DVDpedia : Library : Title : B

Theatrical: 1985

Studio: Mca Home Video

Genre: Action & Adventure

Duration: 111

Summary: Filmmaker Robert Zemeckis topped his breakaway hit "Romancing the Stone" with "Back to the Future", a joyous comedy with a dazzling hook: what would it be like to meet your parents in their youth? Billed as a special-effects comedy, the imaginative film (the top box-office smash of 1985) has staying power because of the heart behind Zemeckis and Bob Gale's script. High schooler Marty McFly (Michael J. Fox, during the height of his TV success) is catapulted back to the '50s where he sees his parents in their teens, and accidentally changes the history of how Mom and Dad met. Filled with the humorous ideology of the '50s, filtered through the knowledge of the '80s (actor Ronald Reagan is president, ha!), the film comes off as a "Twilight Zone" episode written by Preston Sturges. Filled with memorable effects and two wonderfully off-key, perfectly cast performances: Christopher Lloyd as the crazy scientist who builds the time machine (a DeLorean luxury car) and Crispin Glover as Marty's geeky dad. "--Doug Thomas"
Critics and audiences didn't seem too happy with "Back to the Future, Part II", the inventive, perhaps too clever sequel. Director Zemeckis and cast bent over backwards to add layers of time-travel complication, and while it surely exercises the brain it isn't necessarily funny in the same way that its predecessor was. It's well worth a visit, though, just to appreciate the imagination that went into it, particularly in a finale that has Marty watching his own actions from the first film. "--Tom Keogh"
Shot back-to-back with the second chapter in the trilogy, "Back to the Future, Part III" is less hectic than that film and has the same sweet spirit of the first, albeit in a whole new setting. This time, Marty ends up in the Old West of 1885, trying to prevent the death of mad scientist Christopher Lloyd at the hands of gunman Buford "Mad Dog" Tannen (Thomas F. Wilson, who had a recurring role as the bully Biff). Director Zemeckis successfully blends exciting special effects with the traditions of a Western and comes up with something original and fun. "--Tom Keogh"

Theatrical: 2004

Studio: Paramount Home Entertainment

Genre: Comedy

Duration: 96

Summary: An undercover FBI agent tries to infiltrate a gang of goodfellas and falls in love with his informant's sister. Black humor and a cool attitude make the routine story fun.

Theatrical: 2003

Studio: Sony Pictures

Genre: Action

Duration: 147

Summary: Two loose-cannon narcotics cops investigate the flow of Ecstacy into Florida.

Theatrical: 2002

Studio: Warner Home Video

Genre: Action

Duration: 91

Summary: Tasked with destroying each other, an FBI agent and a rogue NSA agent soon discover that there's a much bigger enemy at work.

Theatrical: 1971

Studio: MGM (Video & DVD)

Genre: Comedy

Duration: 82

Summary: Woody Allen's second film as a director, co-writer and star takes parody to the extreme with a brilliant send-up of everything from relationships to dictatorships. An early example of what Allen called his "slapdash" approach to comedy, Bananas' broad, fast humor and rapid-fire witticisms form a dazzling kaleidoscope of "inspired ingenuity and comic artistry" (Look). When bumbling product-tester, Fielding Mellish (Allen) is jilted by his girlfriend, Nancy (Louise Lasser),he heads to the tiny republic of San Marcos for a vacation only to become kidnapped by rebels! Oncethe band of rebels seizes power, their leader goes crazy, and they replace him with Mellish, thinking he can save the country. But when Mellish is nabbed by the FBI, he is put on trial for subversionand in a side-splitting courtroom showdownincluding the most hilarious self-cross examination everWoody Allen proves beyond a doubt that he is not only our most gifted satirist he's a master comic artist.

Theatrical: 2001

Studio: Ufa/DVD

Genre: Comedy

Duration: 122

Summary: Two bank robbers fall in love with the girl they've kidnapped.

Theatrical: 2008

Studio: Lionsgate Home Entertainment

Genre: Crime

Duration: 110

Summary: A cheerful, energetic, and completely entertaining movie, "The Bank Job" follows some small-time hoods who think they've lucked into a big-time opportunity when they learn a bank's security system will be temporarily suspended--little suspecting that they're being manipulated by government agents for their own ends. The result is that the movie doubles its pleasures: While the robbery itself has the usual suspense of a heist film, when the robbery is over the hoods find themselves being hunted by the police, the government, and brutal criminal kingpins who were storing dangerous information in a safety deposit box. "The Bank Job" won't win any awards, but it's enormously fun. Director Roger Donaldson ("No Way Out", "Species") propels the action along with vigor, editing zippily with perfect clarity among multiple storylines and various colorful characters. Jason Statham ("Snatch", "The Transporter"), as the leader of the bank robbers, successfully steps away from his usual bone-crunching roles to a more human presence. The rest of the cast--including Saffron Burrows ("Deep Blue Sea"), Keeley Hawes ("Tipping the Velvet"), David Suchet ("Poirot"), and many faces familiar from British film and television--give their characters the right degree of personality and flavor without getting fussy or detracting from the headlong rush of the story. A little sex, a lot of action, a sly sense of humor, and a twisty plot; if more movies had these basic pleasures, the world would be a happier place. "--Bret Fetzer"

Theatrical: 1996

Studio: Warner Home Video

Genre: Action & Adventure

Duration: 126

Summary: Thanks to the ambitious vision of director Tim Burton, the blockbuster hit of 1989 delivers the goods despite an occasionally spotty script, giving the caped crusader a thorough overhaul in keeping with the crime fighter's evolution in DC Comics. Michael Keaton strikes just the right mood as the brooding "Dark Knight" of Gotham City; Kim Basinger plays Gotham's intrepid reporter Vicki Vale; and Jack Nicholson goes wild as the maniacal and scene-stealing Joker, who plots a takeover of the city with his lethal Smilex gas. Triumphant Oscar-winning production design by the late Anton Furst turns "Batman" into a visual feast, and Burton brilliantly establishes a darkly mythic approach to Batman's legacy. Danny Elfman's now-classic score propels the action with bold, muscular verve. "--Jeff Shannon"

