DVDpedia : Library : Title : F

Theatrical: 1999

Studio: 20th Century Fox

Genre: Animation / Comedy

Duration: 48

Summary:
What better way to launch "Family Guy"'s sixth season and commemorate "Star Wars"' 30th anniversary than with this double-length Very Special Episode, a full-scale, awesomely animated spoof that recasts George Lucas' saga with "Family Guy"'s galaxy of characters: Chris (Seth Green) is Luke; Lois (Alex Borstein) is Princess Leia; Peter (Seth McFarlane) is Han Solo, but not, as expected, Jabba the Hut; Brian (Seth, again) is Chewbacca; Quagmire (and again, Seth) is C3PO; Cleveland is R2D2; Herbert, the creepy senior pedophile, is Obi-Wan (both voiced by Mike Henry); and, of course, Stewie (Seth, already) is Darth Vader ("My diapers have gone over to the dark side"). Poor Meg is reduced to a cameo as the hideous reptilian creature that haunts the garbage compactor. "Blue Harvest" is reverently faithful to "A New Hope", while engaging in typical "Family Guy" pop-culture references (everything from those old Grey Poupon commercials to "Doctor Who", "Airplane", "Dirty Dancing", and "Deal or No Deal") and bizarre digressions (the iconic opening crawl detours into an appreciation of a "way naked" Angelina Jolie in "Gia"). Along for the wild ride are Judd Nelson, who contributes a voice cameo as John Bender for a "Breakfast Club" gag, Rush Limbaugh railing against futuristic affirmative action on Tatooine talk radio, and Beverly D'Angelo and Chevy Chase as the vacationing Griswolds observing the rebellion from their orbiting station wagon. A "Star Wars" spoof in 2007 isn't exactly uncharted territory. As Chris Griffin notes in this episode's final moments, "Robot Chicken" brilliantly did it months earlier (and let us not forget Mel Brooks' "Spaceballs" from 1987; or, on second thought...). But the Force is strong with "Family Guy", and who could resist the opportunity to hear the Muzak playing in a Death Star elevator? --"Donald Liebenson"

Beyond "Family Guy: Blue Harvest"
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Stills from "Family Guy: Blue Harvest"

Theatrical: 1999

Studio: 20th Century Fox

Genre: TV Series / Animation

Duration: 624

Summary: To the ranks of shows too brilliant and outrageous for prime time ("The Ben Stiller Show", "Andy Richter Controls the Universe"), add Seth McFarlane's "Family Guy". This animated series, which debuted after the 1999 Super Bowl, simply sparked too much controversy and offended too many sensibilities to survive ("Entertainment Weekly" dubbed it "the Awful Show They Just Keep Putting on the Air"). That the Fox network also played hackysack with its schedule, ensuring viewers would not be able to find it, sealed its fate (it was cancelled in 2002). This boxed set containing all 28 episodes from the first two seasons is payback for the show's devoted cult following, who may be moved to echo the words of infant Stewie Griffin, the megalomaniacal 1-year-old bent on matricide and world domination: "Victory is mine!"
The dysfunctional Griffins of Quahog, Rhode Island, invite comparisons to "The Simpsons". The testicular-chinned father, Peter Griffin, is a clueless oaf in the Homer mold. "Peter, what did you promise me last night?" asks his long-suffering wife Lois in one episode. "That I wouldn't drink at the stag party," he replies. "And what did you do?" she asks. "Drank at the stag part--oh ho ho, I almost walked into that one," he cackles. Other family members include teenage daughter Meg, a desperate high school social pariah; 13-year-old son Chris, a chip off his father's blockhead; and Brian, the family's sarcastic talking dog. But this series' true inspiration is football-pated Stewie (voiced by McFarlane, who earned an Emmy), who was born to be a Bond villain once he escaped his mother's "ovarian bastille." "Family Guy" recklessly ventured where "The Simpsons" feared to tread. In one episode, Meg's one and only friend turns out to be the member of a suicidal cult. In another, Death (voiced by Norm McDonald) becomes an unwanted houseguest. Each episode plays fast and furious with surreal flashes (in one episode, Peter turns his house into a puppet) and pop-culture references and TV, movie, and commercial parodies that invite repeated viewings. Freed from its own family-hour bastille and the whims of dim network executives, "Family Guy" can be appreciated at last on its own profane, sacrilegious, and irreverent terms. Welcome to the DVD family, Griffins. "--Donald Liebenson"

Theatrical: 2003

Studio: 20th Century Fox

Genre: TV Series / Animation

Duration: 495

Summary: The third and final season of Seth MacFarlane's late, lamented "Family Guy" finds television's most dysfunctional cartoon family even more animated than usual. As MacFarlane notes in a bonus segment about the controversial series' censorship battles, he was inspired to go for broke, thinking that the series, already juggled like a hot potato in the schedule (at one point, it aired opposite the mighty "Friends"), had been cancelled. Just as "Spinal Tap" walked the fine line between "clever and stupid," so did "Family Guy" gleefully mock the line between "edgy and offensive." Case in point is this set's holy grail: "When You Wish Upon a Weinstein," not aired during the series' original run, in which clueless Rhode Island patriarch Peter Griffin is convinced that if his lumpen son is to be rich and successful, he must become Jewish.
Like "The Simpsons", "Family Guy" lends itself to multiple viewings to catch each densely packed episode's way-inside "one-percenter" gags (so-called by the creators because that is the percent of the audience who will get them), scattershot pop-culture references, surreal leaps, and gratuitous pot shots at everyone from, predictably, Oprah, Kevin Costner, and Bill Cosby to, unpredictably, Rita Rudner. Also like their Springfield counterparts, this series benefits from a great ensemble voice cast, with surprising contributions from a no-less-stellar roster of guest stars. Yes, that's actually Kelly Ripa as her "real" self, a heart-devouring alien in "Family Guy Viewer Mail #1," and June Foray popping in as Rocky the Flying Squirrel in "Brian Does Hollywood." "Family Guy"'s stock has recently risen with its addition to Cartoon Network's "Adult Swim" lineup, a much better fit than prime time. To see Peter invite Charles Manson to a party for Sharon Tate ("but only if you don't embarrass me") is to marvel how much of this ever got on the air. Happily, it is on DVD. "--Donald Liebenson"

