"), and Marianne Jean-Baptiste ("Secrets & Lies"). "--Bret Fetzer"

Theatrical: 1991

Studio: Columbia Pictures

Genre: Art House & International

Duration: 112

Summary: Three middle-age buddies (Billy Crystal, Daniel Stern, Bruno Kirby) facing personal crises decide to sign up for a two-week cattle run for a change of pace. The trail proves a tougher place than anyone thought, and the boss (Jack Palance) is a grizzled taskmaster who doesn't cotton to tenderfoot urbanites. Popular in theaters, the film is both funny and moving, with Crystal giving one of his most complete performances and Palance (who won a Best Supporting Actor Oscar) a lot of colorful fun. Director Ron Underwood ("Heart and Souls") subtly shifts the tone of the film from broad comedy to poignancy over its running time, and he makes the story's end a bittersweet victory that feels like life as most people know it. "--Tom Keogh"

Theatrical: 1994

Studio: Paramount

Genre: Action & Adventure

Duration: 141

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

Theatrical: 1994

Studio: Miramax

Genre: Comedy

Duration: 92

Summary: Before 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"

Theatrical: 2006

Studio: Weinstein Company

Genre: Comedy

Duration: 97

Summary: Lo and behold, "Clerks II" defies the odds as a sequel that even the most ardent "Clerks" fans can be happy about. Twelve years after Kevin Smith turned the independent film world upside-down with his $27,000 black-and-white comedy, perpetual slackers Dante (Brian O'Halloran) and Randal (Jeff Anderson) return for another raucous romp in suburbia, but this time there's no beloved Quick Stop mini-mart to ensure their low-level employment. Now they're aimless 33-year-olds flippin' burgers at Mooby's, a fast-food joint with a cow theme that's "udderly delicious." Dante's engaged to his long-time girlfriend but has unexpectedly fallen in love with Mooby's manager Becky (and since she's played by Rosario Dawson, can you blame him?), and Randal's still holding out for life, liberty, and the pursuit of low ambition. The responsibilities of adulthood are rearing their ugly head, and with Jay and Silent Bob (Jason Mewes and Kevin Smith) still dealing weed and generally being obnoxious, well... something's gotta give, right? The way Smith has written this long-awaited follow-up, the dilemmas of Dante, Randal, and their ongoing friendship are something that anyone can relate to, and with Dawson lighting up the screen (in a role demanded by producer Harvey Weinstein to boost box-office appeal), the movie's romantic chemistry is surprisingly delightful. Rest assured, also, that Smith (shooting mostly in color this time, on a $5 million budget) hasn't forgotten where he came from: "Clerks II" is jam-packed with the same lewd, crude humor that made "Clerks" an indie-film phenomenon, and Smith's good-natured sincerity is still on full display, ensuring that only the most prudish viewers could possibly be offended. For everyone else, this is as enjoyable as any sequel could ever hope to be, with amusing cameos by Smith-movie veterans Ben Affleck and Jason Lee, among others. "--Jeff Shannon"

Theatrical: 2006

Studio: Sony Pictures

Genre: Comedy

Duration: 107

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

Theatrical: 1984

Studio: Universal Studios

Genre: Action & Adventure

Duration: 102

Summary: Who should a kid's hero be? In this underrated adventure-comedy, that's the central issue. Henry Thomas, fresh from "E.T.", plays a San Antonio kid whose father (Dabney Coleman) doesn't spend nearly enough time with him. So the boy loses himself in video games--and even has an imaginary friend (also played by Coleman), a super-resourceful secret agent. When he accidentally comes into possession of a spy group's secret plans, and winds up on the run from them, he must learn to rely on himself (and his imaginary pal) to save his skin. But, in the end, Dad proves to be his real hero in this engaging and solid family film. "--Marshall Fine"

Theatrical: 2002

Studio: Paramount

Genre: Action & Adventure

Duration: 93

Summary: Who hasn't fantasized about being able to stop time and move things around? A watch with this power drops into the hands of Zak (Jesse Bradford), a teenager who yearns for speed. He uses it to impress Francesca (Paula Garces), the beautiful girl he's got a crush on, but soon they both find themselves running from a government agency led by a ruthless executive (Michael Biehn from "The Terminator") who wants the watch at all costs. "Clockstoppers" suffers from a lack of any internal logic, but the basic idea fuels a reasonably swift story and some decent special effects. The soundtrack is unusually strong, with pop offerings from Blink 182, Sugar Ray, Smash Mouth, and others. Also featuring French Stewart ("Love Stinks") as a hapless scientist and Julia Sweeney ("It's Pat", "God Said "Ha!"") as Zak's mother. "--Bret Fetzer"

