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Theatrical:

Studio: Universal Studios

Genre:

Duration: 220

Summary: Academy Awardr winner Denzel Washington and Mark Wahlberg lead an all-star cast in the explosive action hit 2 Guns. When an attempt to take down a drug cartel blows up in their faces, two undercover operatives are forced to go on the run together, though neither knows that the other is a federal agent. Suddenly, everyone on both sides of the law wants them dead, and their only hope is to trust each other. Filled with non-stop action and suspense, critics are raving "Washington and Wahlberg are at their very best." - Pete Hammond, Movieline

Theatrical: 2007

Studio: Lions Gate

Genre: Action & Adventure

Duration: 122

Summary: Here's hoping James Mangold's big, raucous, and ultrabloody remake of 3:10 to Yuma leads some moviegoers to check out Delmer Daves's beautifully lean, half-century-old original. That classic Western spun a tale of captured outlaw Ben Wade (Glenn Ford)--deadly but disarmingly affable--and the small-time rancher and family man, Dan Evans (Van Heflin), desperate enough to accept the job of helping escort the badman to Yuma prison. Wade, knowing that his gang will be along at any moment to spring him, works at persuading the ultimately lone deputy to accept a bribe, turn his back on "duty," and go home safe and rich to his family. That the outlaw has come to admire his captor intriguingly complicates the suspense. All of the above applies in the new 3:10, but it takes a lot more huffing and puffing to get Wade (Russell Crowe this time) and Evans (Christian Bale) into position for the showdown. Mostly, more is less. To Mangold's credit, his movie doesn't traffic in facile irony or postmodern detachment; it aims to be a straight-up Western and deliver the excitement and charisma the genre's fans are starved for. But recognizing that contemporary viewers might be out of touch with the bedrock simplicity and strength of the genre--not to mention its code of honor--Mangold has supplied both Evans and Wade with a plethora of backstory and "motivations." At the overblown action climax, the crossfire of personal agendas is almost as frenetic as the copious gunplay. (By that point the movie has killed more people than the Lincoln County War.) Best thing about the remake is Russell Crowe's Ben Wade, a Scripture-quoting career villain with an artist's eye and a curiously principled sense of whom and when to murder. As his second-in-command, Ben Foster fairly pirouettes at every opportunity to commit mayhem, and Peter Fonda contributes a fierce portrait of an old Wade adversary turned bounty hunter for the Pinkerton detective agency. --Richard T. Jameson

More to Explore
Shop Westerns on DVD
"3:10 to Yuma" Soundtrack
Lions Gate DVDs
Stills from "3:10 to Yuma"

Theatrical:

Studio: Liosngate Pictures Entertainment

Genre:

Duration: 2 hours and 2 minutes

Summary: There have been many attempts to revisit the Western genre. Happily, this one works and I think the sparse, but exquisite use of language and the vivid setting (which, thank goodness, was filmed outside and not on a studio lot) adds much to the movie. There were some key sentences that jumped out of this film and I've noted them below. If you see the film, try to listen for them and see if they resonate as strongly for you.

I found 3:10 to Yuma to be primarily a character-driven movie, although there is no denying that there is plenty of action as well. To my mind, this is Christian Bale's strongest, most mature and multi-faceted performance to date, although fans of his other roles might find that point debatable. If so, I'll concede the point since I'm wavering on that position anyway. Still, if I had to choose right now - today - I'd say this is his seminal film, if only for the way he manages to convey the ambivalence at the heart of a world-weary man, trying to find the energy to pull off one last desperate move.

The basic plot of the movie is simple. Dan Evans (played by Bale) is a rancher who is having a hard time making ends meet. He is at a pivotal point in history, just before trains were commonplace everywhere. Evans is hoping to take a renowned criminal, Ben Wade, to the Yuma train (the 3:10 to Yuma, hence the title) and collect a $200 reward for his efforts. Russell Crowe brings Wade to life, quite skillfully.

Both Russell Crowe and Christian Bale are well-matched, each playing off the other perfectly. Director James Mangold made the choice to use a lot of close-ups and this works well to emphasize the character studies in this film. Pay special heed to Bale's portrayal of a tormented man whose facial expressions are just as important as his words. The pivotal words of his? To me, they are these: "I"ve been standing on one leg for three damn years waiting for God to do me a favor - and he ain't listening." Still, he wants to be a good man, wants his wife and sons to respect him and see him as honorable. That is a key element of his life. He is also more drawn to the dark side of things than he cares to admit.

Russell Crowe has a particularly risky role because he has to play "the bad guy", but not as a simplistic one-dimensional criminal. He has to make the part his own. That he did so still amazes me. His key words won't make sense till you see the film but they are: "I read the Bible from cover to cover. It took me three days. She never came back."

Before moving on to the special features available on the DVD, I'd like to give a nod to Peter Fonda's strong performance in this film as well as other actors who I don't have time to describe in detail here.

The theme of the movie revolves around the complicated and very difficult path to righteousness and all the ways that one can veer away from that path - as well as muddy the waters. It is a very slippery slope, a point driven home by this movie.

Okay, the special features: I have to say that even if this movie had been terrible, I'd have considered buying it for the features alone because of the historical information contained in them.