Theatrical: 2004

Studio: 20th Century Fox

Genre: TV Series / Animation

Duration: 292

Summary: "Family Guy" lives! That's great news for the devoted fans who watched in record numbers the reruns on Cartoon Network and made the "Family Guy" DVDs bestsellers. It's bad news for Mel Gibson, Christina Aguilera, Justin Timberlake, Jimmy Fallon, Rob Schneider, Skeet Ulrich, Corey Haim, "My Two Dads", and other pop-culture detritus this show's writers take infinite delight in kicking when they're down (or up, for that matter). The long, long, awaited fourth season begins with a bravado broadside at Fox, which canceled "Family Guy" in 2002. Peter Griffin (voiced by series creator Seth MacFarlane) recites a litany of 29 doomed replacement shows beginning with "Dark Angel" and ending with "Greg the Bunny". From there, it's like the Griffins never left. The 13 episodes are just as dense with bodily function jokes, surreal nonsense, gratuitous pop-culture references (the more obscure, the better), and edgier gags that recklessly cross the line on any number of levels ("Maybe I was wrong about you," Jodie Foster says to John Hinckley in the episode, "Model Misbehavior." "Maybe I was wrong about all men.").
The new season rewards longtime viewers with appearances by such series icons as the Greased-Up Deaf Guy and the Evil Monkey in Chris's closet, and makes no concessions to newcomers to the show (who will no doubt be scratching their heads over the more than two-and-a-half-minute digression in "Blind Ambition," in which Peter's nemesis, the Giant Chicken, returns to continue the smackdown that started in the season 2 episode "Da Boom." In "World Domination: The "Family Guy" Phenomenon," one of the bonus features included on this three-disc set, MacFarlane proclaims these new shows to be "the best we've done." A bold claim, but often enough, one is laughing too hard to prove otherwise. One minute, "Family Guy" dazzles with inspired animation (In "Breaking Out Is Hard to Do," Chris reaches for a carton of milk at the supermarket and finds himself pulled in to A-ha's classic music video, "Take on Me"). The next, it's wallowing in vomit ("8 Simple Rules for Buying My Teenage Daughter"). In addition to the freewheeling episode commentaries, this set also includes a great bonus, excerpts of cast "table reads" of two episodes. Back to the "World Domination" featurette. MacFarlane states, "It's the first time since we've been doing (the show) that I think it's safe to say that we're here to stay for awhile." Are you listening, Fox? "--Donald Liebenson"

Theatrical: 1999

Studio: 20th Century Fox

Genre: TV Series / Animation

Duration: 246

Summary: Seth MacFarlane's animated comedy continues its assault on pop culture good taste and the Fox censors with its riotous fifth season. Even though nothing has really changed for the Griffin family there's still plenty of comedic ground to cover. Peter keeps his crown as the laziest man in Quahog Rhode Island but getting older means experiences that no man should have to go through. Meanwhile his beloved Lois is still far too sexy for her portly husband leading to a liaison with Bill Clinton. Son Chris joins a band but he can't seem to shake his fear of the evil monkey in his closet. Daughter Meg continues her tour of mediocrity with a job at a store in town while Brian the dog puts down his martini long enough to go beyond the bounds of Quahog and travel to Iraq. Baby Stewie remains intent on world domination and matricide but he takes some time off to connect with an ex-love. Volume five includes the first 13 episodes of the fifth season plus commentary deleted scenes and more to delight FAMILY GUY fans.System Requirements:Running Time: 379 Mins.Format: DVD MOVIE Genre: TELEVISION/SERIES & SEQUELS Rating: NR UPC: 024543461463 Manufacturer No: 2246146

Theatrical: 1999

Studio: 20th Century Fox

Genre: TV Series / Animation

Duration: 374

Summary: America's first family of comedy is back with its sixth volume of hilarity and hi-jinx.

Theatrical: 1983

Studio: Criterion

Genre: Art House & International

Duration: 188

Summary: One of the more upbeat and accessible films by acclaimed Swedish director Ingmar Bergman. Written by Bergman, this autobiographical story follows the lives of two children during one tumultuous year. After the death of the children's beloved father, a local theater owner, their mother marries a strict clergyman. Their new life is cold and ascetic, especially when compared to the unfettered and impassioned life they knew with their father. Most of the story is seen through the eyes of the little boy and is often told in dreamlike sequences. Colorful, insightful, and optimistic, this is far less grim than most of Bergman's work. It was awarded four of the six Oscars for which it was nominated, including Best Foreign Language Film. Though this was announced as his last film, Bergman continued to work into the late 1990s, though mostly for Swedish television. "--Rochelle O'Gorman"

Theatrical: 2004

Studio: Nippon Animation

Genre: Anime / Sci-Fi

Duration: 624

Summary:

Theatrical: 1964

Studio: DVD Magic

Genre: Comedy / Crime

Duration: 105

Summary: Also Known As:

Fantomas 70 (Italy)

This movie is the first in a trilogy that parodied the popular silent Fantomas serials of director Louis Feuillade, which followed the adventures of the titular master criminal created by writers Pierre Souvestre and Marcel Allain. After a daring jewelry heist signed "Fantomas," police commissioner Juve (Louis de Funès) goes on national television claiming that Fantomas doesn't exist and that there is no reason for public concern. Riding the wave of public interest, journalist Fandor (Jean Marais) publishes a bogus interview with the master criminal. Fantomas (also played by Jean Marais) doesn't appreciate the joke and kidnaps Fandor to teach him a lesson. A master of disguise, he pulls an even more daring robbery wearing the Fandor mask. Comic relief is provided by commissioner Juve's awkward attempts to capture the elusive arch-criminal.
Available audio tracks: original FRENCH and RUSSIAN (voice-over). NO ENGLISH SUBTITLES!!! ATTENTION: This is a PAL/Region ALL DVD. PAL is European video standard which WILL NOT play on regular R1 DVD player (multisystem PAL/NTSC compatible DVD player required). Please, get familiar with all details about DVD video standards to avoid any misunderstandings.

Theatrical: 1967

Studio: DVD Magic

Genre: Comedy / Crime

Duration: 104

Summary: Also Known As: Fantomas Against Scotland Yard, Fantomas contro Scotland Yard (Italy)

In the third installment of the parodic Fantomas series, the eponymous arch criminal imposes the "right-to-live" tax on the rich, threatening to kill those who dare not to pay. Journalist Fandor (Jean Marais) and commissioner Juve (Louis de Funès) are invited to the Scottish castle of Lord McRashley (Jean-Roger Caussimon), one of Fantomas' potential victims, who has decided to set a trap for the elusive fiend.
Available audio tracks: original FRENCH and RUSSIAN (voice-over). NO ENGLISH SUBTITLES!!! ATTENTION: This is a PAL/Region ALL DVD. PAL is European video standard which WILL NOT play on regular R1 DVD player (multisystem PAL/NTSC compatible DVD player required). Please, get familiar with all details about DVD video standards to avoid any misunderstandings.

Theatrical: 1965

Studio: DVD Magic

Genre: Comedy / Crime

Duration: 94

Summary: Also Known As: Fantômas contre Interpol (France), Fantômas revient (France), Fantomas Strikes Back,
Fantomas minaccia il mondo (Italy), The Vengeance of Fantomas

In the second installment of the parodic Fantomas series, the title arch criminal and master of disguise kidnaps prominent scientist Prof. Marchand in order to develop a new powerful weapon to threaten the world. Fantomas is also planning to kidnap another scientist, Prof. Lefebvre. Journalist Fandor (Jean Marais, who also plays Fantomas and Prof. Lefebvre) decides to set a trap for the elusive villain. He disguises himself as Lefebvre and attends a scientific conference in Rome expecting Fantomas to kidnap him. As always, Fandor's ingenious plan backfires due to the interference of the bumbling police commissioner Juve (Louis de Funès).
Available audio tracks: original FRENCH and RUSSIAN (voice-over). NO ENGLISH SUBTITLES!!! ATTENTION: This is a PAL/Region ALL DVD. PAL is European video standard which WILL NOT play on regular R1 DVD player (multisystem PAL/NTSC compatible DVD player required). Please, get familiar with all details about DVD video standards to avoid any misunderstandings.

Theatrical: 2001

Studio: Universal Studios

Genre: Thriller

Duration: 106

Summary: Undercover cops infiltrate Los Angeles street racers to bust a hijacking ring.

Theatrical: 2000

Studio: BBC Warner

Genre: TV Series / Comedy

Duration: 30

Summary: Basil Fawlty, as created and performed by John Cleese, is the rudest, most boorish, most hilariously obnoxious man on the face of the planet. What a natural for a TV sitcom! His screen wife, Sybil (Prunella Scales), put it best in the episode "The Psychiatrist": "You're either crawling all over them, licking their boots, or spitting poison at them like some Benzedrine puff adder." He mockingly replies, "Just trying to enjoy myself, dear." With his gangly frame and contortionist abilities, Cleese brilliantly punctuates Basil's outrageous faux pas with absurd gymnastics and turns Three Stooges-style pokes and kicks into a slapstick ballet. Scales's Sybil is the genial but obliviously chatty voice of reason and Andrew Sachs mangles the English language as the Spanish bellhop Manuel, whose struggles with simple directions results in comic lunacy reminiscent of Robert Benigni. After a six-episode run in 1975, Cleese and cowriter and costar Connie Booth (who plays Polly, the maid all too often pulled into Basil's ridiculous plans) reunited the cast in 1979 for another six episodes without missing a punch line. The four-volume collection contains all 12 shows, interspersed with interview segments featuring Cleese discussing the genesis of the series and anecdotes about the individual episodes. Remember to watch the opening credits of each show to spot the creative misspellings on the hotel sign (my favorite: "Fatty Owls"). "--Sean Axmaker"

Theatrical: 1998

Studio: Criterion

Genre: Comedy

Duration: 118

Summary: An oddball journalist and his psychopathic lawyer travel to Las Vegas for a series of psychadelic escapades.

