DVDpedia : Library : Title : D

Theatrical: 1967

Studio: Facets

Genre: Comedy

Duration: 74

Summary: Two bored dizzy gals on a colourful, dadaist adventure - I can't think of a film more removed from the social realism of the period. Whether you are into an intentional existential artificiality as sarcasm or just a wild ride, you can have either/or/both with Daisies. I love it.

Theatrical: 2007

Studio: 20th Century Fox

Genre: Comedy

Duration: 91

Summary: A year after the accidental death of their father, three drug-addicted brothers -- each suffering from depression - meet for a train trip across India. Francis, the eldest, has organized it. The brothers argue, sulk, resent each other, and fight. The youngest, Jack, estranged from his girlfriend, is attracted to one of the train's attendants. Peter has left his pregnant wife at home, and he buys a venomous snake. After a few days, Francis discloses their surprising and disconcerting destination. Amid foreign surroundings, can the brothers sort out their differences? A funeral, a meditation, a hilltop ritual, and the Bengal Lancer figure in the reconciliation.

Theatrical: 1998

Studio: New Line Home Video

Genre: Action & Adventure

Duration: 100

Summary: If you're a fan of brooding comic-book antiheroes, got a nihilistic jolt from "The Crow" (1994), and share director Alex Proyas's highly developed preoccupation for style over substance, you might be tempted to call "Dark City" an instant classic of visual imagination. It's one of those films that exists in a world purely of its own making, setting its own rules and playing by them fairly, so that even its derivative elements (and there are quite a few) acquire their own specific uniqueness. Before long, however, the film becomes interesting only as a triumph of production design. And while that's certainly enough to grab your attention ("Blade Runner" is considered a classic, after all), it's painfully clear that "Dark City" has precious little heart and soul. One-dimensional characters are no match for the film's abundance of retro-futuristic style, so it's best to admire the latter on its own splendidly cinematic terms. Trivia buffs will be interested to know that the film's 50-plus sets (partially inspired by German expressionism) were built at the Fox Film Studios in Sydney, Australia, home base of director Alex Proyas and producer Andrew Mason. The underground world depicted in the film required the largest indoor set ever built in Australia. Befitting a film of such ambition, the DVD includes a feast of bonus features, including audio commentaries by the director, producer, writers, and cinematographer, and also by film critic Roger Ebert, who named "Dark City" one of the best films of 1998. Also included is an isolated music track, an interactive game, and a photo gallery of production stills and set design sketches. "--Jeff Shannon"

Theatrical: 2008

Studio: Warner Home Video

Genre: Action & Adventure

Duration: 152

Summary: "The Dark Knight" arrives with tremendous hype (best superhero movie ever? posthumous Oscar for Heath Ledger?), and incredibly, it lives up to all of it. But calling it the best superhero movie ever seems like faint praise, since part of what makes the movie great--in addition to pitch-perfect casting, outstanding writing, and a compelling vision--is that it bypasses the normal fantasy element of the superhero genre and makes it all terrifyingly real. Harvey Dent (Aaron Eckhart) is Gotham City's new district attorney, charged with cleaning up the crime rings that have paralyzed the city. He enters an uneasy alliance with the young police lieutenant, Jim Gordon (Gary Oldman), and Batman (Christian Bale), the caped vigilante who seems to trust only Gordon--and whom only Gordon seems to trust. They make progress until a psychotic and deadly new player enters the game: the Joker (Heath Ledger), who offers the crime bosses a solution--kill the Batman. Further complicating matters is that Dent is now dating Rachel Dawes (Maggie Gyllenhaal, after Katie Holmes turned down the chance to reprise her role), the longtime love of Batman's alter ego, Bruce Wayne.
In his last completed role before his tragic death, Ledger is fantastic as the Joker, a volcanic, truly frightening force of evil. And he sets the tone of the movie: the world is a dark, dangerous place where there are no easy choices. Eckhart and Oldman also shine, but as good as Bale is, his character turns out rather bland in comparison (not uncommon for heroes facing more colorful villains). Director-cowriter Christopher Nolan ("Memento") follows his critically acclaimed "Batman Begins" with an even better sequel that sets itself apart from notable superhero movies like "Spider-Man 2" and "Iron Man" because of its sheer emotional impact and striking sense of realism--there are no suspension-of-disbelief superpowers here. At 152 minutes, it's a shade too long, and it's much too intense for kids. But for most movie fans--and not just superhero fans--"The Dark Knight" is a film for the ages. "--David Horiuchi"
Product description The follow-up to Batman Begins, The Dark Knight reunites director Christopher Nolan and star Christian Bale, who reprises the role of Batman/Bruce Wayne in his continuing war on crime. With the help of Lt. Jim Gordon and District Attorney Harvey Dent, Batman sets out to destroy organized crime in Gotham for good. The triumvirate proves effective, but soon find themselves prey to a rising criminal mastermind known as The Joker, who thrusts Gotham into anarchy and forces Batman closer to crossing the fine line between hero and vigilante. Heath Ledger stars as archvillain The Joker, and Aaron Eckhart plays Dent. Maggie Gyllenhaal joins the cast as Rachel Dawes. Returning from Batman Begins are Gary Oldman as Gordon, Michael Caine as Alfred and Morgan Freeman as Lucius Fox.
Blu-ray features: Movie with Focus Points (picture in picture) Explore your favorite movies through BD-Live™, an interactive gateway to exclusive content 2.40:1 aspect ratio, with IMAX sequences in 1.78:1Gotham Uncovered: Creation of a Scene: Director Christopher Nolan and creative collaborators unmask the incredible detail and planning behind the film, including stunt staging, filming in IMAX®, and the new Bat-suit and Bat-pod. Batman Tech: The incredible gadgets and tools (in HD) Batman Unmasked: The Psychology of The Dark Knight: Delve into the psyche of Bruce Wayne and the world of Batman through real-world psychotherapy (in HD)    Gotham Tonight: 6 episodes of Gotham Cable's premier news program  The Galleries: The Joker cards, concept art, poster art, production stills, trailers and TV spots Digital Copy of the feature film Stills from " The Dark Knight " (click for larger image)