After making a western which often gives sway to the mythological, even fanciful aspects of history, the features focus on the truth behind the fiction. The whole Western genre is explored as well as such famous outlaws as James Younger and his gang and Black Bart. Particularly noteworthy was the detailed information about how Western outlaws and Civil War veterans connected, particularly those who'd fought for the South.

This one is absolutely jam-packed with special features, including a look at how the film was made. The section on the actors and their connection to the horses was intriguing. While two of the actors loved being on horses and riding, one did not. I won't spoil the suspense of finding out which actor in this film said that he hated riding. It was amusing. Also fascinating? Describing how they got a train on location.

One of the best films I've seen in awhile, highly recommended, although typically bloody and gritty, as you might expect. After seeing this, go have a look at the original movie and think about what this one says about our contemporary culture, based on the aspects of morality and other issues explored in the remake.

Theatrical:

Studio: New Line Home Video

Genre:

Duration: 497

Summary: Harold & Kumar Go to White Castle - In the year's funniest comedy, two guys on a quest to satisfy their cravings for burgers find themselves on a hilarious all-night adventure as they run into one screwy obstacle after another. Harold and Kumar Escape from Guantanamo Bay - On their flight to Amsterdam Harold and Kumar are mistaken for terrorists and sent to Guantanamo Bay... but not for long. They bust out and go on a cross-country road trip to clear their names and win over their hotties! But first they'll have to outsmart the Feds outrun the Klan and enlist the help of a hallucinating Neil Patrick Harris. It's one wild ride with America's most wanted - and most wasted! A Very Harold & Kumar Christmas - Following years of growing apart, Harold Lee (Cho) and Kumar Patel (Penn) have replaced each other with new friends and are preparing for their respective Yuletide celebrations. But when a mysterious package mistakenly arrive at Kumar's door on Christmas Eve, his attempts to redirect it to Harold's house ends with the "high grade" contents – and Harold's father-in-law's prize Christmas tree – going up in smoke. With his in-laws out of the house for the day, Harold decides to cover his tracks, rather than come clean. Reluctantly embarking on another ill-advised journey with Kumar, through New York City, their search for the perfect replacement tree takes them through party heaven – and almost blows Christmas Eve sky high. Beerfest - After a humiliating false start in Germany's super-secret underground beer competition, America's unlikely team vows to risk life, limb and liver to dominate the ultimate chug-a-lug championship. The laughs are on the haus!]]>

Theatrical:

Studio:

Genre:

Duration: 240 minutes

Summary: Was delivered a day early and in perfect condition

Theatrical: 2000

Studio: Sony Pictures

Genre: Action & Adventure

Duration: 123

Summary: Director Roger Spottiswoode ("Tomorrow Never Dies", "Noriega") creates a world of the very near future in which cattle, fish, and even the family pet can be cloned. But cloning humans is illegal - that is until family man Adam Gibson (Arnold Schwarzenegger) comes home from work one day to find a clone has replaced him. Taken from his family and plunged into a sinister world he doesn't understand, Gibson must not only save himself from the assassins who must destroy him to protect their secret, but uncover who and what is behind the horrible things happening to him. "The Sixth Day" is the story of Gibson's struggle to reclaim his life and his family.

Theatrical: 2002

Studio: Universal Studios

Genre: Drama

Duration: 110

Summary: Rap star Eminem makes a strong movie debut in "8 Mile", an urban drama that makes a fairly standard plot fly through its gritty attention to detail. Jimmy Smith (Eminem), nicknamed B Rabbit, can't pull himself together to take the next step with his career--or with his life. Angry about his alcoholic mother (Kim Basinger) and worried about his little sister, Rabbit lets out his feelings with twisting, clever raps admired by his friends, who keep pushing him to enter a weekly rap face-off. But Rabbit resists--until he meets a girl (Brittany Murphy) who might offer him support and a little hope that his life could get better. Under the smart and ambitious direction of Curtis Hanson ("L.A. Confidential", "Wonder Boys") and ably supported by the excellent cast and the burnt-out environment of Detroit slums, Eminem reveals a surprising vulnerability that makes "8 Mile" vivid and compelling. "--Bret Fetzer"