Theatrical: 2005

Studio: Warner Home Video

Genre: Action & Adventure

Duration: 141

Summary: "Batman Begins" discards the previous four films in the series and recasts the Caped Crusader as a fearsome avenging angel. That's good news, because the series, which had gotten off to a rousing start under Tim Burton, had gradually dissolved into self-parody by 1997's "Batman & Robin". As the title implies, "Batman Begins" tells the story anew, when Bruce Wayne (Christian Bale) flees Western civilization following the murder of his parents. He is taken in by a mysterious instructor named Ducard (Liam Neeson in another mentor role) and urged to become a ninja in the League of Shadows, but he instead returns to his native Gotham City resolved to end the mob rule that is strangling it. But are there forces even more sinister at hand?
Cowritten by the team of David S. Goyer (a veteran comic book writer) and director Christopher Nolan ("Memento"), "Batman Begins" is a welcome return to the grim and gritty version of the Dark Knight, owing a great debt to the graphic novels that preceded it. It doesn't have the razzle dazzle, or the mass appeal, of "Spider-Man 2" (though the Batmobile is cool), and retelling the origin means it starts slowly, like most "first" superhero movies. But it's certainly the best Bat-film since Burton's original, and one of the best superhero movies of its time. Bale cuts a good figure as Batman, intense and dangerous but with some of the lightheartedness Michael Keaton brought to the character. Michael Caine provides much of the film's humor as the family butler, Alfred, and as the love interest, Katie Holmes ("Dawson's Creek") is surprisingly believable in her first adult role. Also featuring Gary Oldman as the young police officer Jim Gordon, Morgan Freeman as a Q-like gadgets expert, and Cillian Murphy as the vile Jonathan Crane. "--David Horiuchi"

"Batman" at Amazon.com
All "Batman" DVDs
"Batman Begins" 101: A Comic Book Primer
Where Have I Seen Christian Bale?
All "Batman" Comics and Graphic Novels
"Batman" Toys
"Batman Begins" Soundtrack
Stills from "Batman Begins" (click for larger images)








DVD Features
The first disc is filled out by the theatrical trailer and a Jimmy Fallon-starring "Batman Begins" spoof from the MTV Movie Awards. The second disc consists of eight featurettes (about 105 minutes total) on a variety of topics. "The Journey Begins" covers the early stages of the movie, including the casting and how director/co-writer Christopher Nolan brought in co-writer David S. Goyer for his comic-book expertise. "Shaping Mind and Body" covers Christian Bale's fight training, and other featurettes discuss the sets (the Batcave is shown being constructed out of wood and sheets), the Batman costume, the Batmobile, the monorail sequence, and the hazards of filming in Iceland. All the behind-the-scenes featurettes are solid but somewhat routine, and while "The Journey Begins" is the widest overview, there's not really any centerpiece documentary (all are 8 to 15 minutes, and there's no Play All option). Interviewees tend to be the same throughout: Nolan, Goyer, Bale (the only cast member to get much face time), and other crew members (it's nice to hear from the stunt people).
Potentially more interesting to fans is "Genesis of the Bat," which covers the comic books that influenced the film, including "The Long Halloween", Neal Adams's Ra's Al Ghul from the '70s, Dennis O'Neill and Dick Giordano's "The Man Who Falls", and Frank Miller's "Batman: Year One" and "The Dark Knight Returns". Interviewees include DC Comics editor Paul Levitz and artist Jim Lee, but the latter's involvement eventually degrades the featurette into a pitch for DC's "All-Star Batman" line. Filling out the disc are overviews of four gadgets and eight characters, DVD-ROM features, and a variety of poster-art concepts. To get to the features menu, you have to scroll through a multipage Goyer-scribed comic book, which is a good read, but you can't skip it the next time you want to watch the second disc. Note that the second disc offers a French menu and French (but not English) subtitles for the featurettes. "--David Horiuchi"

Theatrical: 1995

Studio: Warner Home Video

Genre: Action & Adventure

Duration: 122

Summary: When Tim Burton and Michael Keaton announced that they'd had enough of the "Batman" franchise, director Joel Schumacher stepped in (with Burton as coproducer) to make this action-packed extravaganza starring Val Kilmer as the caped crusader. Batman is up against two of Gotham City's most colorful criminals, the Riddler (a role tailor-made for funnyman Jim Carrey) and the diabolical Two-Face (Tommy Lee Jones), who join forces to conquer Gotham's population with a brain-draining device. Nicole Kidman plays the seductive psychologist who wants to know what makes Batman tick. Boasting a redesigned Batmobile and plenty of new Bat hardware, "Batman Forever" also introduces Robin the Boy Wonder (Chris O'Donnell) whose close alliance with Batman led more than a few critics to ponder the series' homoerotic subtext. No matter how you interpret it, Schumacher's take on the "Batman" legacy is simultaneously amusing, lavishly epic, and prone to chronic sensory overload. "--Jeff Shannon"

Theatrical: 1992

Studio: Warner Home Video

Genre: Action & Adventure

Duration: 126

Summary: The first "Batman" sequel takes a wicked turn with the villainous exploits of the freakish and mean-spirited Penguin (Danny DeVito), whose criminal collaboration with evil tycoon Max Shreck (Christopher Walken) threatens to drain Gotham City of its energy supply. As if that weren't enough, Batman (Michael Keaton) has his hands full with the vengeful Catwoman (Michelle Pfeiffer), who turns out to be a lot more dangerous than a kitten with a whip. As with the first "Batman" feature, director Tim Burton brings his distinct visual style to the frantic action, but this time there's a darker malevolence lurking beneath all that extraordinary production design. "--Jeff Shannon"

Theatrical: 2008

Studio: Warner Bros. Animation

Genre: Action & Adventure

Duration: 75

Summary: Acclaimed screenwriters including David Goyer (Batman Begins) Josh Olson (A History of Violence) and Alan Burnett (Batman The Animated Series) join forces with revered animation filmmakers on six spellbinding chapters chronicling Batman?s transition from novice crimefighter to Dark Knight. These globe-spanning adventures pit Batman against the fearsome Scarecrow the freakish Killer Croc and the unerring marksman Deadshot. Using an arsenal of high-tech gadgetry from Wayne Industries Batman?s ethical boundaries exist only where he chooses to place them leaving some fearful of his power. The sharp storytelling complemented by stylish art from some of the world?s most visionary animators masterfully depicts the blurred lines of Batman as man myth and legend.