Theatrical: 2007

Studio:

Genre: Anime

Duration: 675

Summary:

Theatrical: 1982

Studio: Sony Pictures

Genre: Action & Adventure

Duration: 149

Summary: This is the restored, 209-minute director's cut of Wolfgang Petersen's harrowing and claustrophobic U-boat thriller, which was theatrically re-released in 1997. Originally made as a six-hour miniseries, this version devotes more time to getting to know the crew before they and their stoic captain (Jürgen Prochnow) get aboard their U-boat and find themselves stranded at the bottom of the sea. "Das Boot" puts you inside that submerged vessel and explores the physical and emotional tensions of the situation with a vivid, terrifying realism that few movies can match. As Petersen tightens the screws and the submerged ship blows bolts, the pressure builds to such unbearable levels that you may be tempted to escape for a nice walk on solid land in the great outdoors--only you wouldn't dream of looking away from the screen. The digital video disc offers either the German-language version with English subtitles, or the dubbed-into English version; the Dolby Digital 5.1 soundtrack reproduces every chilling depth charge and metallic groan with nerve-racking clarity. Also included is a short feature on the movie's production, but the segment gives away a lot, so watch the movie first. "--Jim Emerson"

Theatrical: 1920

Studio: Image Entertainment

Genre: Drama

Duration: 71

Summary: Dr. Caligari's somnambulist, Cesare, and his deadly predictions.

Theatrical: 2005

Studio: Touchstone

Genre: Drama

Duration: 133

Summary: Gleich siebenmal wurde "Das Leben der Anderen" beim Deutschen Filmpreis 2006 ausgezeichnet - unter anderem für den besten Film, den besten Regisseur, das beste Drehbuch sowie den besten Haupt- und Nebendarsteller. Eine mehr als beachtliche Leistung für einen Debütfilm, der sich über all seine wohlverdienten Preise hinaus auch einen bedeutsamen Platz in der Geschichte des deutschen Kinos sicherte. Denn mit seinem Erstlingswerk setzte Regisseur und Autor Florian Henckel von Donnersmarck der bis dato von verklärend-verharmlosender Ostalgie á la "Goodbye, Lenin" geprägten filmischen Aufarbeitung der DDR-Geschichte ein nachhaltiges Ende.
Gänzlich ohne ironischen Spreewaldgurken-Charme fängt "Das Leben der Anderen" den erdrückenden Überwachungsalltag im real existierenden Sozialismus ein und zeichnet ein ebenso realistisches wie erschütterndes Bild über die Methoden der Macht und die Ohnmacht der Betroffenen. Meisterhaft erzählt der Film die Geschichte von Stasi-Offizier Gerd Wiesler (Ulrich Mühe), der mit der Observierung eines Künstlerpaares beauftragt wird und durch die unbemerkte Teilhabe an ihrem Leben still und langsam von seinem Ideologie-Glauben abfällt - und sich damit selbst in Gefahr bringt. Kongenial macht von Donnersmarck über das Schicksal der Einzelnen die Funktionsweise des gesamten Systems deutlich, verpackt in ein hochklassiges, packendes und von brillanten Darstellern getragenes Drama, das nicht nur national, sondern auch international zu den besten Filmen seines Jahrgangs zählte. -- "Frank-Michael Helmke"

Theatrical: 2004

Studio: Sony Music Entertain

Genre: Music Video

Summary:

Theatrical: 2002

Studio: Capitol

Genre: Music Video

Duration: 97

Summary: Tracklisting
1. Shine on You Crazy Diamond Parts 1-5
2. Terrapin
3. Fat Old Sun
4. Coming Back To Life
5. High Hopes
6. Je Crois Entendre Encore
7. Smile
8. Wish You Were Here
9. Comfortably Numb
10. Dimming of the Day
11. Shine On You Crazy Diamond Parts 6-8
12. A Great Day for Freedom
13. Hushabye Mountain
14. Dominoes
15. Breakthrough
16. Comfortably Numb

Theatrical: 1951

Studio: 20th Century Fox

Genre: Sci-Fi

Duration: 92

Summary: A hallmark of the science fiction genre as well as a wry commentary on the political climate of the 1950s, "The Day the Earth Stood Still" is a sci-fi movie less concerned with special effects than with a social parable. A spacecraft lands in Washington, D.C., carrying a humanoid messenger from another world (Michael Rennie) imparting a warning to the people of Earth to cease their violent behavior. But panic ensues as the messenger lands and is shot by a nervous soldier. His large robot companion destroys the Capitol as the messenger escapes the confines of the hospital. He moves in with a family as a boarder and blends into society to observe the full range of the human experience. Director Robert Wise ("West Side Story") not only provides one of the most recognizable icons of the science fiction world in his depiction of the massive robot loyal to his master, but he avoids the obvious camp elements of the story to create a quiet and observant story highlighting both the good and the bad in human nature. "--Robert Lane"