Theatrical: 1977

Studio: Sony Pictures

Genre: Action & Adventure

Duration: 137

Summary: Anybody who has written him off because of his string of stinkers--or anybody who's too young to remember "The Goodbye Girl"--may be shocked at the accomplishment and nuance of Richard Dreyfuss's performance in "Close Encounters of the Third Kind". Here, he plays a man possessed; contacted by aliens, he (along with other members of the "chosen") is drawn toward the site of the incipient landing: Devil's Tower, in rural Wyoming. As in many Spielberg films, there are no personalized enemies; the struggle is between those who have been called and a scientific establishment that seeks to protect them by keeping them away from the arriving spacecraft. The ship, and the special effects in general, are every bit as jaw-dropping on the small screen as they were in the theater (well, almost). Released in 1977 as a cerebral alternative to the swashbuckling science fiction epics then in vogue, "Close Encounters" now seems almost wholesome in its representation of alien contact and interested less in philosophizing about extraterrestrials than it is in examining the nature of the inner "call." Ultimately a motion picture about the obsession of the driven artist or determined visionary, "Close Encounters" comes complete with the stock Spielberg wives and girlfriends who seek to tether the dreamy, possessed protagonists to the more mundane concerns of the everyday. So a spectacular, seminal motion picture indeed, but one with gender politics that are all too terrestrial. "--Miles Bethany"

Theatrical: 2008

Studio: Paramount

Genre: Mystery & Suspense

Duration: 85

Summary: One of the first things a viewer notices about "Cloverfield" is that it doesn't play by ordinary storytelling rules, making this intriguing horror film as much a novelty as an event. Told from the vertiginous point-of-view of a camcorder-wielding group of friends, "Cloverfield" begins like a primetime television soap opera about young Manhattanites coping with changes in their personal lives. Rob (Michael Stahl-David) is leaving New York to take an executive job at a company in Japan. At his goodbye party in a crowded loft, Rob’s brother Jason (Mike Vogel) hands a camcorder to best friend Hud (T.J. Miller), who proceeds to tape the proceedings over old footage of Rob’s ex-girlfriend, Beth (Odette Yustman)--images shot during happy times in that now-defunct relationship. Naturally, Beth shows up at the party with a new beau, bumming Rob out completely. Just before one's eyes glaze over from all this heartbreaking stuff (captured by Hud, who's something of a doofus, in laughably shaky camerawork), the unexpected happens: New York is suddenly under attack from a Godzilla-like monster stomping through midtown and destroying everything and everybody in sight. Rob and company hit the streets, but rather than run with other evacuees, they head toward the center of the storm so that Rob can rescue an injured Beth. There are casualties along the way, but the journey into fear is fascinating and immediate if emotionally remote--a consequence of seeing these proceedings through the singular, subjective perspective of a camcorder and of a story that intentionally leaves major questions unanswered: Who or what is this monster? Where did it come from? The lack of a backstory, and spare views of the marauding creature, are clever ways by producer J.J. Abrams and director Matt Reeves to keep an audience focused exclusively on what’s on the screen. But it also makes "Cloverfield" curiously uninvolving. Ultimately, "Cloverfield", with its spectacular effects brilliantly woven into a home-video look, is a celebration of infinite possibilities in this age of accessible, digital media. "--Tom Keogh"

Theatrical: 2004

Studio: 20th Century Fox

Genre: Comedy

Duration: 118

Summary: Looking for plenty of sex, violence, and lowbrow comedy? If you are, you could do a lot worse (or is it a lot better?) than to visit "Club Dread", a boldly wretched excuse for broad comedy perpetrated by the Broken Lizard troupe--the same guys who brought their potty-mouthed brand of lunacy to bear on 2002's "Super Troopers". That alone should serve as ample warning or invitation, depending on your tolerance for way-too-casual sketch comedy, stitched together with an emphasis on big, gross laughs and enough female frontal nudity to give "Girls Gone Wild" a run for its money. It all takes place on Coconut Pete's Pleasure Island, where Pete (Bill Paxton, slumming it with infectious abandon) holds court while scantily clad vacationers play crazy games (life-size Pac-Man, anyone?) and provide easy prey for a slasher on the loose. Ah, but there's the rub: Is this schizoid movie a comedy or a horror flick? It's both... and neither... and the bloodletting is surprisingly extreme amidst all the poop and fart jokes. Of course, that won't stop "Club Dread" from finding its audience. We know you're out there…and you know who you are. "--Jeff Shannon"

Theatrical: 1985

Studio: Paramount

Genre: Comedy

Duration: 94

Summary: Undoubtedly the first movie in history to have played in theaters with three different endings (depending on which theater you attended), "Clue" is a silly whodunit based on the familiar board game featuring Colonel Mustard, Mrs. Peacock, and all the other usual suspects. A broadly comic cast play the sundry suspects gathered in a mansion to solve a murder, knowing that one of their numbers is the culprit. Michael McKean, Eileen Brennan, and Tim Curry are the best of the bunch, and the film is as lightweight an experience as a round of the game itself. Directed by Jonathan Lynn ("My Cousin Vinny"). The video release contains all three endings. "--Tom Keogh"