Theatrical: 1997

Studio: Sony Pictures

Genre: Action

Duration: 126

Summary: In the colorful future, a cab driver unwittingly becomes the central figure in the search for a legendary cosmic weapon to keep Evil and Mr Zorg at bay.

Theatrical: 1999

Studio: Fox Home Entertainme

Genre: Drama / Action

Duration: 139

Summary: All films take a certain suspension of disbelief. Fight Club takes perhaps more than others, but if you're willing to let yourself get caught up in the anarchy, this film, based on the novel by Chuck Palahniuk, is a modern-day morality play warning of the decay of society. Edward Norton is the unnamed protagonist, a man going through life on cruise control, feeling nothing. To fill his hours, he begins attending support groups and 12-step meetings. True, he isn't actually afflicted with the problems, but he finds solace in the groups. This is destroyed, however, when he meets Marla (Helena Bonham Carter), also faking her way through groups. Spiraling back into insomnia, Norton finds his life is changed once again, by a chance encounter with Tyler Durden (Brad Pitt), whose forthright style and no-nonsense way of taking what he wants appeal to our narrator. Tyler and the protagonist find a new way to feel release: they fight. They fight each other, and then as others are attracted to their ways, they fight the men who come to join their newly formed Fight Club. Marla begins a destructive affair with Tyler, and things fly out of control, as Fight Club grows into a nationwide fascist group that escapes the protagonist's control. Fight Club, directed by David Fincher (Seven), is not for the faint of heart; the violence is no holds barred. But the film is captivating and beautifully shot, with some thought-provoking ideas. Pitt and Norton are an unbeatable duo, and the film has some surprisingly humorous moments. The film leaves you with a sense of profound discomfort and a desire to see it again, if for no other reason than to just to take it all in. --Jenny Brown

Theatrical: 2000

Studio: New Line Home Video

Genre: Drama

Duration: 98

Summary: While hardly a spiritual upgrade of the slasher film, this high-concept teen body-count thriller drops hints of "The Sixth Sense" into the smart-aleck sensibility of "Scream". Helmed by "X-Files" veteran James Wong, who cowrote the screenplay with longtime creative partner Glen Morgan, "Final Destination" is an often entertaining thriller marked by an unsettling sense of unease and scenes of eerie imagery. It suffers, however, from a schizophrenic tone and a frankly ludicrous premise. A high school Cassandra, Alex Browning (Devon Sawa of "Idle Hands"), wakes from a preflight nightmare and panics when he's convinced the plane is doomed. His ruckus bumps seven passengers from the Paris-bound plane, which immediately explodes into a fireball on takeoff, but fate hasn't finished with these lucky few and, one by one, death claims them. Wong brings such a funereal tone to these early scenes of survivor's guilt and inevitable doom that the already far-fetched film threatens to veer into unplanned absurdity. Thankfully, the tale loosens up with a playful morgue humor: one of the victims winds up the splattered punch line to a grim joke and elaborate Rube Goldbergesque chains of cause and effect become inspired spectacles of destruction. "Final Destination" is a pretty silly thriller when it takes itself seriously, and the filmmakers play fast and loose with their own rules of fate, but once they stick their tongues firmly in cheek, the film takes off with a screwy interpretation of the domino effect of doom. "--Sean Axmaker"

Theatrical: 2001

Studio: Columbia Tri-Star

Genre: Sci-Fi / Action

Duration: 106

Summary: Earth is a desolate wasteland in "Final Fantasy: The Spirits Within". Humanity has been decimated by an invasion of Phantoms, insubstantial aliens that extract and devour the spirits of living things. The few remaining humans have retreated to a handful of cities that are protected by massive bio-energy shields. The beautiful Dr. Aki Ross (voiced by Ming-Na) and her mentor Dr. Sid (Donald Sutherland) have discovered that the energy signatures of eight key Earth spirits can cancel out and destroy the Phantoms. With the help of Captain Edwards (Alec Baldwin) and his band of marines, they must scour the globe for the last two remaining spirits before General Hein (James Woods) manipulates the refugee government into attacking the aliens with an orbital laser that may also destroy the Earth.
Hironobu Sakaguchi's film is taken from the popular "Final Fantasy" video game franchise, which is particularly well suited to film adaptation with its series of original stories, but the movie features entirely new characters and settings. And like "Toy Story" and "Shrek", "Final Fantasy: The Spirits Within" is completely computer generated. Unlike those cartoon comedies, though, "The Spirits Within" is a serious science fiction drama with astonishingly human digital actors. Aki, the female lead, appeared in a full-page spread in "Maxim" magazine's Hot 100 list--and was indistinguishable from the real-life models. The setting and conflict make for incredible action, but it's the larger issues, character interaction, and human elements that really make the movie shine. "The Spirits Within" is not simply a science fiction movie, in the same way that "Crouching Tiger, Hidden Dragon" is not simply a kung fu flick. The result is a fantastic summer movie with better action and more emotion than "Pearl Harbor", and actors more lifelike than those in that other video game movie, "Tomb Raider". "--Mike Fehlauer"

Theatrical: 2005

Studio: Columbia Tristar Hom

Genre: Action & Adventure

Duration: 101

Summary: Yeah, the plot was a little slow and... non-existant. Yeah, Cloud was a little out of the character we left at the end of the game. But the others side characters were done well, even for the short cameo's they had. I could've put money on what Yuffie said when she first came on the scene, "Who has my materia?!" Vincent was his usual smooth, depressing self, Barrett was trying hard to be the hero and Tifa still seemed to have a thing for Cloud. All of this stayed wonderfully similar to the game. I was disappointed by Cait Sith's appearance, especially riding on Red XIII. I kind of wished they would have put Reeves in there instead of sticking with the doll. (He doesn't need it anymore, there's no one to play "double agent" to.)