Theatrical: 1996

Studio: Homevision

Genre: Comedy

Duration: 103

Summary:

Theatrical: 2004

Studio: Nordisk

Genre: Action

Duration: 90

Summary: Finland released, PAL/Region 2 DVD: it WILL NOT play on standard US DVD player. You need multi-region PAL/NTSC DVD player to view it in USA/Canada. LANGUAGES: English (Dolby Digital 5.1), English (Dolby DTS 5.1), Danish (Subtitles), Finnish (Subtitles), Norwegian (Subtitles), Swedish (Subtitles), WIDESCREEN (2.35:1), SYNOPSIS: A young survival artist accidentally switches cell phones with a neurotic hit man and is forced to field all the killer's calls. SPECIAL FEATURES: Trailer(s), Interactive Menu,

Theatrical: 1995

Studio: Miramax

Genre: Western

Duration: 121

Summary: On the run after murdering a man, accountant William Blake encounters a strange Indian named "Nobody" who prepares him for his journey into the spiritual world.

Theatrical: 2007

Studio: MGM (Video & DVD)

Genre: Comedy

Duration: 91

Summary: Though it doesn't hit the same comic heights as "Bowfinger", "Death at a Funeral" is a fun little romp. Granted, not all of the characters are meant to be humorous, like Daniel (Matthew Macfadyen, "Pride & Prejudice") and his wife, Jane (Keeley Hawes, "Tristram Shandy"), straight-faced foils for the more over-the-top performers. After Daniel's father passes away, the couple offers to host the funeral, so all his relatives descend on the family abode, including Daniel's estranged brother, Robert (Rupert Graves, "V for Vendetta"). The mood is already tense when their cousin, Martha (Daisy Donovan), arrives with her nervous fiancé, Simon (Alan Tudyk, "Serenity"). On the way over, Simon takes a Valium that's actually a hallucinogenic concoction cooked up by Martha's pharmacology student brother. By the time they arrive, Simon's inhibitions are gone with the wind. Other guests include Uncle Alfie (Peter Vaughn) and an uninvited American mourner (Peter Dinklage). By the end of the movie, one of these individuals will be dead. Though he's worked in the States for several decades, director Frank Oz was born in the UK, and "Death at a Funeral" feels like the work of a British filmmaker. As drawing room comedies go, it may not rival "Arsenic and Old Lace", but it's still funnier than most. If the film has a flaw, it's one misjudged moment of scatological humor, which is sure to induce more cringes than giggles. Fortunately, it's over quickly, and Tudyk's hilarious performance provides ample compensation. --"Kathleen C. Fennessy"

Beyond "Death at a Funeral"
More from Frank Oz
More British Comedies
More from MGM


Stills from "Death at a Funeral"

Theatrical: 1992

Studio: Universal Studios

Genre: Comedy

Duration: 103

Summary: This 1992 black comedy by Robert Zemeckis ("Forrest Gump", "Who Framed Roger Rabbit", the Back to the Future trilogy) features some of the most eye-popping special effects of the '90s in its story of a narcissistic star (Meryl Streep) who steals the husband (Bruce Willis) of another woman (Goldie Hawn) and continues her rivalry with her even after death. A magic potion keeps both women going despite the punishment of murderous bullets and fatal plunges, and the joke is that even as they rot they remain vain about appearances. Though he's fashioned a one-note movie, Zemeckis gets a lot of mileage out of such impressive sights as Hawn walking around with a hole in her chest the size of a basketball, and Streep--her head and arms twisted 180 degrees--moving like a broken crab. It's weird, it's sick, it's hilarious, and the stars push the whole project to a classy entertainment. Isabella Rossellini is great as a scantily clad witch who sells the immortality brew. The DVD release has a full-screen presentation, optional French and Spanish soundtracks, optional Spanish subtitles, and Dolby sound. "--Tom Keogh"

Theatrical: 2006

Studio: Viz Video

Genre: Anime / Manga

Duration: 396

Summary: These LIVE ACTION MOVIES is based on Takeshi Obata & Tsugumi Oba's's best selling graphic novels, "Death Note". Light Yagami finds the "Death Note," a notebook with the power to kill, and decides to create a Utopia by killing the world's criminals, and soon the world's greatest detective, "L," is hired to find the perpetrator. An all out battle between the greatest minds on earth begins, the winner controlling the world.

Theatrical: 2007

Studio: Australian Film Finance Corporation (AFFC)

Genre: Drama

Duration: 105

Summary: The film is based on

Theatrical: 1997

Studio: New Line Home Video

Genre: Action & Adventure

Duration: 96

Summary: Woody Allen roared back at his detractors with "Deconstructing Harry", a bitterly funny treatise about the creative process. Known to mine his often tumultuous personal life for his movies, the embattled writer-director-star didn't bother to make his alter ego likable in this movie: Harry Block (Allen) pops pills, frequents prostitutes, and cheats on the women in his life, then writes about their foibles in thinly disguised fiction. No wonder they're all furious with him. As Harry journeys to his alma mater with a hooker, ill pal, and kidnapped son, a series of flashbacks unravel, juxtaposing Harry's relationships with their "slightly exaggerated" fictional counterparts. There are amusing cameos throughout, including a humorous turn by Demi Moore as a fictitious ex-wife who "became Jewish with a vengeance," and Billy Crystal as the devil who found Hollywood too nasty for his liking. The humor is dark and caustic, but well worth it; "Deconstructing Harry" is a near-brilliant mediation on the sometimes queasy relationship between art, creator, and critic. "--Diane Garrett"