Theatrical: 1995

Studio: Paramount

Genre: Comedy

Duration: 97

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

Theatrical: 2007

Studio: New Line Home Video

Genre: Action & Adventure

Duration: 84

Summary: "Code Name: The Cleaner" squeaks by in living up to the reputation of its star, Cedric the Entertainer. The movie does entertain, but just barely and pretty much only because of the skill we've come to expect from Cedric "as" an entertainer. In another actor's hands, this freewheeling spy spoof could easily have turned into a schizophrenic dud. The movie still has a little split-personality problem between its aspirations to be a tense, "Bourne Identity"-like thriller or out-and-out comic caper. Fortunately, the entertainer in him gives Cedric the credibility to juggle both genres with only a few dropped balls. When Cedric, as ordinary Joe (maybe) Jake Rodgers, wakes up in a hotel room with amnesia, a dead FBI agent, and a bag stuffed with cash, at least two people show unusual interest in a prized missing microchip, the money, and him -- in that order. Nicollette Sheridan is a bit too desperate in claiming to be his housewife as she whisks him "home" to their huge mansion. Showing the first shades of skepticism (and comic brilliance), the still-amnesiac Jake wonders, "I'm rich, I live in a big house and I'm married to a white woman. Am I Lionel Richie?" He also wonders if the gun-toting, butt-kicking Lucy Liu really is his mistress, as she claims to be. It all seems to good to be true. But the bad guys who just want the microchip don't care, and the genuine thriller mayhem and laugh riot gags that fly by don't give Jake much time to think that maybe he is just an ordinary janitor who has wrong-manned his way into a massive spy vs. spy cliche. There are a couple of fantastically funny supporting roles for additional distraction. DeRay Davis steals the spotlight as Jake's wannabe-rapper janitor pal, and Niecy Nash (of "Reno 911!" fame) also chomps hard on the scenery as a sex-crazed security guard. Food Network fans will get an unintended chuckle from seeing Mark Dacascos, the suave and sybaritic "Kitchen Stadium Chairman" from "Iron Chef America" playing head cheese of the bad guy contingent. In all, it's not worth the audience spending too much time thinking all this through either, especially when Cedric's doing his thing (the clog dance and grandma-spanking scenes are highlights). Maybe someday they'll let Cedric off the thinking leash altogether -- perhaps in "Code Name: The Entertainer"?" --Ted Fry"

Theatrical: 1996

Studio: Universal Studios

Genre: Art House & International

Duration: 95

Summary: This hilarious spoof on British costume dramas based on great literature stars Kate Beckinsale ("Much Ado About Nothing") as a strong-willed, young woman named Miss Flora Poste, who finds herself orphaned and without means in the 1930s. Moving in with some half-savage relatives on a country farm, Flora is hardly daunted by their primitivism (as she might have been in a novel by Thomas Hardy) but instead takes charge and imposes hygiene, order, and good manners on the dirty, superstitious lot. John Schlesinger directs this brisk, infectious adaptation of the 1932 novel by Stella Gibbons. Beckinsale is wonderful, and the rest of the savvy, inspired cast perfectly send up a host of literary clichés. "--Tom Keogh"

Theatrical: 2004

Studio: Dreamworks Video

Genre: Action & Adventure

Duration: 120

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

Theatrical: 2001

Studio: Warner Home Video

Genre: Action & Adventure

Duration: 108

Summary: Arnold Schwarzenegger's loyal fans get what they want in this routine but rousing revenge thriller, which pits the aging action star against a Colombian guerrilla terrorist. Schwarzenegger plays a Los Angeles fireman who witnesses the killing of his wife and young son, caused by the terrorist's bombing in a crowded L.A. pavilion. Despite intense scrutiny by FBI and CIA officials, Arnie infiltrates the terrorist's remote jungle compound, enlists the aid of the villain's seemingly trustworthy wife (Francesca Neri), and plots to foil another bombing in Washington, D.C. Director Andrew Davis ("The Fugitive") maintains adequate plausibility even when Schwarzenegger's survival grows absurdly unlikely, and lively roles for John Turturro and John Leguizamo add welcomed spice to the movie's impressive display of military ordnance. Despite its formulaic plot and Arnold's advancing seniority, "Collateral Damage" still manages to pack an entertaining punch. "--Jeff Shannon"

Theatrical: 1988

Studio: Paramount

Genre: Comedy

Duration: 116

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

Theatrical: 1997

Studio: Buena Vista Pictures

Genre: Action & Adventure

Duration: 115

Summary: "Con Air" is proof that the slick, absurdly overblown action formula of Hollywood mega-producers Don Simpson and Jerry Bruckheimer ("Top Gun", "Days of Thunder", "The Rock", "Crimson Tide") lives on, even after Simpson's druggy death. (Read Charles Fleming's exposé, "High Concept: Don Simpson and the Hollywood Culture of Excess", for more about that.) Nicolas Cage, sporting a disconcerting mane of hair, is a wrongly convicted prisoner on a transport plane with a bunch of infamously psychopathic criminals, including head creep Cyrus the Virus (John Malkovich), black militant Diamond Dog (Ving Rhames), and serial killer Garland Greene (Steve Buscemi, making the most of his pallid, rodent-like qualities). Naturally, the convicts take over the plane; meanwhile, on the ground, a U.S. marshal (John Cusack) and a DEA agent (Colm Meaney) try to figure out what to do. As is the postmodern way, the movie displays a self-consciously ironic awareness that its story and characters are really just excuses for a high-tech cinematic thrill ride. Best idea: the filmmakers persuaded the owners of the legendary Sands Hotel in Las Vegas to let them help out with the structure's demolition by crashing their plane into it. "--Jim Emerson"