I won't spoil anything major, but the plot did suffer a little bit. I've watched it twice now and I'm still not sure why certain things happen the way they do, or where the three men came from.



Still, if you are a fan of FFVII at ALL it's definately a must... if only to see your favorite character's take on a third dimension... as well as actual limbs instead of blocks and triangles. The fight scenes were fast and hard to follow at times, but after watching it twice I still feel an extreme thrill watching Cloud in the end fight scene.



Please note though, if you have the popular bootlegged, subtitled version that has already spread like a wildfire, you are OBLIGATED to buy the real one. Don't rip off the production company and the people who worked on this film just because you were a little impatient. Plus, think of all the extra's you'll be getting with the legitimate DVD!

Theatrical: 2003

Studio: Walt Disney Video

Genre: Adventure

Duration: 100

Summary: A father-son underwater adventure featuring Nemo, a boy clownfish, stolen from his coral reef home. His timid father must then search the ocean to find him

Theatrical: 2002

Studio: 20th Century Fox

Genre: TV Series / Action & Adventure

Duration: 588

Summary: As the 2005 theatrical release of "Serenity" made clear, "Firefly" was a science fiction concept that deserved a second chance. Devoted fans (or "Browncoats") knew it all along, and with this well-packaged DVD set, those who missed the show's original broadcasts can see what they missed. Creator Joss Whedon's ambitious science-fiction Western (Whedon's third series after "Buffy the Vampire Slayer" and "Angel") was canceled after only 11 of these 14 episodes had aired on the Fox network, but history has proven that its demise was woefully premature. Whedon's generic hybrid got off to a shaky start when network executives demanded an action-packed one-hour premiere ("The Train Job"); in hindsight the intended two-hour pilot (also titled "Serenity," and oddly enough, the final episode aired) provides a better introduction to the show's concept and splendid ensemble cast. Obsessive fans can debate the quirky logic of combining spaceships with direct parallels to frontier America (it's 500 years in the future, and embattled humankind has expanded into the galaxy, where undeveloped "outer rim" planets struggle with the equivalent of Old West accommodations), but Whedon and his gifted co-writers and directors make it work, at least well enough to fashion a credible context from the incongruous culture-clashing of past, present, and future technologies, along with a polyglot language (the result of two dominant superpowers) that combines English with an abundance of Chinese slang.
What makes it work is Whedon's delightfully well-chosen cast and their nine well-developed characters--a typically Whedon-esque extended family--each providing a unique perspective on their adventures aboard "Serenity", the junky but beloved "Firefly-class" starship they call home. As a veteran of the disadvantaged Independent faction's war against the all-powerful planetary Alliance (think of it as Underdogs vs. Overlords), "Serenity" captain Malcolm Reynolds (Nathan Fillion) leads his compact crew on a quest for survival. They're renegades with an amoral agenda, taking any job that pays well, but "Firefly"'s complex tapestry of right and wrong (and peace vs. violence) is richer and deeper than it first appears. Tantalizing clues about Blue Sun (an insidious mega-corporation with a mysteriously evil agenda), its ties to the Alliance, and the traumatizing use of "Serenity"'s resident stowaway (Summer Glau) as a guinea pig in the development of advanced warfare were clear indications "Firefly" was heading for exciting revelations that were precluded by the series' cancellation. Fortunately, the big-screen "Serenity" (which can be enjoyed independently of the series) ensured that Whedon's wild extraterrestrial west had not seen its final sunset. Its very existence confirms that these 14 episodes (and enjoyable bonus features) will endure as irrefutable proof Fox made a glaring mistake in canceling the series. "--Jeff Shannon"

Theatrical: 1997

Studio: New Yorker Video

Genre: Crime

Duration: 103

Summary:

Theatrical: 1993

Studio: Paramount

Genre: Thriller

Duration: 154

Summary: A young lawyer joins a prestigous law firm only to discover that it has a sinister dark side.

Theatrical: 1988

Studio: MGM (Video & DVD)

Genre: Comedy

Duration: 108

Summary: In London, four very different people team up to commit armed robbery, then try to doublecross each other for the loot.

Theatrical: 1991

Studio: Columbia/Tristar Studios

Genre: Drama / Comedy

Duration: 137

Summary: Arthurian mythology and modern day decay seem perfect complements to each other in this Terry Gilliam drama/comedy/fantasy. Shock jock Jack Lucas (Jeff Bridges) makes an off-handed radio remark that causes a man to go on a killing spree, leaving Lucas unhinged with guilt. Lucas's later, chance meeting with Parry (Robin Williams), a homeless man suffering from dementia, gets him involved in the unlikely quest for the Holy Grail. The rickety, and patently unrealistic stand that insanity is just a wonderful place to be, and that the homeless are all errant knights, wears awfully thin, but there are numerous moments of sad grace and violent beauty in this film. The screenplay by Richard LaGravenese launched his successful career and his smart wordplay helped garner Mercedes Ruehl an Oscar as Lucas's girlfriend. "--Keith Simanton"

