DVDpedia : Library : Title : O

Theatrical: 2000

Studio: Walt Disney Video

Genre: Comedy

Duration: 106

Summary: Three stumblebum convicts escape to go on a quest for treasure and meet various characters while learning where their real fortune lies.

Theatrical: 2006

Studio: Graniet Film BV

Genre: Comedy / Drama

Duration: 97

Summary:

Theatrical: 2004

Studio: Warner Home Video

Genre: Action & Adventure

Duration: 125

Summary: Like its predecessor "Ocean's Eleven", "Ocean's Twelve" is a piffle of a caper, a preposterous plot given juice and vitality by a combination of movie star glamour and the exuberant filmmaking skill of director Steven Soderbergh ("Out of Sight", "The Limey"). The heist hijinks of the first film come to roost for a team of eleven thieves (including the glossy mugs of Brad Pitt, Matt Damon, Bernie Mac, and Don Cheadle), who find themselves pursued not only by the guy they robbed (silky Andy Garcia), but also by a top-notch detective (plush Catherine Zeta-Jones) and a jealous master thief (well-oiled Vincent Cassel) who wants to prove that team leader Danny Ocean (dapper George Clooney) isn't the best in the field. As if all that star power weren't enough--and the eternally coltish Julia Roberts also returns as Ocean's wife--one movie star cameo raises the movie's combined wattage to absurd proportions. But all these handsome faces are matched by Soderbergh's visual flash, cunning editing, and excellent use of Amsterdam, Paris, and Rome, among other highly decorative locations. The whole affair should collapse under the weight of its own silliness, but somehow it doesn't--the movie's raffish spirit and offhand wit soar along, providing lightweight but undeniable entertainment. "--Bret Fetzer"

Theatrical: 2003

Studio: 2 Entertain Video

Genre: TV Series / Comedy

Duration: 437

Summary: It feels both inaccurate and inadequate to describe "The Office" as a comedy. On a superficial level, it disdains all the conventions of television sitcoms: there are no punch lines, no jokes, no laugh tracks, and no cute happy endings. More profoundly, it's not what we're used to thinking of as funny. Most of the fervently devoted fan base watched with a discomfortingly thrilling combination of identification and mortification. The paradox is that its best moments are almost physically unwatchable. Set in the offices of a fictional British paper merchant, "The Office" is filmed in the style of a reality television show. The writing is subtle and deft, the acting wonderful, and the characters beautifully drawn: the cadaverous team leader Gareth (Mackenzie Crook); the monstrous sales rep, Chris Finch (Ralph Ineson); and the decent but long-suffering everyman Tim (Martin Freeman), whose ambition and imagination have been crushed out of him by the banality of ! the life he dreams uselessly of escaping. The show is stolen, as it was intended to be, by insufferable office manager David Brent, played by codirector-cowriter Ricky Gervais. Brent will become a name as emblematic for a particular kind of British grotesque as Basil Fawlty, but he is a deeper character. Fawlty is an exaggeration of reality, and therefore a safely comic figure. Brent is as appalling as only reality can be. "--Andrew Mueller"

The second series exceeded even the sky-high standards of the first. Indeed, it ventured beyond caricature and satire, touching on the very edge of darkness. Ricky Gervais is once again excruciatingly superb as David Brent, but in this series, Brent's to-the-camera assertions concerning his management qualities and executive capabilities are seriously challenged when the Slough and Swindon branches are merged and his former Swindon equivalent Neil (Patrick Baladi) takes over as area manager. To compensate, Brent cultivates his pathologically mistaken image of himself as an entertainer-motivator-comedian whose stage happens to be the workplace. Meanwhile, Tim, who can only maintain his sanity by teasing the priggish Gareth, continues to wrestle with his yearning for receptionist Dawn Tinsley (Lucy Davis), a sympathetic character persisting in a relationship with a man about whom she still maintains unspoken reservations. As ever, it's the awkward, reality TV-style pauses and silences, the furtive, meaningful and unmet glances across the emotional gulf of the open-plan office, that say it all here. As for Brent, his own breakdown is prefaced by a moment of hideous hilarity--an impromptu office dance, a mixture of ""Flashdance" and MC Hammer" as Brent describes it, but in reality bad beyond description. Then, when his fate is sealed, he at last reveals himself in a memorable finale to perhaps the greatest British sitcom, besides "Fawlty Towers", ever made. "--David Stubbs"

The brilliant and devastating comedy of "The Office" is brought to a satisfying conclusion in "The Office Special", originally a two-part Christmas special on the BBC, set three years after the end of the faux-documentary's second season. The former office manager David (Ricky Gervais) now ekes out a desperate existence as an oblivious quasi-celebrity, making awkward, humiliating visits back to the office staff he still believes loves him. Gawky Gareth (Mackenzie Crook) has risen to manager and become a petty tyrant, while the sweet but snide Tim (Martin Freeman) continues to pine for former receptionist Dawn (Lucy Davis), who fled to Florida with her fiance. When the documentary crew pays for Dawn to return for the holiday party, an unpredictable reunion looms ahead. "The Office" fuses scathing humor and genuine empathy, turning excruciating social discomfort into inspired satire. Fans will find this special rewarding in all respects. "--Bret Fetzer"

Theatrical: 2004

Studio: Tartan Video

Genre: Action & Adventure

Duration: 120

Summary: Oh Dae-su is an ordinary Seoul businessman with a wife and little daughter who, after a drunken night on the town, is abducted and locked up in a strange, private prison. No one will tell him why hes there and who his jailer is and his fury builds to a single-minded focus of revenge. 15 years later, he is unexpectedly freed, given a new suit, a cell-phone and 5 days to discover the mysterious enemy who had him imprisoned. Seeking vengeance on all those involved, he soon finds that his enemys tortures are just beginning.