Theatrical: 2005

Studio: Warner Home Video

Genre: Mystery & Suspense

Duration: 121

Summary: In the grand scheme of theological thrillers, "Constantine" aspires for the greatness of "The Exorcist" but ranks more closely with "The Order". Based on the popular "Hellblazer" comic book series, and directed with nary a shred of intelligence by music video veteran Francis Lawrence, it's basically "The Matrix" with swarming demons instead of swarming machines. Keanu Reeves slightly modifies his "Matrix" persona as John Constantine, who roams the dark-spots of Los Angeles looking for good-evil, angel-devil half-breeds to ensure that "the balance" between God and Satan is properly maintained. An ancient artifact and the detective twin of a woman who committed evil-induced suicide (Rachel Weisz) factor into the plot, which is taken so seriously that you'll want to stand up and cheer when Tilda Swinton swoops down as the cross-dressing angel Gabriel and turns this silliness into the camp-fest it really is. The digital effects are way cool (dig those hellspawn with the tops of their heads lopped off!), so if you don't mind a juvenile lesson in pseudo-Catholic salvation, "Constantine" is just the movie for you! "--Jeff Shannon"

Theatrical: 1997

Studio: Warner Home Video

Genre: Drama

Duration: 150

Summary: The opening and closing moments of Robert ("Forrest Gump") Zemeckis's "Contact" astonish viewers with the sort of breathtaking conceptual imagery one hardly ever sees in movies these days--each is an expression of the heroine's lifelong quest (both spiritual and scientific) to explore the meaning of human existence through contact with extraterrestrial life. The movie begins by soaring far out into space, then returns dizzyingly to earth until all the stars in the heavens condense into the sparkle in one little girl's eye. It ends with that same girl as an adult (Jodie Foster)--her search having taken her to places beyond her imagination--turning her gaze inward and seeing the universe in a handful of sand. "Contact" traces the journey between those two visual epiphanies. Based on Carl Sagan's novel, "Contact" is exceptionally thoughtful and provocative for a big-budget Hollywood science fiction picture, with elements that recall everything from "2001" to "The Right Stuff". Foster's solid performance (and some really incredible alien hardware) keep viewers interested, even when the story skips and meanders, or when the halo around the golden locks of rising-star-of-a-different-kind Matthew McConaughey (as the pure-Hollywood-hokum love interest) reaches Milky Way-level wattage. Ambitious, ambiguous, pretentious, unpredictable--"Contact" is all of these things and more. Much of it remains open to speculation and interpretation, but whatever conclusions one eventually draws, "Contact" deserves recognition as a rare piece of big-budget studio filmmaking on a personal scale. "--Jim Emerson"

Theatrical:

Studio: Warner Home Video

Genre:

Duration: 106

Summary: Steven Soderbergh alternates between films about individuals, like "Erin Brockovich", and multi-character thrillers, like "Contagion", which takes a "Traffic"-style approach to a deadly pandemic. It also represents a reunion for three actors from "The Talented Mr. Ripley" as Gwyneth Paltrow and Matt Damon play a suburban Minneapolis couple, while Jude Law (with unflattering dentures) plays a muckraking Bay Area blogger. When Beth (Paltrow) returns from a business trip to Hong Kong, she brings a virus with her that spreads across the world, attracting the attention of people at the Centers for Disease Control (Laurence Fishburne, Kate Winslet, and Jennifer Ehle) and the World Health Organization (Marion Cotillard). Just as virologists frantically try to track down the origins of the pathogen and to find a cure, it starts to mutate, foiling every move they make. Soderbergh, who serves as his own cinematographer, captures every development: false rumors, looting in the streets, and mass graves. Whenever he focuses on emptied-out offices and supermarkets, chillers like "I Am Legend" spring to mind, even if "Contagion" avoids most sci-fi/horror tropes, except for a stomach-churning autopsy sequence--one of his few real missteps. Mostly, he concentrates on cool heads dealing with life-and-death issues the best they can. The end result registers as more realistic than "Outbreak", if less pulse pounding than "Traffic", though the final sequence proves Soderbergh can find the grace notes even amidst an unbearable tragedy. "--Kathleen C. Fennessy"