This two disc set includes a ton of bonus features, as well as an exclusive DC Comics character guide, and a limited issue steelbook package!

Theatrical: 2003

Studio: Universal Studios

Genre: TV Series / Sci-Fi

Duration: 756

Summary: "Battlestar Galactica"'s Edward James Olmos wasn't kidding when he said "the series is even better than the miniseries." As developed by sci-fi TV veteran Ronald D. Moore, the "reimagined" "BG" is exactly what it claims to be: a drama for grown-ups in a science-fiction setting. The mature intelligence of the series is its greatest asset, from the tenuous respect between Galactica's militarily principled commander Adama (Olmos) and politically astute President Roslin (Mary McDonnell) to the barely suppressed passion between ace Viper pilot "Apollo" (a.k.a. Adama's son Lee, played by Jamie Bamber) and the brashly insubordinate Starbuck (Katee Sackhoff), whose multifaceted character is just one of many first-season highlights. Picking up where the miniseries ended (it's included here, sparing the need for separate purchase), season 1 opens with the riveting, Hugo Award-winning episode "33," in which Galactica and the "ragtag fleet" of colonial survivors begin their quest for the legendary 13th colony planet Earth, while being pursued with clockwork regularity by the Cylons, who've now occupied the colonial planet of Caprica. The fleet's hard-fought survival forms (1) the primary side of the series' three-part structure, shared with (2) the apparent psychosis of Dr. Gaius Baltar (James Callis) whose every thought and move are monitored by various incarnations of Number Six (Tricia Helfer), the seemingly omniscient Cylon ultravixen who follows a master plan somehow connected to (3) the Caprican survival ordeal of crash-landed pilots "Helo" (Tahmoh Penikett) and "Boomer" (Grace Park), whose simultaneous presence on Galactica is further evidence that 12 multicopied models of Cylons, in human form, are gathering their forces.
With remarkably consistent quality, each of these 13 episodes deepens the dynamics of these fascinating characters and suspenseful situations. While "BG" relies on finely nuanced performances, solid direction, and satisfying personal and political drama to build its strong emotional foundation, the action/adventure elements are equally impressive, especially in "The Hand of God," a pivotal episode in which the show's dazzling visual effects get a particularly impressive showcase. Original "BG" series star Richard Hatch appears in two politically charged episodes (he's a better actor now, too), and with the threat of civil war among the fleet, season 1 ends with an exceptional cliffhanger that's totally unexpected while connecting the plot threads of all preceding episodes. To the credit of everyone involved, this is frackin' good television.
DVD features
The fifth disc in "Battlestar Galactica"'s season 1 set is highlighted by eight comprehensive featurettes covering all aspects of the series, from its miniseries origins to standard surveys of production design, visual effects, and particulars of plot and character. For hardcore fans and anyone interested in TV production, nine out of 13 episodes, plus the disc 1 miniseries, are accompanied by intelligent and informative commentary originally provided as "BG" website podcasts, mostly by series developer and writer Ronald D. Moore, who provides tantalizing clues about developments in season 2. The "Series Lowdown" is a cast-and-crew promotional program originally broadcast to attract SciFi Channel viewers who were initially reluctant to embrace a "reimagined" "Battlestar Galactica". The strategy worked: First-season ratings left no doubt that the new "BG" was as good as--and in many ways better than--the original. "--Jeff Shannon"

Theatrical: 2005

Studio: Universal Studios

Genre: TV Series / Sci-Fi

Duration: 521

Summary: "Battlestar Galactica"'s season 2.5 (i.e., the final 10 episodes of the second season, plus an extended version of episode 10) picks up where season 2.0 (the first 10 episodes) left off: "Galactica"'s giddy reunion with the "Pegasus" had taken a sour turn when Admiral Cain (Michelle Forbes) went back on her word to Commander Adama (Edward James Olmos) and decided to integrate the crews, moving Apollo (Jamie Bamber) and Starbuck (Katee Sackhoff) to "Pegasus". The animosity, combined with an attack on Sharon (Grace Park), threatens to derail a golden opportunity for the fleet to strike the Cylons where they'll hurt, and stay hurt--their resurrection ship.
In many ways, Sharon is the central character. The attack lands Helo (Tahmoh Penikett) and the Chief (Aaron Douglas) in hot water; her impending baby remains the subject of heated debate among president Laura Roslin (Mary McDonnell), Commander Adama, and others; and a rebellious movement determined to force "Galactica" to give up the Cylon ends up threatening both Apollo and Starbuck and putting further strain on their already-shaky relationship. Dr. Baltar (James Callis) becomes even more intertwined with the Cylons when he discovers another version of Number Six (Tricia Helfer) on the "Pegasus", but is also in line to take over the presidency as Roslin's cancer reaches a critical stage. "Battlestar Galactica"'s inexorable dramatic arc sagged in a couple episodes during this run, but the terrific two-part season finale involving a presidential election, a glimmer of hope for humanity, and some unexpected turns of events makes for a thrilling springboard to season 3. "Battlestar" is often called the best sci-fi show on television, but that seems like damning it with faint praise; it's the best "drama" on television.
In addition to the 10 episodes, the three-DVD set has an extended version of the last episode of season 2.0, "Pegasus"; the extra 15 minutes include a longer conversation in which Cain reveals her plans to Adama. That episode has a commentary track by executive producers Ronald D. Moore and David Eick, Moore's podcast commentaries are on every other episode, Eick's "video blogs" serve as casual featurettes on series production, and there are numerous deleted scenes. "--David Horiuchi"

Theatrical: 2005

Studio: Universal Studios

Genre: TV Series / Sci-Fi

Duration: 953

Summary: The adventure of one of television's finest dramas continues with "Battlestar Galactica: Season Three", from the immensely popular SCI FI Channel series and Peabody Award-winning "Battlestar Galactica". The Colonies' survivors have found their hopes of eluding their Cylon pursuers dashed by an invasion and occupation of their new home. As the fate of all human life hangs in the balance, friends become enemies, enemies become unexpected allies, and decisions are made that will haunt some people for the rest of their lives. Relive all 20 episodes of the season that challenges everything you thought you knew about the "Battlestar Galactica" universe. Presented in Dolby 5.1 surround sound, the 6-disc set features over 15 hours of extensive special features, including the DVD exclusive extended version of the episode "Unfinished Business" containing 25 additional minutes of never-before-seen footage.