Theatrical: 2002

Studio: Buena Vista Home Entertainment / Touchstone

Genre: Comedy

Duration: 601

Summary: After gaining fame as ladies man Jack Tripper on the 1970s sitcom "Three's Company", John Ritter steals the show as a father of three--including two nubile teenage girls--on "8 Simple Rules... for Dating My Teenage Daughter". The first season, which aired on ABC during 2002 and 2003, introduces viewers to Paul (Ritter) and Cate Hennessy (Katey Sagal) and their precocious children Bridget (Kaley Cuoco), Kerry (Amy Davidson), and Rory (Martin Spanjers). When former stay-at-home mom Cate returns to the work force as a nurse, it's up to Paul to write his newspaper column at home on occasion and mind the kids. The first season deals with that uneasy transition. It's actually refreshing to see a family depicted where the parents don't always like the kids. Paul often jokes with Cate that he's mad she ever suggested they start a family. He also notes, "What's it called if you're damned if you do and damned if you don't? Oh yes, fatherhood."
As for the children, we've seen similar stereotypical characters on other sitcoms. Bridget is the 16-year-old blonde bombshell. Kerry is her awkward, brunette younger sister, and Rory is their kid brother who has the creepy habit of hiding in their closets. Paul's relationship with Rory is even keeled. But it's his daughters that he is trying to win over. They love him, but they're also embarrassed and befuddled by him. Just when he thinks he's bonding with them, the girls will sarcastically point out his faults--such as his being at least 100 years old. As he succinctly points out to his wife, "They live in my house, but they don't even like me. They're not kids. They're cats!" Though the show is big on comic moments, it also is generous in sharing poignant memories. When Paul looks at his girls, he doesn't see young women that even his friends think of as hotties. Rather, he still views them as innocent toddlers who looked up to and adored him. Sagal, who was so over-the-top in both looks and mannerisms when she played the matriarch on "Married with Children", is a wonderful foil for Ritter. Beautiful, smart, and funny, she's a tough act for him to follow when it comes to being a stay-at-home dad. "--Jae-Ha Kim"

Theatrical:

Studio: Lions Gate

Genre: Comedy

Duration: 528

Summary: It's a time for healing and learning to deal with life without family patriarch Paul (the late John Ritter), as the Hennessys discover the frailties of life and the strength of the family unit. Widowed mom Cate (Katey Sagal), now finds herself in the precarious position of raising three teenagers on her own. She does get a little relief from her father, Jim (James Garner), who's been staying at the house since Paul's death. But the family is thrown for a loop when Cate's wayward nephew, C.J. (David Spade), moves in and finds it hard to resist getting himself into trouble or offering questionable advice to the kids.

Theatrical: 2009

Studio: Universal Studios

Genre: Action & Adventure

Duration: 80

Summary: Nine small rag dolls, stitched together from burlap and clock workings and lenses, are all that stands in the way of the world being overtaken by the Machines. Actually, as "9" begins, it looks like the Machines have already had their way with Earth: this is one of those post-apocalyptic landscapes without life, hope, or sunlight. Clearly "9" director Shane Acker is willing to make an animated film that doesn't soar with Disney colors or Pixar cheer--in fact, main characters are killed off before the movie's halfway through. Our hero is 9 (voiced by Elijah Wood), so dubbed for the number on his back; after awakening to very confused consciousness, he bumps into other puppet survivors, such as the imperious 1 (Christopher Plummer), the warrior-like 7 (Jennifer Connelly), and the one-eyed comic sidekick 5 (John C. Reilly). They do battle with the Machines in a relentless (and eventually monotonous) series of battles, and the exploding hardware and endless warfare has a tendency to crowd out whatever character development might have been set up in the opening minutes. No question the movie's design is impressive, and the characters have a wonderfully expressive quality at first. But at some point it seems the Machines have taken over the moviemaking here, with tedious results. "--Robert Horton"

Theatrical:

Studio: Paramount

Genre:

Duration: 103

Summary: After surviving a car accident, Michelle (Mary Elizabeth Winstead) wakes up to find herself in an underground bunker with two men. Howard (John Goodman) tells her that a massive chemical attack has rendered the air unbreathable, and their only hope of survival is to remain inside. Despite the comforts of home, Howard's controlling and menacing nature makes Michelle want to escape. After taking matters into her own hands, the young woman finally discovers the truth about the outside world.

Theatrical: 2008

Studio: Warner Home Video

Genre: Action & Adventure

Duration: 109

Summary: To anyone who has ever yearned to see woolly mammoths in full stampede across the Alps, "10,000 BC" can be heartily recommended. There's also a flock of "terror birds"--lethal ostriches on steroids--in a steaming jungle only a splice away from the heroes' snow-dusted alpine habitat. And lo, somewhere in the vastness of the North African desert lies a city whose slave inhabitants alternately teem like the crowds in "Quo Vadis" during the burning of Rome and trudge in hieratically menacing formations like the workers in "Metropolis". That's pretty much it for the cool stuff. Setting movies in prehistoric times is dicey. Apart from the "Dawn of Man" sequence in "2001: A Space Odyssey", only "Quest for Fire" makes the grade, and its creators had the good sense to limit the dialogue to grunts and moans. "10,000 BC" boasts a quasi-biblical narrator (Omar Sharif) and characters who speak in formed, albeit uninteresting, sentences--including a New Age–y "I understand your pain." But let no one say the storytelling isn't primitive. The narrator speaks of "the legend of the child with the blue eyes" and bingo, here's the kid now. When, grown up to be Camilla Belle, she's carried off by "four-legged demons"--guys on horseback to you--the neighbor boy (Steven Strait) who hankers to make myth with her leads a rescue mission into the great unknown world beyond their mountaintop. His name is D'Leh, which is "Held", the German for "knight," spelled backward. So yes, there is some hidden meaning after all.
"10,000 BC" is the latest triumph of the ersatz from writer-director Roland Emmerich. Like "Stargate" (1994), "Independence Day" (1996), and "The Day After Tomorrow" (2004) before it, it's shamelessly cobbled together out of every movie Emmerich can remember to pilfer from (though to be fair, the section in pre-ancient Egypt harks back to his own "Stargate"). Emmerich's saving grace is that his films' cheesiness is so flagrant, his narratives so geared for instant gratification, he can seem like a kid simultaneously improvising and acting out a story in his backyard: "P'tend there's this alien ... p'tend maybe he came from Atlantis or something...." Just don't p'tend it has anything to do with real moviemaking. "--Richard T. Jameson"