Theatrical: 2004

Studio: Verve

Genre: Music Video & Concerts

Summary: Dee Dee Bridgewater has been so underrated as a jazz singer that we look at her now and ask: where have we been to miss her previous works?! Well it really doesn't matter because this DVD helps us understanding how much she has worked to arrive at this point of vocal and interpretation excellency. This DVD features songs from composer Kurt Weil and she really sings and swings wildly (like in «The Saga of Jenny»)... or simply sings a ballad that makes us stop and stare. Look out for «Here I'll Stay». Don't think twice. If you are into real jazz, not smooth jazz, then Dee Dee is for you. She will offer you samba, tango, jazz, flamenco and mainly good music.
www.bizarrologia.com/jazz.html

Theatrical: 2006

Studio:

Genre: Comedy

Duration: 95

Summary:

Theatrical: 2007

Studio: Bandai Visual Company

Genre: Anime

Duration: 650

Summary:

Theatrical: 2006

Studio: Warner Home Video - DVD

Genre: Crime

Duration: 149

Summary: At a certain point in Martin Scorsese's "The Departed," Irish crime boss Frank Costello (Jack Nicholson) asks one of his cronies how his mother is doing. "She's on her way out," the crony replies with a nervous smirk on his face. "We all are," says Costello. "Act accordingly." Clearly these lines have darkly humorous undertones that force giggles out of the audience. But by the time the end of the film is reached, they take on a completely different connotation. How appropriate for a film of amazing depth and complexity; one should never take lines like that for granted, especially when they're used for foreshadowing. Likewise, one should never take an entire film for granted. On the surface, "The Departed" is nothing more than an obscenely violent gangster flick. But at its core, it's a thought provoking character study, one that purposely and effectively raises questions about identity, loyalty, and trust.

As a filmmaker, Scorsese clearly knows how he wants the story to be told. You can tell this is so from the camera angles, editing techniques, dialogue, all of which hint at deeper meaning lying within a shallow facade of blood, bullets, and cruelty. This film makes use of some especially clever storytelling methods, made even better by subtle character development-methods. I don't know whether or not it matters that this is an American remake of "Mou Gaan Duo (Infernal Affairs)," the 2002 Hong Kong crime thriller directed by Siu Fai Mak. While Scorsese's version pays homage to the original story idea, it still seems as if it were made to stand on its own. And no wonder; such talent, both in front of and behind the camera, made for a truly unique film experience.

The opening scenes effectively hide Costello in shadow, as if to metaphorically say that the truth of the story is hidden throughout much of the film. In term of the characters and their knowledge, this is true; taking place in South Boston, the plot focuses on two moles, each from opposite sides of the law, each planted within their rival's respective organizations. It starts with Colin Sullivan (Matt Damon), who as a young boy was taken under Costello's wing and raised to be a criminal in the Irish mafia. As an adult, he infiltrates the Massachusetts State Police department as Costello's informer. What an interesting development; the police are desperately trying to catch Costello, but Sullivan's secretive interference foils every attempt. If there's any hope in cracking down on this ruthless crime boss, someone has to infiltrate his organization.

Here enters Billy Costigan (Leonardo DiCaprio), a young undercover cop whose dedication to the law is the result of terrible family connections. He meets the soft-spoken Oliver Queenan (Martin Sheen) and the hard nosed, foulmouthed Dignam (Mark Wahlberg), who both assign him to infiltrate the mob syndicate, specifically in an attempt to foil a deal with the Chinese mafia (which involves super high tech computer chips). Costigan is reluctant to be a part of the operation, especially since Dignam didn't exactly welcome him into the department. However, he agrees to take part. In order to convince Costello that Costigan is an actual criminal and not a cop, Costigan intentially serves time in jail. It's only after his sentence is served, and after a series of elaborately planed circumstances, that he joins with Costello. Initially, things go well for the case; Costigan quickly gains Costello's confidence, which in turn gives the police hope that enough evidence can be gathered.

Then things start to go downhill. Sullivan, who has yet to be discovered, is rising to a position of power in the Special Investigation Unit. What's worse, the department begins to suspect that a mole may in fact have been assigned as a police officer. Sullivan is told to weed out this mole, an act that understandably creates tension between various members of the department, espeically Sullivan and Dignam. It's also creating tension between Sullivan and the police psychiatrist, Madolyn (Vera Farmiga), who have recently started dating. She wants to know more about the man she thinks she loves, yet he continually evades her inquiries with his quick wit and devilish charm. He eventually tells her that certain aspects of his job can't be discussed, a quality she accepts while at the same time finds it troubling.

Things aren't going much better for Costigan, who's feeling more and more consumed by the role he's playing (he eventually begins to abuse perscription medications). His frustration goes even deeper when he shows feelings for Madolyn (as part of his job, he's required to meet with her every week). As carefully as he can, he gathers information about the organization he's become a part of, both the plans and the counter-plans. But through a mixture of mob-related events and Sullivan's insider tips for Costello (achieved by faking a phone conversation with his father), the threat of exposure suddenly looms over Costigan. The same threat faces Sullivan, whose involvement with the case makes it more and more difficult to remain on friendly terms with the department. For both men, it ultimately becomes a race to uncover the identity of the other mole.