Bonus Features

Disc One
DELETED SCENES from episodes "Occupation", "Precipice", "Exodus"
Ronald Moore's Podcast Commentaries

Disc Two
DELETED SCENES from episodes "Collaborators", "Torn" and "A Measure of Salvation"
"Battlestar Galactica"- The Resistance Webisodes
David Eick's Video Blogs for episodes "Testimonials", "Who Dies", "Prosthetics", "Lucy and David" and "Introducing Bulldog"
Ronald Moore's Podcast Commentaries for episodes "Collaborators", "Torn" and "A Measure of Salvation"

Disc Three
DELETED SCENES from episode "Hero"
"Hero" Commentary with Executive Producer David Eick
David Eick's Video Blogs for episodes "Characters", "Adama on Adama" and "On the Road"
Episode 6 Read Through
Steve McNutt Gets a Video Blog
"The Soldier's Code: Leave No Man Behind"
Ronald Moore's Podcast Commentary for episode "Hero"
"Unfinished Business with Grace Park and Tahmoh Penikett"

Disc Four
DELETED SCENES from episodes "The Passage", "The Eye of Jupiter", "Rapture" and "Taking a Break from All Your Worries"
Ronald Moore's Podcast Commentaries for "The Passage", "The Eye of Jupiter", "Rapture" and "Taking a Break from all Your Worries"

Disc Five
DELETED SCENES from episodes "The Woman King", "A Day in the Life", "Dirty Hands" and "Maelstrom"
Ronald Moore's Podcast Commentaries for "The Woman King", "A Day in the Life", "Dirty Hands" and "Maelstrom"

Disc Six
DELETED SCENES from episodes "The Son Also Rises" and "Crossroads Parts 1 and 2"
Ronald Moore's Podcast Commentaries - "The Son Also Rises (with actor Mark Shappard and writer Michael Angeli)" and "Crossroads Parts 1 and 2"
David Eick's Video Blog for episode "Takin' A Break From All Your Worries" "On the Road: Part 2", "Some Guy Named Colin", "Building a Better Show", "Katee's Scrapbook"

Theatrical: 2005

Studio: Universal Studios

Genre: TV Series / Sci-Fi

Duration: 953

Summary: Limited edition gift set includes exclusive packaging, dog tags, and character profile book!

They've traveled millions of miles and defied relentless attackers, but nothing will prepare the human race for what lies ahead as "Battlestar Galactica 4.0" arrives on DVD! In ten gripping episodes, relive each pivotal moment as the civil war amongst the Cylons escalates and the quest for Earth continues. Loaded with riveting bonus features, this 4-disc set includes the unrated, extended version of "Battlestar Galactica: Razor" that never aired on television. Presented uninerrupted and in Dolby Digital 5.1 surround sound, it's the epic phenomenon that critics call "a truly great show!" (Mary McNamara, "Los Angeles Times")

Special features include an unrated extended version of "Battlestar Galactica: Razor", many behind-the-scenes featurettes, deleted scenes, and more!

Theatrical: 2008

Studio: New Line Cinema

Genre: Comedy

Duration: 102

Summary: A daffy, adorable, and very funny celebration of DIY spirit, "Be Kind Rewind" stars Mos Def ("The Hitchhiker's Guide to the Galaxy") as Mike, a clerk at a failing video store in a rundown New Jersey neighborhood. When his friend Jerry (Jack Black), who's been magnetized in a power station accident, wipes all of the videotapes blank, the two of them decide to recreate the movies themselves rather than face the store's owner (Danny Glover). The pure charm of "Be Kind Rewind" can't be captured in that spare plot synopsis. The blend of the movie's great cast (which also includes Mia Farrow, Melonie Diaz of "American Son", and Sigourney Weaver) and pitch-perfect writing and direction from writer-director Michel Gondry (director of "Eternal Sunshine of the Spotless Mind", writer-director of "The Science of Sleep") culminates in a truly delightful movie--sweet without being saccharine, richly comic without irony or sarcasm (which, given the presence of Black, is surprising), sentimental without losing sight of the hard edges of life. Mos Def turns in a standout performance, deeply sympathetic without a moment of grandstanding. An absolutely winning film. "--Bret Fetzer"

Theatrical: 1964

Studio: Miramax Entertainment

Genre: Musicals & Performing Arts

Duration: 87

Summary: The Fab Four from Liverpool--John Lennon, Paul McCartney, George Harrison, and Ringo Starr--in their first movie. Nobody expected "A Hard Day's Night" to be much more than a quick exploitation of a passing musical fad, but when the film opened it immediately seduced the world--even the stuffiest critics fell over themselves in praise (highbrow Dwight Macdonald called it "not only a gay, spontaneous, inventive comedy but it is also as good cinema as I have seen for a long time"). Wisely, screenwriter Alun Owen based his script on the Beatles' actual celebrity at the time, catching them in the delirious early rush of Beatlemania: eluding rampaging fans, killing time on trains and in hotels, appearing on a TV broadcast. American director Richard Lester, influenced by the freestyle French New Wave and British "Goon Show" humor, whips up a delightfully upbeat circus of perpetual motion. From the opening scene of the mop tops rushing through a train station mobbed by fans, the movie rarely stops for air. Some of the songs are straightforwardly presented, but others ("Can't Buy Me Love," set to the foursome gamboling around an empty field) soar with ingenuity. Above all, the Beatles express their irresistible personalities: droll, deadpan, infectiously cheeky. Better examples of pure cinematic joy are few and far between. "--Robert Horton"