Theatrical:

Studio: Studio Distribution Services

Genre:

Duration: 7 hours and 30 minutes

Summary: I wrote this review of the ‘11.22.63’ DVD on 11.22.20 – the 57th anniversary of the assassination of President John F. Kennedy. Many of the reviews of this TV mini-series provide a comparison between the film and Stephen King’s novel of the same name. I have not read the novel. So, I will focus my review on who should want to purchase this DVD and what I like about it.
I enjoyed the movie. As science fiction, it is average but as a crime or political thriller, it is above average. It had a grip on my attention from the first episode to the last.
This is a no frills and no technology science fiction. Don’t expect to see a time travel machine of any kind or wormhole in space. Time travel is made possible by a portal. I don’t want to do a spoiler by describing how the leading man (James Franco as school teacher Jake Epping) travels back to 1963 using the portal at a place that is least expected. No CGI special effects.
The producers took pains to recreate scenes of life in 1963. A lot of attention was given to the fashion and modes of transport. If you like women’s attire, facial make-up and hairdo of the early Sixties, this movie will be a nostalgic treat. Buy this DVD if you like to see vintage cars of that period – Ford Thunderbird and others. No need to go to Cuba to see old cars.
The scenes at the site of the Dallas Book Depository and the road traveled by the President’s motorcade were staged using reference to actual footage of the assassination taken by persons who were at the site on that tragic day.
The producers picked actors who looked the part. You will recognize Lee Harvey Oswald the moment he appears on screen. There is a scene at a night club where an overweight man in black suit appears for only a few seconds. I recognized him immediately as Jack Ruby because I had seen the real Ruby many times in TV documentaries on the JFK assassination.
Those who believe that there was a conspiracy to kill JFK will probably like this movie but may be disappointed. Movie spoiler – Lee Harvey Oswald is the lone gunman. He shoots the President but Oswald doesn’t get shot by Jack Ruby in turn.
A theme in the movie is that a force protects the Past and it will act to stop time travelers who want to change incidents that have already happened. Still, change may happen which is why Oswald doesn’t die at the hands of Jack Ruby. Change brings changes and there may be regrets. The Butterfly Effect is mentioned by one of the two time travelers in the story.
Closing trivia - I have long enjoyed time travel tales and have a long-time interest in the assassination of President JFK. I grew up during the brief shining moment of the ‘Camelot’ years. I saw JFK’s funeral in a newsreel at a time when I didn’t even know how to spell the word ‘President’ or the name ‘Kennedy’. It was shown at the cinema before the start of a movie. As I watched the funeral procession, I asked Mom who was sitting beside me – “Who died?” Mom told me that it was a very important man who died without mentioning the name. I didn’t know JFK or that he was the President. Next question to Mom – “Why did he die?” Mom’s reply – “Someone killed him”. My next question – “Why did someone want to kill him?” If Mom had answered my question, I am unable to remember it. I don’t think she had an answer other than she did not know. If Mom knew the answer and that it was common knowledge, there would not have been a Warren Commission. Yes, Oswald pulled the trigger but I am still waiting to know the answer to that question I asked Mom more than five decades ago.

Theatrical: 1996

Studio: Universal Studios

Genre: Mystery & Suspense

Duration: 130

Summary: Inspired by Chris Marker's acclaimed short film "La Jetée" (which is included on the DVD "Short 2: Dreams"), "12 Monkeys" combines intricate, intelligent storytelling with the uniquely imaginative vision of director Terry Gilliam. The story opens in the wintry wasteland of the year 2035, where a virulent plague has forced humans to live in a squalid, oppressively regimented underground. Bruce Willis plays a societal outcast who is given the opportunity to erase his criminal record by "volunteering" to time-travel into the past to obtain a pure sample of the deadly virus that will help future scientists to develop a cure. But in bouncing from 1918 to the early and mid-1990s, he undergoes an ordeal that forces him to question his own perceptions of reality. Caught between the dangers of the past and the devastation of the future, he encounters a psychiatrist (Madeleine Stowe) who is initially convinced he's insane, and a wacky mental patient (Brad Pitt in a twitchy Oscar-nominated role) with links to a radical group that may have unleashed the deadly virus. Equal parts mystery, tragedy, psychological thriller, and apocalyptic drama, "12 Monkeys" ranks as one of the best science fiction films of the '90s, boosted by Gilliam's visual ingenuity and one of the finest performances of Willis's career. "--Jeff Shannon"

Theatrical: 2018

Studio: Alcon Entertainment

Genre: Action, Drama, History, War

Duration: 130

Summary: The True Story of the Army's Special Forces "Green Berets", who within weeks responded to the 9-11 attack. Green Berets, with the help of the 160th SOAR(A), took over the country and allowed other Special Forces and the rest of the conventional military to begin the more publicly visible war.