Theatrical: 2006

Studio: Paramount Home Video

Genre: Action & Adventure

Duration: 132

Summary: Thematically ambitious and emotionally complex, Clint Eastwood's "Flags of Our Fathers" is an intimate epic with much to say about war and the nature of heroism in America. Based on the non-fiction bestseller by James Bradley (with Ron Powers), and adapted by "Million Dollar Baby" screenwriter Paul Haggis ("Jarhead" screenwriter William Broyles Jr. wrote an earlier draft that was abandoned when Eastwood signed on to direct), this isn't so much a conventional war movie as it is a thought-provoking meditation on our collective need for heroes, even at the expense of those we deem heroic. In telling the story of the six men (five Marines, one Navy medic) who raised the American flag of victory on the battle-ravaged Japanese island of Iwo Jima on February 23rd, 1945, Eastwood takes us deep into the horror of war (in painstakingly authentic Iwo Jima battle scenes) while emphasizing how three of the surviving flag-raisers (played by Adam Beach, Ryan Phillippe, and Jesse Bradford) became reluctant celebrities - and resentful pawns in a wartime publicity campaign - after their flag-raising was immortalized by Associated Press photographer Joe Rosenthal in the most famous photograph in military history.
As the surviving flag-raisers reluctantly play their public roles as "the heroes of Iwo Jima" during an exhausting (but clearly necessary) wartime bond rally tour, "Flags of Our Fathers" evolves into a pointed study of battlefield valor and misplaced idolatry, incorporating subtle comment on the bogus nature of celebrity, the trauma of battle, and the true meaning of heroism in wartime. Wisely avoiding any direct parallels to contemporary history, Eastwood allows us to draw our own conclusions about the Iwo Jima flag-raisers and how their postwar histories (both noble and tragic) simultaneously illustrate the hazards of exploited celebrity and society's genuine need for admirable role models during times of national crisis. "Flags of Our Fathers" defies the expectations of those seeking a more straightforward war-action drama, but it's richly satisfying, impeccably crafted film that manages to be genuinely patriotic (in celebrating the camaraderie of soldiers in battle) while dramatizing the ultimate futility of war. Eastwood's follow-up film, "Letters from Iwo Jima", examines the Iwo Jima conflict from the Japanese perspective. "--Jeff Shannon"

Beyond "Flags of Our Fathers"
Other World War II DVDs
Essential DVDs by Director Clint Eastwood
"Flags of Our Fathers" by James Bradley Stills from "Flags of Our Fathers" (click for larger image)

Theatrical: 2000

Studio: Broccoli Int'l

Genre: Anime

Duration: 30

Summary: This is a truly amazing show! But when you add the prices up from all three DVDs, it shouldnt be $60 for 6 episodes... its a damn shame to mark it up so much.

Theatrical: 1985

Studio: Universal Pictures

Genre: Comedy

Duration: 98

Summary: Gregory McDonald's lightweight mystery novel about an undercover newspaper reporter cracking a police drug ring is transformed by screenwriter Andrew Bergman ("Blazing Saddles", and writer/director of "The Freshman" and "Honeymoon in Vegas") into a fairly sarcastic and occasionally very funny Chevy Chase vehicle. Enjoyment of the film pivots on whether you find Chase's flippant, smart-ass brand of verbal humor funny, or merely egocentric. If you don't like Chase, there's really no one else worth watching (Geena Davis is sadly underused). Chase seems born to play I.M. "Fletch" Fletcher, a disillusioned investigative reporter whose cynicism and detached view on life mirrors the actor's understated approach to comedy. Fletcher offers Chase the opportunity to adopt numerous personas, as his job requires numerous (bad) physical disguises, and much of film's humor centers on the ridiculous idea that any of these phony accents or bad hairpieces could fool anyone. These not-so-clever disguises are put to use when Fletch becomes involved in the film's smart but continually self-mocking two-part mystery. As well as trying to gather drug-smuggling evidence against the LAPD for a long-overdue newspaper story, a rich and apparently terminally ill stranger also offers Fletch a large payoff to kill him. While the film does a fairly good job juggling both of these plots, not to mention tossing in a love interest as well, it's subservient, for better or worse, to Chase's memorable one-liners and disguises. Followed by two forgettable sequels that lack both the original's wit and Chase's attention span. --"Dave McCoy"

Theatrical: 1989

Studio: CBS Television

Genre: Comedy

Duration: 95

Summary: Before his movie career completely tanked, Chevy Chase made one of the few films that gave him a chance to display his comic versatility: 1985's "Fletch", the Michael Ritchie-directed comedy about an investigative reporter who specializes in going undercover on big stories. Lightning, however, didn't strike twice when Ritchie and Chase went back to Gregory MacDonald's novels for a second helping. This sequel features Chase once again as Fletch, super-reporter, who heads from L.A. to the South, where he supposedly has inherited an estate. Before long, he's become involved in a murder plot and is trying to stay out of the killer's sights himself. The material is considerably weaker, revealing Chase's shortcomings as an ad lib comic. "--Marshall Fine"