Theatrical: 1965

Studio: Repnet

Genre: Comedy

Duration: 62

Summary: After the worldwide success of "A Hard Day's Night", the Beatles and director Richard Lester reunited for a follow-up film, "Eight Arms to Hold You". Well, that wasn't the final title; a pleading Lennon-McCartney tune provided the catchier handle: "Help!" A loose semispoof of the globe-trotting James Bond pictures, "Help!" has always been considered a somewhat disorganized comedown from its predecessor; but it presents "the famous Beatles" even more clearly as the English cousins of the Marx Brothers. The plot has an Eastern religious cult declaring that the new ring on Ringo's finger is the key element in a human sacrifice; they will stop at nothing to obtain it. Meanwhile, a mad scientist (crazed Victor Spinetti, who also appeared in "A Hard Day's Night" and "Magical Mystery Tour") believes that if he has the ring, he could--dare we say it?--rule the world. The songs, including "Ticket to Ride" and "You've Got to Hide Your Love Away," are filmed with gleeful ingenuity, in locations such as the Bahamas, an Austrian ski resort, and the Salisbury Plain. The relentless nonsense becomes nearly the equivalent of a swinging-'60s "Alice in Wonderland": for instance, Paul shrinks to the size of a gum wrapper, John fishes a season ticket out of his soup, George wears a top hat on the ski slopes, the lads sing the "Ode to Joy" to a lion. Oh, and the film is dedicated to Elias Howe, "who in 1846 invented the sewing machine." Brilliant. "--Robert Horton"

Theatrical: 1967

Studio: Repnet

Genre: Musicals & Performing Arts

Duration: 60

Summary: This 1968 oddity is probably a film only a total Beatlemaniac could love, but it carries both musical and historical resonance. It also gives intimations of what would happen in the next 30 years as artists gained more and more power over how they were presented. The roots of virtually any rock star's vanity project (including Prince's "Under the Cherry Moon") can be traced to this little Liverpudlian home movie. Fresh from the success of their films "A Hard Day's Night" and "Help!", and still under the influence of the intoxicants of the era, the Beatles set out to make their own fancifully psychedelic project. What they got out of it was, essentially, a knock-off album with a few good songs and a lot of filler, which is more than can be said for this alternately self-indulgent and mildly amusing British version of Ken Kesey's magic bus tour. Using some of their favorite actors (including Victor Spinetti, who was in their first two movies), the Beatles make an alternative British travelogue, stopping occasionally to sing songs like "I Am the Walrus" and "The Fool on the Hill." Strictly for completists. "--Marshall Fine"

Theatrical: 1968

Studio: Mgm/Ua Studios

Genre: Musicals & Performing Arts

Duration: 90

Summary: This restored, animated valentine to the Beatles offers viewers the rare chance to see a work that's been substantially improved by its technical facelift, not just supersized with extra footage. Recognizing that its song-studded soundtrack alone makes "Yellow Submarine" a video annuity, United Artists has lavished a frame-by-frame refurbishment of the original feature, while replacing its original monaural audio tracks with a meticulously reconstructed stereo mix that actually refines legendary original album versions.
What emerges is a vivid time capsule of the late '60s and a minor milestone in animation. The music represents the quartet's zenith--"Rubber Soul", "Revolver", and "Sgt. Pepper's Lonely Hearts Club Band". The story line, cobbled together by producer Al Brodax and a committee of writers, is a broad, feather-light allegory set in idyllic Pepperland, where the gentle citizens are threatened by the nasty, music-hating Blue Meanies and their surreal arsenal of henchmen, with the Beatles enlisted to thwart the bad guys. Visually, designer Heinz Edelmann mixes the biomorphic squiggles, day-glo palette, and Beardsley-esque portraits of Peter Max with rotoscoped still photographs and film; Edelmann's animated collages also nod to Andy Warhol and Magritte in properly psychedelic fashion, which works wonderfully with such terrific songs.
High orthodox Beatlemaniacs can still grouse that the animated Fab Four are (literally) flat archetypes, but that's missing the sheer bloom of the music or the giddy, campy fun of the visuals. Making sense of the story is second to submerging blissfully in the sights and sounds of this video treat. "--Sam Sutherland"

Theatrical: 2004

Studio: Funimation Prod

Genre: Anime

Duration: 650

Summary:

Theatrical: 1999

Studio: Universal Studios

Genre: Comedy

Duration: 112

Summary: A puppeteer discovers a portal that leads literally into the head of the movie star, John Malkovich.

Theatrical: 1996

Studio: Polygram Video

Genre: Comedy

Duration: 78

Summary: Absolutely brilliant, nothing better than all the funniest and best bits of Mr Bean on one tape! It goes into each clip as mr bean is searching in his attic for an umbrella and finds little reminders which lead to his antics! - then amusing circumstances at the end in the attic!..
All your favourite scenes from when he meets the queen, the turkey! and many many more, you're definitely in for some laughs with this, it's great for the kids and all the family! I recommend the whole Mr Bean series!

Theatrical: 2004

Studio: Adv Films

Genre: Anime / Adventure

Duration: 91

Summary: In an alternate postwar timeline, Japan is devided into the Union-controlled North and the US-controlled South.

Theatrical: 2003

Studio: Sony Pictures

Genre: Drama

Duration: 125

Summary: The story is about a son (William Bloom) trying to learn more about his dying father (Albert Finney) by reliving stories and myths his father told him about himself.

Theatrical: 1998

Studio: Polygram USA Video

Genre: Comedy

Duration: 117

Summary: After the tight plotting and quirky intensity of "Fargo", this casually amusing follow-up from the prolifically inventive Coen (Ethan and Joel) brothers seems like a bit of a lark, and the result was a box-office disappointment. The good news is, "The Big Lebowski" is every bit a Coen movie, and its lazy plot is part of its laidback charm. After all, how many movies can claim as their hero a pot-bellied, pot-smoking loser named Jeff "The Dude" Lebowski (Jeff Bridges) who spends most of his time bowling and getting stoned? And where else could you find a hairnetted Latino bowler named Jesus (John Turturro) who sports dazzling purple footgear, or an erotic artist (Julianne Moore) whose creativity consists of covering her naked body in paint, flying through the air in a leather harness, and splatting herself against a giant canvas? Who else but the Coens would think of showing you a camera view from inside the holes of a bowling ball, or an elaborate Busby Berkely-styled musical dream sequence involving a Viking goddess and giant bowling pins? The plot--which finds Lebowski involved in a kidnapping scheme after he's mistaken for a rich guy with the same name--is almost beside the point. What counts here is a steady cascade of hilarious dialogue, great work from Coen regulars John Goodman and Steve Buscemi, and the kind of cinematic ingenuity that puts the Coens in a class all their own. Be sure to watch with snacks in hand, because "The Big Lebowski" might give you a giddy case of the munchies. "--Jeff Shannon"