Theatrical: 2004

Studio: Sony Pictures

Genre: Comedy

Duration: 98

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

Theatrical:

Studio: Paramount

Genre:

Duration: 144

Summary: 13 Hours: The Secret Soldiers Of Benghazi (Blu-ray + DVD + Digital HD) (Walmart Exclusive) (With INSTAWATCH))

Theatrical: 1999

Studio: Walt Disney Video

Genre: Action & Adventure

Duration: 102

Summary: What happened to "The 13th Warrior"? Directed by John McTiernan ("Die Hard"), it's the tale of young Arab ambassador Ahmahd ibn Fahdalan (Antonio Banderas), who's vanquished from his homeland for loving the wrong woman. On his journeys he associates with a ragtag group of Vikings who are traveling back to their homeland to confront a nefarious threat that's cloaked in such superstition they're forbidden to speak its name. It is prophesied by a witch doctor that 13 warriors must confront the evil; however, the 13th chosen man must not come from the north. Suddenly Banderas is forced into the breach, somewhat against his will. More poet than battle-worn warrior, he must not only fight the aggressors but come to terms with the unfamiliar Norse culture. What follows is a vigorous and brutal adventure reminiscent of Kurosawa's "Seven Samurai". Sumptuous and invigorating battle sequences fill the screen from beginning to end as the brave Norsemen battle insurmountable odds.
Sounds good. So why did this film, once known as the "Eaters of the Dead", sit on studio shelves for two years? Presumably because of the thoughtless editing that trimmed down the film to its bare bones, crafting an actionfest out of an epic. It's not often that you crave for a movie to be longer, but "The 13th Warrior" could've benefited from fleshing out of its subplots and characters. On the surface it's good eye candy with some fine pulse-quickening moments, and Banderas and the accompanying cast turn in sympathetic performances, epitomizing camaraderie in the face of impending doom. However, if you're looking for a good thematic tale from the Dark Ages (akin to "Braveheart"), you may be disappointed. "--Jeremy Storey"

Theatrical: 2001

Studio: New Line Home Video

Genre: Action & Adventure

Duration: 120

Summary: "15 Minutes" wants to be provocative, but it exists in an alternate reality where rules of logic and credibility no longer apply. In his underrated film "2 Days in the Valley", writer-director John Herzfeld wryly exposed the underbelly of California's San Fernando Valley, but in the artificial New York City of "15 Minutes", he attempts a timely mixture of satire and social commentary that's only marginally convincing. Herzfeld's premise is both vivid and valid in addressing the deterioration of morals in American mass media, but in exploring the dark side of fame, the last few minutes of "Taxi Driver" have more impact than this entire movie.
Robert De Niro stars as Eddie Flemming, a hotshot homicide detective whose current double-murder case teams him with arson investigator Jordy Warsaw (Edward Burns). Their investigation leads to a pair of Eastern European nut-jobs (one Czech, one Russian) who've embarked on an impromptu killing spree--all captured on video by the Russian, who fancies himself an auteur of the American dream. In a pileup of contrivances, a reporter (Melina Kanakaredes) is also Eddie's girlfriend, and a tabloid TV host (Kelsey Grammer) seeks the killers' video with the scruples of Adolf Hitler. Blink and you'll miss Charlize Theron in a throwaway role, but that's nothing compared to the killing of a major character--a scene devoid of emotion that's more grist for the media mill. With appalling bloodlust, "15 Minutes" sheds a sickening light on America's twisted character, but instead of illuminating, it only darkens the gloom. "--Jeff Shannon"

Theatrical: 2006

Studio: Warner Home Video

Genre: Action & Adventure

Duration: 105

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

Theatrical:

Studio: Warner Home Video

Genre:

Duration: 102

Summary: Synopsis:
Item Type: DVD Movie
Item Rating: PG13
Street Date: 08/11/09
Wide Screen: yes
Director Cut: no
Special Edition: no
LanguageENGLISH
Foreign Film: no
Subtitlesno
Dubbed: no
Full Frame: yes
Re-Release: no
Packaging: Sleeve Please note: This supplier will be closed on 11/24, 11/25, 12/26, 1/2 for the holidays. The shipping cut off is 12/10 to try and have the products delivered by Christmas.

Theatrical:

Studio:

Genre:

Summary: "20,000 Leagues Under The Sea" is, IMHO, one of the greatest Science Fantasy's ever brought to the silver screen, and the one true unquestionable masterpiece from the "House of Mouse!" Being the wrong side of 40, "20,000 Leagues" is one of my earliest cinematic memories, and watching this superb Disney DVD - in wide screen for only the first time since I saw it as a child! - brought the magic of those long ago years flooding back in an instant!
The Amazon review above will give you the bare bones of the story; a terrible "sea monster" - all glowing eyes and "breath like a furnace!" - is sinking ships just after the end of the American Civil War. Things have gotten so bad that maritime trade is being crippled; ships can't sail without a crew, the crews themselves having deserted in fear of the "monster." Almost in desperation, the authorities organize a hunt for the creature, and invite the famed oceanographer, "Professor Arronax," and his research assistant "Conseil," along, on a US warship, to lend the expedition scientific gravitas. Also along for the ride is a fearless harpooner, "Ned Land," looking for adventure, and the rewards of being the man who kills the "monster."
After more than a month at sea, and with no sighting of anything unusual, they are about to head for home when they see a ship, some miles distant, explode with enormous force. They race to the spot and arrive in time to see the vessel slipping beneath the waves with all hands. A lookout sees the creature in the distance, moving away from the area; they fire on it and it turns towards them. Slicing through the waves, the creature races towards its attackers with a hellish shriek, its eyes alight, just as the stories said, with an unearthly glow. Panic ensues on the ship, the gunner's fire repeatedly, but cannot find their range; the creature is covering the distance between them at incredible speed!
The resulting impact is shattering; Arronax, Conseil, and Land, are hurled into the sea, where they are separated. Arronax and Conseil watch helplessly as the crippled warship limps away into the distance, listing badly. After hours in the water, and completely lost in a fogbank, Arronax and Conseil come across the "monster" floating on the surface. They soon discover that what they thought was a supernatural beast, is, in fact, a fantastic vessel, a "sub-marine boat," capable of travel beneath the surface of the sea.
Seemingly deserted, they enter the ship and start to explore, soon to be joined by Ned Land, who paddles into view on an upturned skiff. From a massive view port, they see the crew outside the ship working on the seabed; once the crew returns, the three friends are quickly apprehended... now their adventure, and ours, is about to REALLY begin!
The ship they are on is called the "Nautilus," a technological wonderland, it's commanded by "Captain Nemo;" his crew, all of them to a man, absolutely loyal. The Captain has scant time for Conseil, and even less for Land, but he is pleased to meet the renowned Pierre Arronax, a man he sees, at least as far as their mutual fascination for the sea is concerned, as a kindred spirit. Nemo takes Arronax under his wing, slowly revealing to him the secrets of the deep through which they travel, and the fantastical secrets of the Nautilus itself. Nemo also shares his own terrible secrets with the oceanographer, experiences that have shaped him, and driven both him, and his crew, to disown any allegiances to any and all terrestrial governments and flags.
Nemo is portrayed by James Mason in a magnificently layered, complex performance. At first cold, austere, dark, and brooding, Mason slowly reveals the tortured soul of the man, driven by his own demons to do what he knows are terrible things, for, he hopes, the betterment of mankind. Neither hero nor villain, Mason's performance is beautifully nuanced, and his final scenes are especially moving.
The three other central characters are also played to perfection, Kirk Douglas, especially, has a blast with Ned Land, one moment slap-sticking his way through his song, "A Whale of a Tale," the next butting heads with Nemo, and plotting escape. Peter Lorre, as Conseil, is the perfect foil to Douglas' larger than life character, and the two of them seemed to have formed a genuine friendship on the set, something which shows through in the "hair" scenes... you'll know them when you see them! Paul Lukas is pitch perfect as Professor Arronax, all at once in thrall to Nemo's genius, but at the same time horrified by the terrible deeds he's capable of. And a final word has to go to the `biggest' character of all, the Nautilus itself; a gothic masterpiece, it's quite simply the greatest fantasy vehicle ever created for the silver screen... EVER! The Nautilus departs quite extensively from Verne's description, but, just like the film itself, it's completely within the spirit of the original story, more so than just about any film adaptation of classic Science Fantasy that I can think of!
One minor gripe, Nemo, as I have said before, is an incredibly complex character, so I was saddened to see on the back of the DVD case, the following; "...can the captive crew (Arronax etc) expose his (Nemo's) evil plan before he destroys the world?" After all that Disney has done to make this a landmark release, with hours of extras, including an incredible 90 minute(!) "making of" featurette, it's such a shame that Nemo is misrepresented so crudely.
Almost half a century(!) later, this is still Disney's crowning glory, and a glowing testament to visionary film making... HIGHLY recommended!!!

Theatrical: 2000

Studio: Sony Pictures

Genre: Comedy

Duration: 104

Summary: To appreciate "28 Days", it's best to be thankful that director Betty Thomas hasn't forced Sandra Bullock into a remake of "Clean and Sober". Instead Thomas has balanced her comedic sensibility (evident in "Dr. Dolittle" and "Private Parts") with the seriousness of alcoholism and substance abuse, and she succeeds without compromising the gravity of the subject matter. Some critics have scoffed at the movie's breezy, formulaic portrait of 27-year-old boozer and pill-popper Gwen Cummings (Bullock), but this smooth-running star vehicle does for Bullock what "Erin Brockovich" did for Julia Roberts, focusing her appeal in a substantial role without taxing the limits of her talent. It's no wonder that Susannah Grant (who wrote both films) was one of the hottest new screenwriters of 1999. She writes "Hollywood Lite" without insulting anyone's intelligence.
As played by Bullock, Gwen is an alcoholic in denial whose latest bender with boozer boyfriend Jasper (Dominic West) ruins the wedding of her sister (Elizabeth Perkins) and lands her in a month-long rehab program with the requisite gang of struggling drunks and junkies. Newcomer Alan Tudyk steals his scenes as a gay German rehabber who might've dropped in from a Berlin performance-art exhibit, and Steve Buscemi aptly conveys the weary commitment of a counselor who's seen it all. Thomas has surrounded Bullock with a sharp ensemble, and the addition of singer-songwriter Loudon Wainwright III (as a kind of Greek chorus crooner) is sublimely inspired. Certainly no surprises here--the warring sisters will reconcile, and at least one rehabber will fail to recover--but there's ample pleasure to be found in Bullock's finely tuned performance, and in Thomas's inclusion of flashbacks and tangents that add depth and laughter in just the right dosage. "--Jeff Shannon"