Theatrical: 2006

Studio: Dreamworks Animated

Genre: Kids & Family

Duration: 84

Summary: "Flushed Away" is a rip-roaring nautical adventure with a twist: The heroes are a pair of rodents braving the sewers underneath London. Roddy (voiced by Hugh Jackman) is an upper-crust house-mouse who finds himself flushed into the subterranean sewers. Eager to return to his posh home, he enlists the help of a boat-captain rat named Rita (Kate Winslet), who has troubles of her own; namely the kingpin of the underworld, the Toad (Ian McKellen), and his henchmen including the French mercenary Le Frog (Jean Reno).
While technically "Flushed Away" could be considered part of the wave of celebrity-voiced, anthropomorphic-animal movies that hit in 2005-2006 ("Madagascar", "Over the Hedge", "The Wild", etc.), it doesn't inspire the same sense of déjà vu. For one thing, its voice actors are less recognizable than the likes of Bruce Willis and Chris Rock. For another, its look is very distinctive. Like Nick Park's "Chicken Run" and "Wallace and Gromit: The Curse of the Were-Rabbit", it's a joint production of DreamWorks Animation and Aardman Features, and although Park isn't involved, it retains his trademark blocky look of clay animation. But animating the movie by computer rather than by hand allows for some eye-popping tableaux, such as floodwaters rushing through the sewers and an entire town of little animated characters. It's a crazy thrill ride loaded with inside jokes and enough crude humor to earn a PG rating, and the band of singing slugs is also a hoot. "--David Horiuchi"
On the DVD
It's no surprise that the singing slugs are the stars of the DVD's bonus features. They're featured in two music videos (less than a minute total), and in a 13-minute segment an Aardman animator builds a slug out of plasticine. (In contrast, the lesson on drawing Roddy is a mere two minutes.) A song jukebox jumps to 10 musical points in the film, though the non-slug background music isn't really worth the jump. On the human side, there are eight-minute featurettes on the music and the voices, a set-top game that is easier to control than most such featurettes (and easier to beat too), and a commentary track by directors David Bowers and Sam Fell in which they have a grand old time remembering their inside jokes and showering love on the Spike and Whitey characters. The DVD-ROM has access to 21 more online games. "--David Horiuchi"
Fun Facts from "Flushed Away"
In Tabitha's room, there are a variety of dolls from previous DreamWorks Animation films, including a Gromit and several bunnies from "Wallace & Gromit: The Curse of the Were-Rabbit," an Alex the Lion from "Madagascar," and a Dragon from "Shrek." Many characters from past films make cameos in "Flushed Away." For example, a "Chicken Run" chicken is on the second page of the Toad's scrapbook, Gromit's head is a pencil top in the Jammy Dodger, the penguin from "Wallace and Gromit: The Wrong Trousers" is on a stamp on the Jammy Dodger, and a poster of "Wallace and Gromit: The Curse of the Were-Rabbit" is on the side of a bus in Kensington. There are officially 60 million rats in the UK. That's one rat for every person. The various boats in the film are made up of flotsam and jetsam that rats could conceivably find in the sewer. For the double decker bus: Ice chest, retro flipping numbers alarm clock, bike lamp, buckle, oil drum, soup can, license plate, rope, plastic suitcase, jerry can. For the mini cooper: Soda can, battery, sardine can, butter knife, old lights. Simulating the toilet water and making it look realistic proved to be a challenge. After much consideration, it was finally discovered that what was missing was caustics, or the use of light reflection off the bottom of the bowl. This was added and everyone was happy because they could finally get their mind out of the toilet. Stills from "Flushed Away" (click for larger image)

Theatrical: 2008

Studio: Casey Silver Productions

Genre: Action

Duration: 113

Summary: Getting martial-arts superstars Jet Li and Jackie Chan together in the same action film is like a fantasy come true, even if "The Forbidden Kingdom" is more of a children's movie than an instant kung-fu classic. Yes, Li and Chan square off in a lengthy, acrobatic fight scene that is a lot of fun, though it can't be what such a scene might have been even a decade ago: careful editing now compensates for the 54-year-old Chan's slower moves and reflexes. Still, Chan doesn't disappoint as Lu Yan, a drunken immortal in ancient China who mentors a modern-day American kid, Jason (Michael Angarano), the latter having slipped into the past while in possession of a magical staff that belongs to the imprisoned Monkey King (Li). In order to get back to his own time and help an old friend (also Chan) wounded by thugs, Jason accompanies Lu Yan and a lovely warrior, Golden Sparrow (Liu Yifei), on a journey to return the staff. Along the way, a (mostly) silent monk (Li, again), who has spent his life in search of the staff, joins their mission. He helps Lu Yan train Jason in fighting and adding more muscle to the party as it comes under siege from a violent witch (Li Bing Bing) and pathological warlord (Collin Chou). Screenwriter John Fusco ("Hidalgo") and director Rob Minkoff ("The Haunted Mansion") have made a slightly chintzy, Western version of a Chinese swords-and-sorcery tale. The gravity-defying, flying-through-the-air-while-fighting choreography looks pretty choppy and graceless compared to, say, the martial arts films of Zhang Yimou. But "The Forbidden Kingdom" is really aimed at kids, not aficionados of epic fight movies. On that score, the movie aims to please and does so for the right audience. "--Tom Keogh"

Theatrical: 1956

Studio: Warner Home Video

Genre: Science Fiction & Fantasy

Duration: 98

Summary: This 1956 pop adaptation of Shakespeare's "The Tempest" is one of the best, most influential science fiction movies ever made. Its space explorers are the models for the crew of "Star Trek"'s "Enterprise", and the film's robot is clearly the prototype for Robby in "Lost in Space". Walter Pidgeon is the Prospero figure, presiding over a paradisiacal world with his lovely young daughter and their servile droid. When the crew of a spaceship lands on the planet, they become aware of a sinister invisible force that threatens to destroy them. Great special effects and a bizarre electronic score help make this movie as fresh, imaginative, and fun as it was when first released.

Theatrical: 1994

Studio: Paramount

Genre: Drama

Duration: 142

Summary: Forrest Gump, while not intelligent, has accidentally been present at many historic moments, but his true love, Jenny, eludes him.