Theatrical: 2000

Studio: BBC Warner

Genre: TV Series / Comedy

Duration: 346

Summary: "It's not big and it's not a train. It's just funny." "Big Train" steams out of the comedy tunnel as realism meets utter stupidity in a cavalcade of daft sketches performed by high-quality actors in stunning costumes and vast sets reminiscent of the worst excesses of DW Griffith. There are also lots of sketches in offices. Along the way we meet shy policemen, pop stars chasing jockeys, a duck in danger, hens in armed combat, a confused Transport Minister, highly charged sexual politics and casual, though necessary, violence.
DVD Features:
Audio Commentary:Cast & Crew commentary
Biographies:Cast & crew bios
Deleted Scenes
Other:Material from:'Geht's Noch', the German version of Big Train
Photo gallery
Audio Commentary:Cast & crew commentary
Biographies:Cast & crew bios
Deleted Scenes
Photo gallery

Theatrical: 2004

Studio: Sony Pictures

Genre: Art House & International

Duration: 90

Summary: Words really do get in the way in "3-Iron", a strange, poignant South Korean film from director Kim Ki-Duk ("Spring, Summer, Fall, Winter... and Spring") in which the central character doesn't utter a single word. It's not explained why the puck never speaks, but it adds an element of mysticism to this love story that's at once humorous and disturbing. In this case, the knight in shining armor, Tae-Suk (Hee Jae) is a vagabond who supports himself by breaking into people's homes when they're on vacation. But rather than steal possessions, he cooks himself a meal, carefully washes the dishes, takes a bath, does their laundry, fixes anything broken, sleeps in their pajamas, and leaves each home spic and span. One day he trespasses on the home of a battered wife (Seung-yon Lee) who's still home. Fascinated, she leaves her husband and joins in his adventures, until one of their random break-ins gets them in trouble and the couple is forced apart.
Adding in a reliance on some stunning visuals, "3-Iron" does a good job filling itself out in a non-implicit way. In this case, compliments and banter aren't needed to tell you that the pair has found a bond that no one can wrest away from them. The ending may tickle suspended reality (it's either becoming supernatural or someone's a lot more nimble than we thought), but it's still a poetic conclusion to this twisted fairy tale. "--Ellen A. Kim"

Theatrical: 1989

Studio: BBC

Genre: TV Series / Comedy

Duration: 30

Summary: I'd already purchased the first three when this came out, but I got it anyway. There are five discs for four series, with series four comprising two discs, but really, the only thing I can see different is the box; there are no bonuses, unless you count the box.



Series one and two flow into each other quite well with recurring characters such as the yelling promoters of Utoxeter (Daaaaamn!!!) and Tony and Control of MI5, but it seems Fry and Laurie had not expected to continue on to three and four, and so came up with conclusions for many of their regular sketches. Holding this thought, series three has a very different air. For instance, there are more musical segments (like my favorite "Kickin' Ass"), and Mr Music playing out each episode while Stephen Fry mixed a strange (often frightening) concoction. I thought they had found their groove in this series... Only to lose it in series four.



Word is that the series was moved to BBC1, and Fry and Laurie lost much of their creative freedoms. For example, they now had guest stars, such as Caroline Quentin (Men Behaving Badly) and Robert Daws (Jeeves and Wooster), who didn't really play any vital roles. Hugh Laurie did a musical segment in each episode, all of which were wonderful and helped the series like a crutch. While series four was awkward, it still had its moments (usually having nothing to do with the guest stars). Why seven episodes had to be broken into two discs, I don't know.



While series one and two were united by recurring characters, series three and four were connected by Mr Music. But what made this programme "A Bit of Fry and Laurie" (besides Stephen Fry and Hugh Laurie, duh) were the vox pops between sketches.



This is definitely a must-have for fans of Fry and Laurie.

Theatrical: 2000

Studio: Channel 4 DVD

Genre: TV Series / Comedy

Duration: 426

Summary: One of the few genuinely outstanding British comedy shows of the past decade, "Black Books" unites excellent comedic performances, very funny scripts, and plenty of rewatch value.
The concept is simple enough. Bernard (expertly played by Dylan Moran) runs a bookshop. The only problems are he can't stand people, hates customers, and would far prefer to be barking out cutting remarks and drinking wine. Still, it's after drinking much of the aforementioned wine that he offers Manny (Bill Bailey, again in terrific form) a job. Manny accepts, and finds his daily life involves taking abuse from Bernard, while remaining strangely and resolutely upbeat. Fran (Tamsin Greig) meanwhile also likes her wine, and finds herself stuck between the two of them, with a few odd encounters of her own thrown in too.
So far nothing particularly out of the ordinary, right? Well, mix in some of the creative force behind "Father Ted", combine those aforementioned performances, and simmer to the point where episode after episode garners a cocktail of sniggers and belly laughs, and you have something really rather special. Like many of the best shows, the curtain has come down on "Black Books" after only three series. But the long-lasting legacy are episodes that are set to be enjoyed for a long, long time to come. --"Simon Brew"

Theatrical: 1982

Studio: Warner Home Video

Genre: Science Fiction

Duration: 117

Summary: When Ridley Scott's cut of "Blade Runner" was finally released in 1993, one had to wonder why the studio hadn't done it right the first time--11 years earlier. This version is so much better, mostly because of what's been eliminated (the ludicrous and redundant voice-over narration and the phoney happy ending) rather than what's been added (a bit more character development and a brief unicorn dream). Star Harrison Ford originally recorded the narration under duress at the insistence of Warner Bros. executives who thought the story needed further "explanation"; he later confessed that he thought if he did it badly they wouldn't use it. (Moral: never overestimate the taste of movie executives.)
The movie's spectacular futuristic vision of Los Angeles--a perpetually dark and rainy metropolis that's the nightmare antithesis of "Sunny Southern California"--is still its most seductive feature, another worldly atmosphere in which you can immerse yourself. The movie's shadowy visual style, along with its classic private-detective/murder-mystery plot line (with Ford on the trail of a murderous android, or "replicant"), makes "Blade Runner" one of the few science fiction pictures to legitimately claim a place in the "film noir" tradition. And, as in the best "noir", the sleuth discovers a whole lot more (about himself and the people he encounters) than he anticipates. The cast also includes Sean Young, Edward James Olmos, Daryl Hannah Rutger Hauer and M Emmet Walsh. "--Jim Emerson"

Theatrical: 2005

Studio:

Genre: Anime / Action

Summary: A young girl named Saya combats vicious, shape-shifting demons in Okinawa, 2005.