Theatrical: 2003

Studio: 20th Century Fox

Genre: Art House & International

Duration: 113

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

Theatrical: 2007

Studio: 20th Century Fox

Genre: Action & Adventure

Duration: 99

Summary: As an exercise in pure, unadulterated terror, "28 Weeks Later" is a worthy follow-up to its acclaimed predecessor, "28 Days Later". In this ultraviolent sequel from Spanish director Juan Carlos Fresnadillo (hired on the strength of his 2001 thriller "Intacto"), over six months have passed since the first film's apocalyptic vision of London overrun by infectious, plague-ridden zombies. Just when it seems the "rage virus" has been fully contained, and London is in the process of slowly recovering, an extremely unfortunate couple (Robert Carlyle, Catherine McCormack) is attacked by a small band of rampaging "ragers," and the cowardly husband escapes while his wife is attacked and presumably infected. Their surviving children (Imogen Poots, Mackintosh Muggleton) fall under the protection of a U.S. Army sharpshooter (Jeremy Renner), but nobody's safe for long as "28 Weeks Later" goes into action-packed overdrive, with scene after blood-gushing scene of carnage and decimation. The film's visuals follow the look established in "28 Days Later", this time with bigger and better scenes of a nearly abandoned London on the brink of utter destruction. The military subplot gets a bold assist from Harold Perrineau (as a daring helicopter pilot) and Idris Elba (in a too-brief role as the military commander), and their firepower--not to mention the efficient lethality of helicopter blades--turns "28 Weeks Later" into a nonstop bloodbath that's way too intense for younger viewers and guaranteed to leave hardcore horror fans gruesomely satisfied. That's all there is to it--this film is almost plotless and dialogue is minimal throughout--but as a truly terrifying vision of survival amidst chaos, "28 Weeks Later" honors its origins and qualifies as a solid double-feature with "Children of Men". Could there be another sequel? Thanks to the "chunnel," the answer in this case is definitely oui. --"Jeff Shannon"

Beyond "28 Weeks Later" "28 Weeks Later" on Blu-Ray
"28 Days Later"
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Stills from "28 Weeks Later"

Theatrical: 2005

Studio: Universal Studios

Genre: Comedy

Duration: 116

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

Theatrical:

Studio: Warner Bros.

Genre:

Duration: 1 hour and 36 minutes

Summary: This is a great movie pairing Nick Nolte as the detective who reluctantly teams with former bank robber Eddie Murphy, who is given a 48 hour release from prison to help capture his former partner in crime who has gone on a killing spree in San Francisco. They overcome feelings of racism, opposite viewpoints, and reluctance to work together as they look for the man and the missing half a million dollars from Eddie's last job with his former partner. They slowly bond a bit as the movie rolls, with Eddie's wise cracks and Nick's no nonsense police thinking clash and provide humor to the movie.

Theatrical: 2004

Studio: Sony Pictures

Genre: Comedy

Duration: 99

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

Theatrical: 2007

Studio: Warner Home Video

Genre: Action & Adventure

Duration: 117

Summary: Like "Sin City" before it, "300" brings Frank Miller and Lynn Varley's graphic novel vividly to life. Gerard Butler ("Beowulf and Grendel, The Phantom of the Opera") radiates pure power and charisma as Leonidas, the Grecian king who leads "300" of his fellow Spartans (including David Wenham of "The Lord of the Rings", Michael Fassbender, and Andrew Pleavin) into a battle against the overwhelming force of Persian invaders. Their only hope is to neutralize the numerical advantage by confronting the Persians, led by King Xerxes (Rodrigo Santoro), at the narrow strait of Thermopylae. More engaging than "Troy", the tepid and somewhat similar epic of ancient Greece, 300 is also comparable to "Sin City" in that the actors were shot on green screen, then added to digitally created backgrounds. The effort pays off in a strikingly stylized look and huge, sweeping battle scenes. However, it's not as to-the-letter faithful to Miller's source material as Sin City was. The plot is the same, and many of the book's images are represented just about perfectly. But some extra material has been added, including new villains (who would be considered "bosses" if this were a video game, and it often feels like one) and a political subplot involving new characters and a significantly expanded role for the Queen of Sparta (Lena Headey). While this subplot by director Zack Snyder ("Dawn of the Dead") and his fellow co-writers does break up the violence, most fans would probably dismiss it as filler if it didn't involve the sexy Headey. Other viewers, of course, will be turned off by the waves of spurting blood, flying body parts, and surging testosterone. (The six-pack abs are also relentless, and the movie has more and less nudity--more female, less male--than the graphic novel.) Still, as a representation of Miller's work and as an ancient-themed action flick with a modern edge, "300" delivers. "--David Horiuchi"