Theatrical: 2000

Studio: Dreamworks Video

Genre: Drama

Duration: 126

Summary: Depending on your perspective, "The Contender" can be praised and damned for the same reasons. A political thriller with an insider's view, it's deadly earnest in its defense of truth, justice, and the American way, but writer-director (and former film critic) Rod Lurie resorts to the same manipulation that his film purports to condemn. But with political savvy, a timely idea (a female vice president), and a cast of first-rate actors, this high-office chess game is unabashedly entertaining. You can argue with Lurie's tactics, but you can't fault his patriotic passion.
In a role written especially for her, Joan Allen is outstanding (if a bit too saintly) as the Republican-turned-Democrat senator who is chosen by the president (Jeff Bridges) to fill a vice presidential vacancy. Bridges is a cagey chief executive, seemingly aloof as he gleefully challenges the White House's 24-hour kitchen staff but more than a match for the embittered and unscrupulous congressman (Gary Oldman) who plots to destroy Allen's character with seemingly dark secrets from her past.
As a gender-switching response to the Lewinsky scandal, "The Contender" asks potent questions with its impassioned plea for integrity in public service. That makes this a film well worth defending, and the stellar cast (which includes Christian Slater and William Petersen) triumphs over most of the plot's hokey machinations. The ideas are more compelling than their execution, however, and although Lurie's climactic revelation is a vast improvement over the reckless cheat of his previous film "Deterrence", it still threatens to tarnish the gloss of an otherwise fascinating film. "--Jeff Shannon"

Theatrical: 2007

Studio: FIRST LOOK PICTURES

Genre: Action & Adventure

Duration: 96

Summary: The only thing standing between an assassin and his target is a father who must protect his son. While on a hiking trip to reconnect with his son after the death of his wife, Ray Keene (John Cusack) stumbles into a nightmare scenario of paid assassins and ex-military guns-for-hire. Frank Cardin (Morgan Freeman) is attempting to fulfill a contract to assassinate a high profile businessman when things go arwy and he ends up in the custody of the U.S. Marshalls. After an ill-fated attempt by his compatriots to free him Frank finds himself in the custody of ex-lawman Ray and his son (Jamie Anderson). As the trio tries to make their way back to civilization they are relentlessly pursued by Frank's friends who are intent on freeing their leader in order to collect on the contract. But one pursuer may be more foe than friend.

Theatrical: 1974

Studio: Paramount

Genre: Action & Adventure

Duration: 113

Summary: A routine wire-tapping job turns into a modern nightmare as Harry hears something disturbing in his recording of a young couple in the park.
Genre: Feature Film-Drama
Rating: PG
Release Date: 8-AUG-2006
Media Type: DVD

Theatrical: 2004

Studio: Lions Gate

Genre: Comedy

Duration: 97

Summary: Queen Latifah lends her comic sparkle to "The Cookout", a new comedy she also helped conceive. Todd Anderson (Quran Pender) becomes a first draft pick in professional basketball and starts spending like there's no tomorrow; he buys a car, diamonds for his golddigging girlfriend (Meagan Good), and a huge house in a gated community. But though his life has been turned upside down, his family hasn't--and when everyone assembles in his new ritzy neighborhood for a celebratory cook-out, chaos follows. "The Cookout" is loaded with charismatic performers, such as Jenifer Lewis ("Juwanna Mann") as Todd's no-nonsense mother, Eve ("Barbershop") as his former best friend, Danny Glover ("Lethal Weapon") as a new neighbor, and the aforementioned Latifah ("Bringing Down the House") as an over-ambitious security guard. Unfortunately, the underdeveloped script gives them little to do and nowhere to go. Many lessons are learned, but few laughs are had. "--Bret Fetzer"

Theatrical: 2003

Studio: Lions Gate

Genre: Comedy

Duration: 101

Summary: The premise of this swinging Vegas picture is enough to carry it over its narrative rough spots. The unluckiest sap on the planet (William H. Macy) is employed as a "cooler" at a casino; his very presence can chill the hot streak of any patron on a roll. He's valued by the old-school manager of the place, a role given a two-fisted, bourbon-swilling incarnation by Alec Baldwin. Macy means to quit, but then he falls for a waitress (the excellent Maria Bello, from "Permanent Midnight")--might his luck be changing? The subplots are pretty much a mess, but the frank sex scenes between Macy and Bello give the movie a truly offbeat feel. The tawdry air of a second-rate casino is also nicely done: This is not the new family-friendly Las Vegas, but a tough place of superstitions, sinister back rooms, and shabby motels. The characters are perfectly at home. "--Robert Horton"

Theatrical: 2010

Studio: Warner Home Video

Genre: Action & Adventure

Duration: 107

Summary: Fan-favorite filmmaker Kevin Smith ("Clerks", "Chasing Amy") directs the first movie he didn't write himself: "Cop Out", starring Bruce Willis and Tracy Morgan ("30 Rock") as mismatched cops. When a bust goes wrong, they get suspended, forcing Willis to sell a treasured baseball card in order to pay for his daughter's wedding. But while selling the card, it gets stolen, sending the pair on a wild chase featuring a parkour-loving housebreaker, a hot Latina trapped in the trunk of a Mercedes-Benz, a 10-year-old car thief, and a lot of other goofiness. It's hard to believe that Smith didn't have a hand in the writing, as the comedy has all of his loose, ramshackle habits (and his reliance on jokes about poop and male genitalia)--though much of it also has the feel of being improvised by Willis and Morgan. "Cop Out" wants to mock buddy-cop movies, but it also wants to "be" a buddy-cop movie; these conflicting impulses are never harmonized, so the whole movie feels out of tune. The star-studded supporting cast includes Jason Lee, Michelle Trachtenberg, Seann William Scott, Fred Armisen, Kevin Pollak, Adam Brody, Rashida Jones, and Susie Essman. "--Bret Fetzer"