Theatrical: 2006

Studio: 20th Century Fox Home Entertainment

Genre: Comedy

Duration: 83

Summary: he's an anti-semite who speaks fluent hebrew. he's a homophobe who enjoys the 'friendly natives' at a gay rights parade. he's a racist who seems genuinely curious when he meets blacks. he's the creation of sasha baron cohen, himself jewish so the allegations of anti semitism (sp) simply don't wash. likewise he is not poking fun at kazakhstan, merely people's perceptions of something they know precious little about.
where this film works in comparison to say the ali g movie is that it is relatively plot free. whereas the former unwisely tried to pidgeonhole the character, here the premise is flimsy. our hero travels to the us with his manager (who does a mean oliver hardy impression), falls in love with pamela anderson and travels to the west coast to meet and marry her, changeing people's lives as he goes.
where it works too is by exposing this crude, ignorant buffoon to an unsuspecting public and focussing on their reactions of disgust, horror, bemusement, sympathy or agreement (to be fair, the ali g show did something on similar lines). sure its been done before but not to the twin aims of getting laughs and revealng certain people for what they really are. off guard we see an appallingly racist/ homophobic (and seemingly, after the furore/ lawsuits this film has generated, unapologetic) rodeo manager and some drunken fratboys revealed to be, well, idiots basically.
gloriously funny throughout (and i think stopped before the joke wore thin). one scene which has been mentioned by other reviewers had me laughing so hard i thought i was going to throw up (you probably know the scene i'm talking about). other highlights include the rodeo scene (wonder how many people in the audience did a double take on hearing 'war of terror'), which included an incredibly funny faux-kazakhstani national anthem sung to the tune of the star spangled banner ("all other countries are run by little girls" indeed). its a wonder that girl managed to stay on her horse as long as she did. i admit on first viewing i was slightly disappointed he didn't do much to the christians. after watching it again though i realised the truth...they're doing it to themselves.
in short this is a film where you laugh while at the same time being appalled. borat is not here to pander to anyone's sensibilities - he's here to show us who we are. public beware, he's got a mirror

Theatrical: 1988

Studio: Warner Home Video

Genre: Action & Adventure

Duration: 180

Summary: Not to be confused with the 2002 Matt Damon big-screen version, this adaptation of "The Bourne Identity" is a 1988 two-part TV miniseries based on the Robert Ludlum paperback bestseller. "How can I find out who I am if I've been turned into another person?", cries amnesiac Richard Chamberlain, fished out of the sea by drunken doc Denholm Elliott, who patches him up and discovers a Swiss bank account number sewn into his thigh. Coming to believe that he is Jason Bourne, international assassin, our hero is sought after by the CIA, several European police forces and the gang of an evil terrorist. He hooks up with unlikely economist Jaclyn Smith to get to the bottom of the mystery, stay alive and face the big baddie.
Stretched over three hours, this has room for a lot of the complex plot dropped from the big-screen movie, but it also means that the thrills are often interrupted by soap opera scenes. Chamberlain is perhaps too aptly cast as a man without an identity, but Smith matches him for lack of expression without any excuse given in the script. Aside from Donald Moffatt and Shane Rimmer in the CIA, the supporting cast mostly consists of distinguished Brits delivering value-for-money ham, mostly with cod-French accents, especially Anthony Quayle as a DeGaulle-style General, Jacqueline Pearce as a dress-designing spy and Peter Vaughan as a heavy Swiss banker.
On the DVD: "The Bourne Identity", though made for TV, is presented in widescreen, which sometimes chops off the tops of actors' heads like breakfast eggs but mostly looks fine. There are optional English subtitles. --"Kim Newman"

Theatrical: 2002

Studio: Universal Studios

Genre: Action & Adventure

Duration: 119

Summary: A man washes ashore, bullet-riddled and without memory, then races to elude assassins and recover from amnesia.

Theatrical: 2004

Studio: Universal Studios

Genre: Adventure

Duration: 120

Summary: Good enough to suggest long-term franchise potential, The Bourne Supremacy is a thriller fans will appreciate for its well-crafted suspense, and for its triumph of competence over logic (or lack thereof). Picking up where The Bourne Identity left off, the action begins when CIA assassin and partial amnesiac Jason Bourne (a role reprised with efficient intensity by Matt Damon) is framed for a murder in Berlin, setting off a chain reaction of pursuits involving CIA handlers (led by Joan Allen and the duplicitous Brian Cox, with Julia Stiles returning from the previous film) and a shadowy Russian oil magnate. The fast-paced action hurtles from India to Berlin, Moscow, and Italy, and as he did with the critically acclaimed Bloody Sunday, director Paul Greengrass puts you right in the thick of it with split-second editing (too much of it, actually) and a knack for well-sustained tension. It doesn't all make sense, and bears little resemblance to Robert Ludlum's novel, but with Damon proving to be an appealingly unconventional action hero, there's plenty to look forward to. --Jeff Shannon

Theatrical: 1975

Studio: First Run Features

Genre: Comedy

Duration: 90

Summary: Closely adapted from the acclaimed novella by Harlan Ellison, this postapocalyptic black comedy has emerged as a cult favorite since its release in 1975, when Don Johnson was a relative unknown and still years away from TV stardom on "Miami Vice." Here Johnson plays a young, libidinous loner named Vic who roams the postnuclear wasteland with his loyal dog, Blood, a remarkable hound with keen intelligence and the ability to telepathically communicate with his less-intelligent master. It's survival of the fittest, so food and sex are Vic's highest priorities, and he gets plenty of both when recruited into a mysterious underground society in desperate need of young fertile males. While Blood must fend for himself on the unfriendly surface, Vic realizes that he's an exploited prisoner and must escape to return to the canine friend he left behind. Thanks in large part to the sly wit of Blood (whose sarcastic voice is splendidly provided by Tim McIntire), this clever and disturbing film readily earns its lasting reputation as a low-budget classic, and features a funny yet chilling supporting role for Jason Robards Jr. "--Jeff Shannon"