Theatrical: 2002

Studio: 20th Century Fox

Genre: Drama

Duration: 96

Summary: An employee of a one-hour photo lab becomes obsessed with a young suburban family.

Theatrical: 2008

Studio: 20th Century Fox

Genre: Comedy

Duration: 80

Summary: Shelved since 2003 then released straight to DVD, the feature-length "Onion Movie" is based on the satirical nationwide newspaper The Onion, which works better in print than on celluloid. That said, hardcore Onion fans will appreciate this effort to enliven text with filmed comedic sketches that strongly resemble "Saturday Night Live" news and "National Lampoon". Directors Tom Kuntz and Mike Maguire translate what would normally read as sarcastic headlines into slapstick skits starring three news reporters, Norm Archer (Len Cariou), Larissa Laskin (Dana Dobbs), and Scott Klace (Kip Kendall), reporting on idiotic events either live or in the studio. The newsreel opens, for example, with a report from Archer on the dangers of "neck belts" in automobiles, that have lately been decapitating drivers. Spoofs on everyone and everything, from slutty teen stars, racial stereotyping, the handicapped, to military recruitment officials turned peaceful by marijuana, add plenty of characteristically perverse and iffy Onion humor to this odd film. "The Onion Movie" relies loosely on a plot in which Norm Archer, devoted anchorman, protests a toy penguin interrupting his screen time in the name of advertising an upcoming film, Cockpuncher, that the network’s corporate sponsor, Global Tetrahedron, has funded. This facetious action film featuring Steven Seagal, looks a little too life-like after Norm takes measures to fight the power. At an hour and a half, news skits interrupted by fake commercials and Archer’s fits of rage feel played out, though skit-to-skit, the news broadcasts are quite hilarious, making the film an overall winner if you’re in the mood for mockery. --"Trinie Dalton"

Theatrical: 1991

Studio: Ufa/DVD

Genre: Anime / Drama

Duration: 118

Summary: A 27-year old Japanese office worker travels to the countryside while reminiscing her childhood in Tokyo.

Theatrical: 2001

Studio: G.C.T.H.V.

Genre: Action, Aventure, Policier et Thriller

Duration: 112

Summary:

Theatrical: 2003

Studio: G.C.T.H.V.

Genre: Animation

Duration: 75

Summary: Two orphans, Gamie, a young blind girl and her little brother Gil-sun, are taken in by a Buddhist monk. While the shy little girl finds her at ease at the temple, the enthusiastic and dynamic little Gil-sun soon starts to disturb this quiet place. After his sister told him their mother had visited her in a dream, the little boy tries to understand why his mom did not come to see him too. In order to meet her again, he decides to follow the monk for a very long initiatic trip.

Theatrical: 2000

Studio: Zeitgeist Films

Genre: Comedy

Duration: 132

Summary: When a childless couple learn that they cannot have children, it causes great distress. To ease his wife's pain, the man finds a piece of root in the backyard and chops it and varnishes it into the shape of a child. However the woman takes the root as her baby and starts to pretend that it is real. When the root takes life they seem to have gained a child; but it's appetite is much greater than a normal child.

Theatrical: 2001

Studio: Dimension

Genre: Horror

Duration: 101

Summary: A welcome throwback to the spooky traditions of Jack Clayton's "The Innocents" and Robert Wise's "The Haunting", Alejandro Amenábar's "The Others" favors atmosphere, sound, and suggestion over flashy special effects. Set in 1945 on a fog-enshrouded island off the British coast, the film begins with a scream as Grace (Nicole Kidman) awakens from some unspoken horror, perhaps arising from her religiously overprotective concern for her young children, Anne (Alakina Mann) and Nicholas (James Bentley). The children are hypersensitive to light and have lived in a musty manor with curtains and shutters perpetually drawn. With Grace's husband presumably lost at war, this ominous setting perfectly accommodates a sense of dreaded expectation, escalating when three strangers arrive in response to Grace's yet-unposted request for domestic help. Led by housekeeper Mrs. Mills (Fionnula Flanagan), this mysterious trio is as closely tied to the house's history as Grace's family is--as are the past occupants seen posthumously posed in a long-forgotten photo album.
With her justly acclaimed performance, Kidman maintains an emotional intensity that fuels the film's supernatural underpinnings. And while Amenábar's pacing is deliberately slow, it befits the tone of penetrating anxiety, leading to a twist that extends the story's reach from beyond the grave. Amenábar unveiled a similarly effective twist in his Spanish thriller "Open Your Eyes" (remade by Cameron Crowe as "Vanilla Sky"), but where that film drew debate, "The Others" is finely crafted to provoke well-earned goose bumps and chills down the spine. "--Jeff Shannon"