Theatrical: 1995

Studio: Warner Home Video

Genre: Action & Adventure

Duration: 123

Summary: Taking its lead from Jonathan Demme's Oscar-winning pulse-raiser "The Silence of the Lambs", "Copycat" strives for intelligence over gristle and carnage. It's a terse, involving thriller that swings away from the usual cinematic notion of violence as a means to an end by forgoing brawn for brains. Young San Francisco police inspector Ruben Goetz (Dermot Mulroney) is teamed with brilliant force vet, M.J. Monahan (Holly Hunter), a diplomatic, no-nonsense cop who must buck the system in order to find a killer who is copycatting the crimes of history's most notorious serial killers. Ruben would rather shoot to kill than merely wound a suspect; Monahan labors to help him think more diplomatically. Everything changes when crank calls arrive at the station from serial-killer pin-up girl psychiatrist Helen Hudson (Sigourney Weaver). She's been housebound for 13 months, ever since murderer Daryll Lee Cullum (Harry Connick Jr.) nearly made her his next victim because she testified against him in court. Though he's in prison, he's still mentor and muse to every loose cannon walking the streets--one of whom is killing people with a vengeance and hoping to finish the job Cullum began. Cop and doc team up to solve the case in this stylish, plot-driven movie. Though "Copycat" loses steam in the end, it still makes a point. And it serves as a cautionary tale for people everywhere, tossing in street smart warnings against victimization. The teaming of Hunter and Weaver works well, the short and the tall forging a terrific and frictioned relationship that leads to grudging respect. Establishing an ominous atmosphere reminiscent of his classic British TV miniseries "The Singing Detective", director Jon Amiel has an eye for the dark and the unusual and it gives this film an edge that eludes most other mainstream filmmakers. "--Paula Nechak"

Theatrical: 2009

Studio: Universal

Genre: Action & Adventure

Duration: 96

Summary: A dark and creepy film about family relationships directed by Henry Selick of "Nightmare Before Christmas" and "James and the Giant Peach" fame, "Coraline" is based on the haunting book "Coraline" by Neil Gaiman. The first stop-motion feature shot in stereoscopic 3-D, "Coraline" features big-headed, stick-bodied animated characters with huge eyes and demonic grins set against menacing backgrounds and an undercurrent of spooky music. Coraline is a teenager who has just moved to an old house in the middle of nowhere with her writer parents and she is bored, bored, bored. Her only companions are an annoyingly talkative boy Wybie (short for Why Born), some eccentric neighbors from the theater and circus, and a strange, button-eyed doll with a marked resemblance to Coraline which Wybie found in an old trunk of his grandmother's. When Coraline finds an old door hidden behind an armoire and papered over with wallpaper, she convinces her mother to unlock it, only to find a wall of bricks. When Coraline revisits the door later that night, the bricks magically disappear and she discovers a strange pathway to another world where everything is just what she wishes for. In stark contrast to the real world where Coraline's parents just don't have time for her, her "Other Mother" and "Other Father" in this alternate world are the perfect loving, attentive parents who anticipate her every need and desire. Initially comforted and quite happy in this new world, suspicion that things may not be quite as they seem grows inside Coraline and her disquiet is furthered by the mute "Other Wybie" and a strange-talking cat that seems to move between both worlds. Eventually, Coraline discovers some dark secrets about her "other parents" and the seemingly perfect "other world," but it may be too late for her to escape back to the real world. Teri Hatcher is especially effective in her dual (voice) role as Mom and "Other Mom" and Dakota Fanning also gives a great performance as Coraline. "Coraline" is a disturbing, intriguing film that both captivates and frightens. (Ages 11 and older) "--Tami Horiuchi"
Stills from Coraline (Click for larger image)

Theatrical: 2003

Studio: Paramount

Genre: Action & Adventure

Duration: 135

Summary: Smarter than "Armageddon" and equally extreme, "The Core" is high-tech Hollywood hokum at its finest. It's scientifically ridiculous, but this variant of "Fantastic Voyage" at least "tries" to be credible as it plunges deep into the earth's inner core, where a formulaic team of experts pilot an earth-boring ship to jump-start the planet's spinning molten interior, now stalled by a military secret that could seal the fate of all humankind. It's a geophysicist's wet dream that only a fine ensemble cast could rescue from absurdity, and director Jon Amiel ("Entrapment", "Copycat") draws excellent work (and plenty of humorous interplay) from Aaron Eckhart, Hilary Swank, Stanley Tucci, Delroy Lindo, and a host of memorable supporting players, especially "The New Guy"'s D.J. Qualls as the world's greatest cyber-nerd. With enough digital F/X disasters to satisfy anyone's apocalyptic fantasies, this is a popcorn thriller with all the bells and whistles that its genre demands. Sit back, pump up the volume, and enjoy the dazzling ride. "--Jeff Shannon"