Theatrical: 1992

Studio: Paramount

Genre: Comedy

Duration: 79

Summary: BRAIN DONORS is the hilarious story about a wealthy widow Lillian (Nancy Marchand) who decides to found a ballet company after getting legal advice from her lawyer Roland Flakfizer (Turturro). Before long, she has two incapable assistants including a useless jack-of-all-trades and master of none named Jacques (Nelson) and Rocco (Smith) who is a cab driver whose credentials include pool cleaner, liposuctioner and toupee salesman. The result is an outrageously funny attack on high society as the characters unintentionally create a mess out of every endeavor.

Theatrical: 1985

Studio: Universal Studios

Genre: Comedy

Duration: 131

Summary: A bureaucrat in a retro-future world tries to correct an administrative error and himself becomes an enemy of the state.

Theatrical: 1961

Studio: Paramount

Genre: Romance

Duration: 115

Summary: A young New York socialite becomes interested in a young man who has moved into her apartment building.

Theatrical: 2007

Studio: Cineclick Asia

Genre: Drama

Duration: 84

Summary:

Theatrical: 2007

Studio: Walt Disney Video

Genre: Drama

Duration: 94

Summary: Based on Katherine Paterson's young-adult novel and filmed in picturesque New Zealand, Bridge to Terabithia has lessons to impart about empathy and self-expression, but the tone is never heavy-handed. Jesse (sleepy-eyed Josh Hutcherson, "Zathura"), a fifth-grade loner, lives in the country with his parents and four sisters, including pesky May Belle (Bailee Madison), who adores him. His strict father (Robert Patrick, "The Terminator 2") works in a hardware store. Money is tight and classmates make fun of his hand-me-downs, so Jesse finds refuge in running and drawing. Everything changes when two writers and their daughter Leslie (wide-eyed AnnaSophia Robb, "Charlie and the Chocolate Factory") move in next door. Leslie is faster than all the boys, which initially puts Jesse off, but the two soon bond over their love of make-believe. In the forest, they find a creek that can only be crossed by rope. Leslie names the land on the other side Terabithia, where they imagine themselves rulers of the kingdom. Jesse and Leslie also connect with their unconventional music teacher, Ms. Edmonds (Zooey Deschanel, "Elf"), who encourages their creativity. Despite the tension at home, Jesse's personal life is finally coming together when the unthinkable happens. Will he revert to his anti-social ways or will he grow from the experience? Though aimed at all ages, pre-school students may find Terebithia's creatures frightening. For grade-school kids and up, however, there's much to savor in this smartly written, sensitively acted film. "--Kathleen C. Fennessy"

Theatrical: 2004

Studio: Universal Studios

Genre: Comedy

Duration: 108

Summary: Although it's been three years since we last saw Bridget (Renée Zellweger), only a few weeks have passed in her world. She is, as you'll remember, no longer a "singleton," having snagged stuffy but gallant Mark Darcy (Colin Firth) at the end of the 2001 film. Now she's fallen deeply in love and out of her neurotic mind with paranoia: Is Mark cheating on her with that slim, bright young thing from the law office? Will the reappearance of dashing cad Daniel Cleaver (Hugh Grant) further spell the end of her self-confidence when they're shoved off to Thailand together for a TV travel story? If such questions also seem pressing to you, this sequel will be fairly painless, but you shouldn't expect anything fresh. Director Beeban Kidron and her screenwriters--all four of them!--are content to sink matters into slapstick, with chunky Zellweger (who's unflatteringly photographed) the literal butt of all jokes. Though the star still has her charms, and some of Bridget's social gaffes are amusing, the film is mired in low comedy--a sequence in a Thai women's prison is more offensive than outrageous--with only Grant's rakish mischief to pull it out of the swamp. "--Steve Wiecking"

Theatrical: 2001

Studio: Alliance (Universal)

Genre: Comedy

Duration: 97

Summary: A British woman is determined to improve herself while she looks for love in a year in which she keeps a personal diary.

Theatrical: 2005

Studio: Mca Home Video

Genre: Comedy

Duration: 106

Summary: Bill Murray gives yet another simple, seemingly effortless, yet illuminating performance in Jim Jarmusch's "Broken Flowers". Don Johnston (Murray, "Lost in Translation", "Rushmore") receives an anonymous letter telling him that he has a 19 year old son who's looking for him. Don only decides to investigate at the prompting of his neighbor Winston (the indispensable Jeffrey Wright, "Shaft", "Basquiat"), who not only tracks down the current addresses of the possible mothers, he plans Don's entire trip down to the rental cars. Almost against his will, Don finds himself knocking at the doors of four very different women (Sharon Stone, "The Quick and the Dead"; Frances Conroy, "Six Feet Under"; Jessica Lange, "Sweet Dreams"; and Tilda Swinton, "The Deep End") who were once his lovers. Part road movie, part detective story, part existential meditation, "Broken Flowers" is even more minimalist than most Jarmusch movies ("Stranger Than Paradise", "Dead Man", "Mystery Train")--anyone looking for an easy resolution should look elsewhere. But for anyone willing to let a movie be a poem as much as a story--i.e., let it observe behavior without explaining it--"Broken Flowers" will offer a wealth of mysteries, gestures, and Bill Murray's soulful eyes. It's a movie that's wonderfully eloquent about what's not being said. "--Bret Fetzer"

Theatrical: 2000

Studio: SonstigeStudios

Genre: Crime

Duration: 114

Summary: Contains all 10 episodes of the acclaimed miniseries made for HBO. A Steven Spielberg and Tom Hanks production.<br>Based on the book by Stephen E. Ambrose.

Theatrical: 2001

Studio: Miramax Films

Genre: Comedy

Duration: 98

Summary: A criminal subculture operates among U.S. soldiers stationed in West Germany just before the fall of the Berlin wall.