The most fascinating moments in the film occur within the final forty-five minutes; without giving too much away, I can say that that period of time allows for the unveiling of crucial details and for certain characters to make decisions. It's also when a majority of the violence takes place, all of which is quick, brutal, and lacking in drama. The death scenes (and there are quite a few of them) are cold and unceremonious, indelicately accentuated with the sight of blood. I say "accentuated," but in reality, the gore isn't entertaining so much as it's a way of condemning the heartless world of crime, a world the audience knows Frank Costello will never leave. He's pure evil, right down to his graying goatee.

Of course, the violence factor is not a reason for recommending "The Departed." I want the moviegoing public to experience it for it's humanity, for it's willingness to show that people sometimes make choices for no apparent reason. The plot is a bit convoluted, and I have to admit that it took me a while to sort out all the intricate details. However, it's still something people should go see, if not for the character analysis, then for the strong performances and excellent direction. At last, it would seem that Martin Scorsese has returned to his roots in the crime genre. As far as I'm concerned, it couldn't have come at a better time.

Theatrical: 1987

Studio:

Genre: Fantasy

Duration: 127

Summary: An angel tires of overseeing human activity and wishes to become human when he falls in love with a mortal.

Theatrical: 2001

Studio: UFA

Genre: Comedy

Duration: 87

Summary:

Theatrical: 2004

Studio: Highlight

Genre: Drama

Duration: 156

Summary: Es war die meistdiskutierte Kino-Kontroverse Deutschlands im Jahr 2004: Darf man das? Darf man das historische Ungetüm Hitler und seine Schergen vermenschlichen, wie es in Bernd Eichingers monumentaler Großproduktion über die letzten Tage des Dritten Reiches im Führerbunker getan wird? Ob begeistert oder empört: Kalt gelassen hat "Der Untergang" nicht einen einzigen seiner über fünf Millionen deutschen Kinozuschauer. Unter der meisterhaften Regie von Oliver Hirschbiegel (Das Experiment) und basierend auf dem Tatsachenroman des Historikers Joachim Fest entstand hier ein markerschütterndes Porträt jener selbstherrlichen 'Götterdämmerung', in der die nationalsozialistische Führungsspitze ihren historischen Irrwitz zu Grabe trug – daueralkoholisiert dem Ende entgegen prostend, zum Artilleriefeuer auf den Tischen tanzend, und jederzeit die Pistole griffbereit für den finalen Gnadenschuss, ob für sich selbst oder geliebte Angehörige. In den klaustrophobischen Gängen und Räumen des Bunkers gewährt der Film seinen Zuschauern keine Distanz, erzwingt unmittelbare Nähe und Auseinandersetzung mit der Psychologie seiner Figuren und macht so diese historischen Monstrositäten greifbar, vermittelt glaubwürdig und authentisch den vom allgegenwärtigen Zusammenbruch angetriebenen Wahnsinn der versammelten Todgeweihten.
Angeführt vom Schweizer Bruno Ganz, dem unbestritten größten deutschsprachigen Bühnenschauspieler, trägt ein bis in die kleinsten Nebenrollen hochkarätig besetztes Ensemble (u.a. Heino Ferch, Corinna Harfouch, Juliane Köhler, Ulrich Matthes, Alexandra Maria Lara) mit brillant nuancierten Vorstellungen seinen entscheidenden Teil dazu bei, dass dieser filmische Drahtseilakt nie ins Plakative verfällt und dennoch beinahe jede Minute aufs Neue erschüttert. Als eines der ambitioniertesten Projekte der deutschen Filmgeschichte erweist sich "Der Untergang" als Meisterwerk epochaler Größe, das berechtigterweise mit einer Oscar-Nominierung als bester ausländischer Film geehrt wurde.-- "Frank-Michael Helmke"

Theatrical: 1996

Studio:

Genre: Comedy

Duration: 93

Summary:

Theatrical: 1997

Studio: Warner Home Video

Genre: Drama

Duration: 144

Summary: A hotshot lawyer gets more than he bargained for when he learns his new boss is Lucifer himself.

Theatrical: 2006

Studio: Showtime Ent. / Paramount

Genre: TV Series / Drama

Duration: 650

Summary: An interesting and original idea that's very skillfully executed, Showtime's "Dexter" is never less than watchable, often quite compelling, and sometimes thoroughly riveting. As the 12 episodes from the show's first season (packaged here in a four disc set) reveal, it's also the epitome of "high concept," a kind of "Silence of the Lambs" for the "C.S.I." generation. Creator-executive producer James Manos Jr.'s title character, one Dexter Morgan (played by Michael C. Hall of "Six Feet Under" renown), works for the Miami Police Department as an blood spatter analyst, visiting crime scenes and helping figure out what happened. He has an avocation, too: during his off hours, he tracks down some very, very bad people who for various reasons have eluded the proper authorities. Seems his adoptive father, a cop himself, taught the kid how to channel his dark side in a "positive" direction; and so, having captured these evildoers (including a child molester-murderer and a recidivist drunk driver with a trail of bodies in his wake), Dex dispatches them with clinical precision, thus making him a serial killer who snuffs serial killers. But there's more--"much" more, as it turns out. By his own description, Dexter is "a monster," an empty shell who fakes all human interactions and admits to no real feelings for anything or anyone, including his foster sister (Jennifer Carter) and his nominal girlfriend (Julie Benz), a former crack addict and battered spouse who's as uninterested in sex as he is. There's an explanation for Dexter's weirdness, of course, one so deep and traumatic that even he isn't aware of it. It's gradually revealed over the course of the season as he and the cops (who include Erik King, Lauren Velez, and David Zayas, all first-rate) track down the so-called "Ice Truck Killer," a fellow monster whose grisly m.o. both fascinates and taunts our hero, leading to a genuinely shocking and squirm-inducing finale. "Dexter" can be a bit arch, with an ironic, too-hip-for-the-room tone that get a little old. Still, it's a safe bet that anyone who views this first season will be salivating for the second. Extras include audio commentary on two episodes, a featurette about real-life blood spatter analysis, and a variety of DVD-ROM items. --"Sam Graham"