Theatrical: 2002

Studio: Buena Vista Home Video

Genre: Action & Adventure

Duration: 131

Summary: Revenge rarely gets sweeter than it does in "The Count of Monte Cristo", a rousing, impeccably crafted adaptation of Alexandre Dumas père's literary classic. Filmed countless times before, the story is revitalized by director Kevin Reynolds (rallying after "Waterworld") and screenwriter Jay Wolpert, who wisely avoid the action-movie anachronisms that plagued 2001's dubious Dumas-inspired "The Musketeer". Leading a superior cast, Jim Caviezel ("Frequency") expresses a delicate balance of obsession and nobility as Dantes, the wrongly accused Frenchman who endures 13 years of prison and torment, then uses a hidden treasure to finance elaborate vengeance on those who wronged him. "Memento"'s Guy Pearce is equally effective as Dantes's betraying nemesis, and Richard Harris tops his "Harry Potter" wizardry with a humorous turn as Dantes's fellow prisoner and mentor. Filmed on stunning locations in Ireland and Malta, "The Count of Monte Cristo" easily matches "Rob Roy" for intelligent swashbuckling entertainment. "--Jeff Shannon"

Theatrical:

Studio: Universal Pictures

Genre:

Duration: 119

Summary: Cowboys & Aliens fuses rip-snortin' horse opera with some whiz-bang sci-fi, melding dry and austere badlands with slimy, mucusy aliens. Jake Lonergan (Daniel Craig, of James Bond fame) wakes up in the midst of sagebrush with a mysterious gadget around his wrist and no idea who he is--but he sure does remember how to take care of the bounty hunters who want to bring him in. His path soon crosses with a ruthless cattle baron named Woodrow Dolarhyde (Harrison Ford, of Indiana Jones fame), who's not too happy with Lonergan, who got Dolarhyde's son in trouble. But their fracas becomes beside the point when spaceships descend and start lassoing people like cattle. The humans, including a mysterious woman (Olivia Wilde, Tron), a Native American tribe, and some snaggletoothed outlaws, band together to fight off this invasion from another world. The first two-thirds of Cowboys & Aliens is peppy fun, with its tongue-in-cheek Wild West-ness and colorful supporting cast (including Sam Rockwell, Keith Carradine, Paul Dano, and Walton Goggins) and fairly understated CGI. The last third, with the obligatory assault on the alien vessel and a mess of clichés and inconsistencies, deflates a bit, which isn't surprising given that six screenwriters were involved. Director Jon Favreau (Iron Man) does what he can to keep things lively. Fortunately, the good spirits of the first two-thirds will carry most viewers through to the end. --Bret Fetzer

Stills from Cowboys & Aliens (Click for larger image)

Theatrical: 2006

Studio: Lions Gate Films

Genre: Action & Adventure

Duration: 87

Summary: Action anti-hero Jason Statham is competing with himself to make the most relentless, non-stop action flick imaginable. In "Crank", Statham stars as a hit man named Chev Chelios who's been poisoned by some Chinese toxin; the only way to stave it off is to keep his adrenalin flowing, which requires him to drive at top speeds through crowded traffic, start fights in bars, and run pell-mell down hospital corridors while wearing one of those humiliating smocks that tie in the back. In other words, "Crank" is high-end pop-trash, filled with many preposterous/ingenious stunts and over-the-top performances (Dwight Yoakam, "Sling Blade", is downright droll as a doctor offering Chev assistance), marred by an unpleasant attitude towards women (Amy Smart, "Outside Providence", will not look back on this as one of her signature roles). This is a movie for the audience who enjoyed "Transporter" and "Transporter 2" but wanted Statham's perpetual scowl to become a kind of theatrical mask, a perpetual signifier of intensity that begs--nay, demands--that everything around it rise to a mutual level of absurdity. Fans of Luc Besson ("Leon/The Professional", "District 13") will find "Crank" to be simpatico. "--Bret Fetzer"

Theatrical: 1995

Studio: Walt Disney Video

Genre: Action & Adventure

Duration: 116

Summary: You can almost hear the studio pitch meeting echoing throughout "Crimson Tide" like the sonar on the soundtrack: "It's "The Cain Mutiny" on a nuclear submarine!" When radio communications problems aboard the USS "Alabama" prevent the sub from receiving its orders clearly during a tense confrontation with Russian warships, Navy officer Denzel Washington faces a huge ethical dilemma: countermand the orders of legendary Captain Ramsey (Gene Hackman) to fire nuclear missiles, or follow his command and risk launching an unprovoked nuclear war. It's really an actors' picture, and the fun is in the fireworks between Washington and Hackman, each of whose characters articulates solid reasoning behind his decision. There are no easy villains, and there's no easy way to tell right from wrong--that's what makes the nuclear stakes so terrifying. Director Tony Scott (who directed Quentin Tarantino's "True Romance" script) called in Tarantino to punch up the dialogue, which is why, for example, the sailors talk about Silver Surfer comic books. The digital video disc is in anamorphic widescreen; the sonorous underwater rumblings on the Dolby Digital 5.1 soundtrack will provide you with a good opportunity to show off your system's bass response. "--Jim Emerson"