Theatrical: 2007

Studio: Weinstein Company

Genre: Horror

Duration: 104

Summary: As creepfests go, "1408" is right up there with "The Shining", also inspired by a Stephen King work and featuring a menacing hotel and the wobbly sanity of a writer lodging there. "It's an evil [bleep]-ing room!" intones Samuel L. Jackson, who plays the smooth but vaguely sinister manager of the Dolphin Hotel. John Cusack is stellar as Mike Enslin, a cynical Everyschlub who writes "occult travel guides," but believes in nothing, especially anything resembling an afterlife.
What happens in room 1408 of the Dolphin may change Enslin forever--if he survives the first hour. The thrills range from jumpy "gotcha" moments involving mirror images, to more traditional horror fare like bleeding walls, to truly diabolical touches like the recurrence of the Carpenters' "We've Only Just Begun." (Shudder.) The film does a nice job of weaving the operatic horror effects with the truly heart-breaking backstory of the death of Enslin's young daughter and his marriage--perhaps the only two things Enslin has ever believed in. And thankfully, there's just enough humor to leaven the intensity at key moments; Cusack is unparalleled when it comes to delivering a self-deprecating wisecrack, even as his life passes before his eyes. Get your adrenaline pumping and check into this room. Oh, and sorry, no refunds. "A.T. Hurley"

Theatrical: 2019

Studio: Universal Pictures Home Entertainment

Genre: Military & War (Movies & Tv)

Duration: 119

Summary: Sam Mendes, the Oscar-winning director of Skyfall, Spectre and American Beauty, brings his singular vision to this World War I epic. At the height of the First World War, two young British soldiers, Schofield (Captain Fantastic's George MacKay) and Blake (Game of Thrones' Dean-Charles Chapman), are given a seemingly impossible mission. In a race against time, they must cross enemy territory and deliver a message that will stop a deadly attack on hundreds of soldiers—Blake's own brother among them.

Theatrical: 1984

Studio: Warner

Genre: Action & Adventure

Duration: 116

Summary: No director could ever have hoped to repeat the artistic achievement of Stanley Kubrick's "2001: A Space Odyssey", and nobody knew that better than Peter Hyams, who made this much more conventional film from the first of three sequel novels by Arthur C. Clarke. Whereas Kubrick made a poetic film of mind-expanding ideas and metaphysical mysteries, Hyams shouldn't be blamed for taking a more practical, crowd-pleasing approach. In revealing much of what Kubrick deliberately left unexplained, "2010" lacks the enigmatic awe of its predecessor, but it's still a riveting tale of space exploration and extraterrestrial contact, beginning when a joint American-Soviet mission embarks to determine the cause of failure of the derelict spaceship "Discovery". Having arrived at "Discovery" near the planet Jupiter, the American mission leader (Roy Scheider) and his Russian counterpart (Helen Mirren) must investigate the apparent failure of the ship's infamous onboard computer, HAL 9000, as well as the meaning of countless mysterious black monoliths amassing on Jupiter's surface (an interpretation Kubrick originally left up to his viewers). Meanwhile, Earth is on the brink of nuclear war, and an apparition of astronaut David Bowman (Keir Dullea) appears to repeatedly promise that "something wonderful" is about to happen. "--Jeff Shannon"

Theatrical: 2009

Studio: Sony Pictures

Genre: Action & Adventure

Duration: 158

Summary: Now this is how you destroy the world. Roland Emmerich's 2012 pounces on a Nostradamus-style loophole in the Mayan calendar and rams the apocalypse through it, gleefully conjuring up an enormous amount of Saturday-matinee fun in the process. A scientist (Chiwetel Ejiofor) detects shifting continental plates and sun flares and realizes that this foretells the imminent destruction of the planet. Just as the molten lava is about to hit the fan, a novelist (John Cusack) takes his kids on a trip to Yellowstone; later he'll hook up with his ex (Amanda Peet) and her new boyfriend (Tom McCarthy) in a global journey toward safety. If there is any safety. The suitably hair-raising plot lines are punctuated--frequently, people, frequently--by visions of mayhem around the globe: the Vatican falls over, the White House is clobbered (Emmerich's Independence Day was not enough on that score), and the California coastline dives into the Pacific Ocean. Unlike other action directors we could name, Emmerich actually understands how to let you see and drink in these vast special-effects vistas--and they are incredible. He also honors the old Irwin Allen disaster-movie tradition by actually shelling out for good actors. Cusack and Ejiofor are convincing even in the cheesiest material; toss in Danny Glover (the U.S. president), Woody Harrelson (a nut-bar conspiracy-theorizing radio host), Thandie Newton, and Oliver Platt, and you've got a very watchable batch of people. Emmerich hasn't developed an ear for dialogue, even at this stage in his career, and the final act goes on a bit too long. This is a very silly movie, but if you've got a weakness for B-movie energy and hairbreadth escapes, 2012 delivers quite a bit of both. --Robert Horton



Stills from 2012 (Click for larger image)