Beyond "Dexter"
More TV Head-cases on DVD
The Book that Started It All
More from Showtime Stills from "Dexter: The First Season" (click for larger image)

Theatrical: 2006

Studio: Showtime Ent. / Paramount

Genre: TV Series / Drama

Duration: 636

Summary: The dead bodies of 18 victims are accidentally found in an underwater graveyard. The killer, who becomes known as The Bay Harbor Butcher, has dismembered his victims' bodies and wrapped all the pieces in plastic bags. Soon a task force of FBI agents and police officers is assembled to investigate the case and one of their first discoveries is that The Bay Harbor Butcher only kills other killers. If you watched season 1, then you already know who the Butcher is: Dexter Morgan. And you might also be able to tell that this story is really tense. Special Agent Lundy, leader of the task force, is brilliant and usually able to outsmart Dexter. Sergeant Doakes becomes Dexter's archenemy. He is sure that Dexter is hiding a secret and won't give up until he finds out what it is. In a Narcotics Anonymous meeting, Dexter meets a beautiful and unconventional woman, Lila, who has a dark side of her own and makes Dexter feel good about himself, because she believes no one is all evil. Rita, on the other hand, isn't very happy about Dexter's new friend. New relevations about Harry will make Dexter even more uncomfortable, as if he didn't have troubles enough.



In my opinion, this season managed to be even better than season 1. Under federal investigation, Dexter's cool facade cracks and he becomes much more human. He makes a lot of mistakes and in a sense becomes a worse person. In season 1, the Ice Truck Killer was the bad guy, but in season 2, Dexter is "the root of all evil," as he himself said. When compared to honest police officers, Dexter's criminal activities look more criminal than ever. This was a nice change of perspective. Yes, Dexter only kills other killers, but it turns out that when his survival is at stake, all his masks fall and we can finally see the monster.

Theatrical: 1999

Studio: Sony Pictures

Genre: Animation

Duration: 374

Summary: After being fired from UPN's primetime line-up, this animated series based on Scott Adams's nationally syndicated comic strip has received a well-deserved promotion to DVD. Dilbert, the bespectacled potato-shaped engineer with the upwardly mobile tie, is the poster boy for the corporately disenfranchised. Though Adams's cynical, cubicle eye-view of corporate culture was somewhat co-opted by "The Drew Carey Show", animation gives the series a surreal flourish not possible in a live-action series. In the first episode, for example, we can see the devastation wreaked by an "all-natural" anthrax lozenge, and an interoffice riot sparked by budget cuts. Co-executive producer Larry Charles, whose resume includes "Seinfeld" and "Mad About You", wisely preserved Adams's Kafka-esque comic vision. Dilbert may "just want to make the world a better place," but that is difficult in a workplace where the Pointy-Haired Boss insists his employees first come up with a name for an as-yet-undeveloped product, employees literally give their souls to the company, and an evil cat reigns as an evil director of human resources loathe to help employees. As the old saying goes, it's funny because it's true. The voice cast are excellent hires, with Daniel Stern as Dilbert, Larry Miller as the clueless Boss, Kathy Griffin as sardonic co-worker Alice, and Chris Elliot as Dogbert. You don't have to have a refrigerator, cubicle wall, or computer festooned with yellowed "Dilbert" strips to appreciate the series. It will strike a beleaguered chord in fans of "Office Space" and "The Office", or anyone toiling for a company that loves misery. "--Donald Liebenson"

Theatrical: 2007

Studio: DreamWorks Home Entertainment

Genre: Drama

Duration: 104

Summary: Alfred Hitchcock fans may experience déjà vu upon exposure to this voyeuristic thriller. That's because director DJ Caruso ("The Salton Sea") and co-writer Carl Ellsworth ("Red Eye") use "Rear Window" as a jumping-off point before cherry-picking from more recent scare fare, like "The Blair Witch Project". In the prologue, 17-year-old Kale (Shia LaBeouf, "Holes") loses his beloved father to a car crash. A year passes, and he's still on edge. When a teacher makes a careless remark about his dad, Kale punches him out, and is sentenced to house arrest. After his mom (Carrie-Anne Moss, "Memento") takes away his Xbox and iTunes privileges, the suburban slacker spies on his neighbors to pass the time. In the process, he develops a crush on Ashley (Sarah Roemer, "The Grudge 2"), the hot girl next door, and becomes convinced that another, the soft-spoken Mr. Turner (David Morse, "The Green Mile"), is a serial killer. With the help of the flirtatious Ashley, practical joke-playing pal Ronnie (Aaron Yoo), and an array of high-tech gadgets, like cell-phone cameras and digital camcorders, Kale sets out to solve a major case without leaving his yard (a feat that would prove more challenging for a less affluent sleuth). In the end, it's pretty familiar stuff, but there are plenty of scares once Turner realizes he's being watched, and rising star LaBeouf, who next appears in Michael Bay's "Transformers", makes for an engaging leading man--despite his character’s propensity for slugging Spanish instructors. --"Kathleen C. Fennessy"