Theatrical: 1996

Studio: Lions Gate

Genre: Action & Adventure

Duration: 90

Summary: "Star Wars" meets "A Wrinkle in Time" in this adventure of an intergalactic war and one unassuming young man who holds the key to dimensional travel, the legacy of his mysterious adventurer father. Boyish Josh Charles is the lucky Luke Skywalker stand-in, a good-natured underachiever shocked out of his lovelorn moping when gorgeous guerrilla fighter Andrea Roth takes the battle to his bedroom. Rutger Hauer is the coffee-chugging freedom fighter who is roused from retirement to fill out the trio and face dimensional mob boss Stuart Wilson to settle the fate of the universe. This obviously low budget picture makes the most of limited special effects and striking settings--notably an elevator ride that turns into a free-floating mind game hanging in space and a knock-down, drag-out finale that sends our hapless hero popping up all over the universe. Hauer makes for a surprisingly charismatic mercenary turned father figure and Charles is modestly charming, once he loses the smart-ass wisecracks. Though it reaches for a scope that's beyond its means, "Crossworlds" is an entertaining bit of sci-fi fluff. "--Sean Axmaker"

Theatrical: 2000

Studio: Sony Pictures

Genre: Action & Adventure

Duration: 120

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

Theatrical: 1997

Studio: Lions Gate

Genre: Art House & International

Duration: 90

Summary: If Clive Barker had written an episode of "The Twilight Zone", it might have looked something like "Cube". A handful of strangers wake up inside a bizarre maze, having been spirited there during the night. They quickly learn that they have to navigate their way through a series of chambers if they have any hope of escape, but the problem is that there are lethal traps awaiting if they choose their route unwisely. Having established some imaginative and grisly punishments in store for the hostages, cowriter and director Vincenzo Natali turns his attention to the characters, for whom being trapped amplifies their best and worst qualities. The film is, in fact, similar to a famous episode of Rod Serling's old television series, though Natali's explanation for why these poor people are being put through hell is a lot closer to the spirit of "The X-Files". "Cube" has some solid moments of suspense and drama, and the sets are appropriately striking: one is tempted to believe at first the characters are lost inside a computer chip. "--Tom Keogh"

Theatrical: 2003

Studio: Lions Gate

Genre: Mystery & Suspense

Duration: 95

Summary: No Description Available.
Genre: Science Fiction
Rating: R
Release Date: 15-APR-2003
Media Type: DVD

Theatrical: 2008

Studio: Paramount

Genre: Drama

Duration: 166

Summary: The technical dazzle of "The Curious Case of Benjamin Button" is a truly astonishing thing to behold: this story of a man who ages backwards requires Brad Pitt to begin life as a tiny elderly man, then blossom into middle age, and finally, wisely, become young. How director David Fincher--with makeup artists, special-effects wizards, and body doubles--achieves this is one of the main sources of fascination in the early reels of the movie. The premise is loosely borrowed from an F. Scott Fitzgerald story (and bears an even stronger resemblance to Andrew Sean Greer's novel The Confessions of Max Tivoli), with young/old Benjamin growing up in New Orleans, meeting the girl of his dreams (Cate Blanchett), and sharing a few blissful years with her until their different aging agendas send them in opposite directions. The love story takes over the second half of the picture, as Eric Roth's script begins to resemble his work on Forrest Gump. This is too bad, because Benjamin's early life is a wonderfully picaresque journey, especially a set of midnight liaisons with a Russian lady (Tilda Swinton) in an atmospheric hotel. Fincher observes all this with an entomologist's eye, cool and exacting, which keeps the material from getting all gooey. Still, the Hurricane Katrina framing story feels put-on, and the movie lets Benjamin slide offscreen during its later stages--curious indeed."--Robert Horton"




Stills from "The Curious Case of Benjamin Button" (Click for larger image)

Theatrical: 1992

Studio: MGM (Video & DVD)

Genre: Anime & Manga

Duration: 101

Summary: As far as ice-skating movies go (or those that prominently feature the cold-bladed sport), this romantic movie is one of the best, thanks to utterly charming performances by underrated actors D.B. Sweeney and Moira Kelly. The couple play, respectively, a washed-up hockey player and a prima-donna skater who end up in doubles figure skating together at the Winter Olympics. Of course, the mismatched pair fall in love. In between, there's a lot of verbal sparring, talk of toe picks, and surprisingly skillful directing by Paul Michael Glaser ("Kazaam", "The Air Up There"). Direction here is critical--unlike in "Flashdance", where the dancing was done in the shadows, face and feet obviously shot separately--and The Cutting Edge credibly highlights the actors and their professional stand-ins. This is such a fun, sweet story that the facts the film takes liberties with--including the alacrity with which a hockey player takes to Olympic-level figure skating--are easily forgivable. "--N.F. Mendoza"