Beyond "Disturbia"
Why We Love Shia LaBeouf
The Soundtrack
Rear Window Stills from "Disturbia" (click for larger image)

Theatrical: 1967

Studio: Tango Entertainment

Genre: TV Series / Comedy

Duration: 280

Summary: Monty Python completists will especially appreciate "Do Not Adjust Your Set", a precursor to "Monty Python's Flying Circus" starring Terry Jones, Michael Palin, and Eric Idle, along with fellow writer-performers David Jason and Denise Coffey. Ostensibly a children's show, "Do Not Adjust Your Set" also includes the then-future Python Terry Gilliam lurking off-camera as an occasional animator, and the Bonzo Dog Doo-Dah Band with Neil Innes, an important collaborator on several Idle projects that lay ahead. A freewheeling sketch show from the late 1960s, originally broadcast on the Rediffusion network before switching to Thames Television, it's impossible not to see "Do Not Adjust Your Set" as a blueprint for "Flying Circus". The two hours' worth of material in this DVD set includes early versions of Palin's familiar role as an incompetent shopkeeper, in one instance selling shoe polish to a man who asks for bananas. The entire cast stars in a vignette about a classical music quartet whose instruments produce the sounds of an auto accident and an air raid. Terry Jones plays an insurance agent who wrecks Palin's house, and Idle essays his soon-to-be signature performance as a pleasant-sounding, BBC news reader spouting surreal headlines. This is a gold mine of Pythonesque comedy in an embryonic state, plus the Bonzo Dog Band performing "Death Cab for Cutie." "--Tom Keogh"

Theatrical: 1957

Studio:

Genre: War

Duration: 108

Summary:

Theatrical: 1970

Studio: Toho Company

Genre: Drama

Duration: 140

Summary: Episodes from the lives of a group of Tokyo slum-dwellers: Rokkuchan, a retarded boy who brings meaning and routine to his life by driving an imaginary streetcar; children who support their parents by scrounging or by tedious and ill-paying endeavours; schemers who plot or dream of escaping the shackles of poverty.

Theatrical: 1999

Studio: Columbia/Tristar Studios

Genre: Comedy

Duration: 130

Summary: The last known descendant of Christ is called upon to save the existence of humanity from being negated by two renegade angels trying to exploit a loophole.

Theatrical: 2003

Studio: Lions Gate

Genre: Drama

Duration: 177

Summary: A woman on the run from the mob is reluctantly accepted in a small Colorado town. In exchange she agrees to work for them. As a search visits town, she finds her their support has a price. Yet her dangerous secret is never far away...

Theatrical: 2001

Studio: 20th Century Fox

Genre: Thriller

Duration: 852

Summary: A modern retelling of the Oscar Wilde novel.

Theatrical: 1986

Studio: Criterion Collection

Genre: Comedy

Duration: 107

Summary: Down by Law, Jim Jarmusch's 1986 film has a premise that has been used by countless filmmakers: Guys who should never be friends end up in prison together, try to make a break for it, and end up as better people. The atmosphere is this film works; one can feel the foggy Louisiana bayou creeping up around them as these characters slog their way around. The problem is the acting; better, that Tom Waits and John Lurie, while doing an admirable job, are not natural actors, but musicians. It is Roberto Benigni, who many now recognize as a tremendous talent, who saves this film. In this, his first English-language performance, his character (aptly named Roberto) is charming, witty, and valiantly puts comradeship and friendship above all else. Benigni and the great Louisiana locations are the best reason to see this film.

Theatrical: 1964

Studio: Sony Pictures

Genre: Comedy

Duration: 96

Summary: Arguably the greatest black comedy ever made, Stanley Kubrick's cold-war classic is the ultimate satire of the nuclear age. "Dr. Strangelove" is a perfect spoof of political and military insanity, beginning when General Jack D. Ripper (Sterling Hayden), a maniacal warrior obsessed with "the purity of precious bodily fluids," mounts his singular campaign against Communism by ordering a squadron of B-52 bombers to attack the Soviet Union. The Soviets counter the threat with a so- called "Doomsday Device," and the world hangs in the balance while the U.S. president (Peter Sellers) engages in hilarious hot-line negotiations with his Soviet counterpart. Sellers also plays a British military attaché and the mad bomb-maker Dr. Strangelove; George C. Scott is outrageously frantic as General Buck Turgidson, whose presidential advice consists mainly of panic and statistics about "acceptable losses." With dialogue ("You can't fight here! This is the war room!") and images (Slim Pickens's character riding the bomb to oblivion) that have become a part of our cultural vocabulary, Kubrick's film regularly appears on critics' lists of the all-time best. "--Jeff Shannon"

Theatrical: 1992

Studio: Sony Pictures

Genre: Horror

Duration: 128

Summary: The vampire comes to England to seduce a visitor's fiance and inflict havoc in the foreign land.

Theatrical: 1995

Studio: Castle Rock

Genre: Comedy

Duration: 88

Summary: In 1995, it was promising to hear that Mel Brooks was creating "the companion piece to "Young Frankenstein"." He had also brought in the heavyweight of deadpan--Leslie Nielsen. As Lt. Frank Drebin in the "Police Squad" movies, Nielsen has no peer for silly stuff--just the player Brooks would seem to need for a strong movie, as any fan of Brooks perpetually hopes a new film may rekindle his madcap magic. Alas, the end results in "Dracula: Dead and Loving It" include a sprinkling of amusements and one big belly laugh. Brooks and his writers use a very tight adaptation of Bram Stoker's novel, but the spoofs can be spelled out as we go, as if they are paint-by-number. Some are jabs at Coppola's version of "Dracula", but most are attached to classic Dracula films. If any real pleasure comes from the movie it's thanks to the efforts of the cast. Peter MacNicol plays the crazed Renfield to the letter, Steven Weber has a good time as the tight British Harkin, and Lysette Anthony charms as the doomed Lucy. Brooks and Nielsen ham it up just fine. There's even a surprisingly controlled performance by Harvey Korman (a character spoofing Anthony Hopkins's role in the misfire "The Road to Wellville"). As with Brooks's period comedies, the film looks better than it needs to and includes a few tricky special effects for good measure. This has nothing to do with the audience laughing--we need bigger jokes. And when you double over laughing in one scene--involving a stake through the heart and a bucket of blood--you want the movie to achieve Brooks's days of glory, when hearty laughter was the norm, not an isolated moment. "--Doug Thomas"

Theatrical: 1996

Studio: Universal Studios

Genre: Action & Adventure

Duration: 93

Summary: In the closing paragraph of his 1996 review of "Dragonheart", noted critic Roger Ebert summed up this adventurous fantasy quite nicely: "While no reasonable person over the age of 12 would presumably be able to take it seriously, there is nevertheless a lighthearted joy to it, a cheerfulness, an insouciance, that recalls the days when movies were content to be fun." That's precisely the quality that makes "Dragonheart" so appealing, despite the fact that it didn't exactly take flight and breathe fire at the box office. The movie takes itself seriously without sacrificing the wit and cleverness that make it so entertaining. It's about the last of the great dragon slayers, Bowen (Dennis Quaid), who teams up with the last of the great dragons, Draco (and voiced by Sean Connery), after they realize that killing each other would put them both out of business! So they devise a bogus dragon-slaying act that's a huge hit as they tour from village to village. Later, they must rouse the peasantry against the loutish Prince Einon (David Thewlis), whose life was once saved by Draco, but who now violates the "Old Code" of honor with a ruthless reign of terror. As Ebert rightly noted, "Dragonheart" is no masterpiece, and its story (which was originally conceived as a darker, more serious drama) isn't likely to capture everyone's heart (dragon or otherwise). But it's full of exciting action, witty dialogue, and gallant heroism, and in the presentation of a realistic talking dragon it's a milestone in computer-generated special effects, far surpassing the breakthroughs of "Jurassic Park" three years earlier. "--Jeff Shannon".

Theatrical: 2003

Studio: 20th Century Fox

Genre: Comedy

Duration: 115

Summary: A love letter to movies (and the French new wave of the 1960s in particular), Bernardo Bertolucci's "The Dreamers" starts with a 1968 riot outside of a Parisian movie palace then burrows into an insular love triangle. Matthew (Michael Pitt, "Hedwig and the Angry Inch"), an expatriate American student, bonds with a twin brother and sister, Isabelle (Eva Green) and Theo (Louis Garrel), over their mutual love of film--they not only quote lines of dialogue, they act out small bits and challenge each other to name the cinematic source. Matthew suspects the twins of incest, but that doesn't stop him from falling into his own intimacies with Isabelle. As the threesome becomes threatened, Paris succumbs to student riots. "The Dreamers" aspires to be kinky, but the results are more decorative than decadent; nonetheless, the movie's lively energy recalls the careless and vital exuberance of Godard and Truffaut. "--Bret Fetzer"

Theatrical: 1989

Studio: Warner Bros. Pictures

Genre: Drama

Duration: 119

Summary: This is essentially eight separate short films, though with some overlaps in terms of characters and thematic material - chiefly that of man's relationship with his environment. 'Sunshine Through The Rain': a young boy is told not to go out on the day when both weather conditions occur, because that's when the foxes hold their wedding procession, which could have fatal consequences for those who witness it. 'The Peach Orchard': the same young boy encounters the spirits of the peach trees that have been cut down by heartless humans. 'The Blizzard': a team of mountaineers are saved from a blizzard by spiritual intervention. 'The Tunnel': a man encounters the ghosts of an army platoon, whose deaths he was responsible for. 'Crows': an art student encounters 'Vincent Van Gogh' and enters the world of his paintings. 'Mount Fuji in Red': nuclear meltdown threatens the devastation of Japan. 'The Weeping Demon': a portrait of a post-nuclear world populated by human mutations. 'Village of the Watermills': a sunny portrait of a village whose population is entirely at one with nature.

Theatrical: 2007

Studio: FOX Broadcasting

Genre: TV Series / Action

Duration: 250

Summary:

Theatrical: 2006

Studio: Tartan

Genre: Drama / Comedy

Duration: 94

Summary: This movie has a fair bit of swearing but because it mostly comes from Julie Walter's mouth it didn't seem to matter. She is just the funniest woman ever. Rupert Grint played his part exceptionally well as the son of an overbearing religious mother who I detested from the start, all down to great acting though. Good and funny storyline, would definately recommend to family & friends.

Theatrical: 2000

Studio: 20th Century Fox

Genre: Comedy

Duration: 83

Summary: Two potheads wake up from a night of partying and can't remember where they parked their car.