Theatrical: 1995

Studio: Kinowelt Home Entertainment/DVD

Genre: Comedy

Duration: 98

Summary: Four interlocking tales that take place in a fading hotel on New Year's Eve.

Theatrical: 2009

Studio: Lions Gate Home Entertainment

Genre: Comedy

Duration: 79

Summary: Gareth Carrivick's big screen directorial debut teams Marc Wootton (Shirley Ghostman, My New Best Friend, Marc Wootton Exposed), Dean Lennox Kelly (Shameless), and Chris O'Dowd (I.T. Crowd) as the three leads who, as Toby, Pete and Ray, try to unravel a time travel conundrum they stumble upon in the pub.

Strong writing from Jamie Mathieson and excellent performances from all of the cast including Meredith MacNeil and Anna Faris, make it a must-see for fans of the comedy and time travel film genres - brilliant.

Theatrical: 2008

Studio: 20th Century Fox

Genre: TV Series / Sci-Fi

Summary: J.J. Abrams (Lost, Alias) has directed some pretty great TV series and movies, but Fringe is a real whopper.



Almost like a hybrid between an X-Files and C.S.I., our trio of heroes have a new adventure weekly in trying to solve The Pattern (capital P) where there are strange goings on. Someone is experimenting on an unsuspecting public.



The show is much more graphic than the X-Files (blood splatters on a bar door as someone's head pops); heart surgery complete with blood; electric torture, mindreading, a bunch of electrocuted people crash in an elevator accident, etc.



The stories so far are interesting, at times gripping, at times leave more questions than answers -- and that's just the start of the first season.



You can watch for free at HULU (dot) com.



Nice job, JJ. Can't wait for your version of Star Trek.



The Complete X-Files: Behind the Series, the Myths, and the Movies

Theatrical: 2001

Studio: 20th Century Fox

Genre: Thriller

Duration: 122

Summary: In Victorian Era London, a troubled clairvoyant police detective investigates the murders by Jack The Ripper.

Theatrical: 1987

Studio: Warner Home Video

Genre: Action & Adventure

Duration: 116

Summary: Stanley Kubrick's 1987, penultimate film seemed to a lot of people to be contrived and out of touch with the '80s vogue for such intensely realistic portrayals of the Vietnam War as "Platoon" and "The Deer Hunter". Certainly, Kubrick gave audiences plenty of reason to wonder why he made the film at all: essentially a two-part drama that begins on a Parris Island boot camp for rookie Marines and abruptly switches to Vietnam (actually shot on sound stages and locations near London), "Full Metal Jacket" comes across as a series of self-contained chapters in a story whose logical and thematic development is oblique at best. Then again, much the same was said about Kubrick's "2001: A Space Odyssey", a masterwork both enthralled with and satiric about the future's role in the unfinished business of human evolution. In a way, "Full Metal Jacket" is the wholly grim counterpart of "2001". While the latter is a truly 1960s film, both wide-eyed and wary, about the intertwining of progress and isolation (ending in our redemption, finally, by death), "Full Metal Jacket" is a cynical, Reagan-era view of the 1960s' hunger for experience and consciousness that fulfilled itself in violence. Lee Ermey made film history as the Marine drill instructor whose ritualized debasement of men in the name of tribal uniformity creates its darkest angel in a murderous half-wit (Vincent D'Onofrio). Matthew Modine gives a smart and savvy performance as Private Joker, the clowning, military journalist who yearns to get away from the propaganda machine and know firsthand the horrific revelation of the front line. In "Full Metal Jacket", depravity and fulfillment go hand in hand, and it's no wonder Kubrick kept his steely distance from the material to make the point. "--Tom Keogh"

Theatrical: 2005

Studio: Funimation Prod

Genre: Anime / Manga

Duration: 105

Summary:

Theatrical: 1999

Studio: Fox Home Entertainme

Genre: TV Series / Comedy

Duration: 30

Summary: Set in the year 3000, "Futurama" is the acme of sci-fi animated sitcom from "Simpsons" creator Matt Groening. While not as universally popular as "The Simpsons", "Futurama" is equally hip and hilarious, thanks to its zippy lateral-thinking contemporary pop cultural references, celebrity appearances (Pamela Anderson and Leonard Nimoy are among a number of guest stars to appear as disembodied heads in jars), and Bender, a distinctly Homer Simpson-esque robot. Part of "Futurama"'s charm is that with decades of sci-fi junk behind us, we've effectively been living with the distant future for years and can now have fun with it. Hence, the series stylishly jumbles motifs ranging from "Lost in Space"-style kitsch to the grim dystopia of "Blade Runner". It also bridges the gap between the impossible dreams of your average science fiction fan and the slobbish reality of their comic reading, TV-watching existence. Groening himself distinguishes his two series thus: ""The Simpsons" is fictional. "Futurama" is real."
The opening season (premiered in 1999) sees nerdy pizza delivery boy Fry transferred to the 31st century in a cryogenic mishap. There, he meets the beautiful, one-eyed Leela (voiced by "Married with Children"'s Katey Sagal) and the incorrigible alcoholic robot Bender. The three of them join Fry's great (great, great, etc.) nephew Professor Farnsworth and work in his intergalactic delivery service. Hyper-real yet strangely recognizable situations ensue--Fry discovers he's a billionaire thanks to 1,000 years' accrued interest, Leela must fend off the attentions of Captain Kirk-like Lothario Zapp Brannigan, and Fry accidentally drinks the ruler of a strange planet of liquid beings. "--David Stubbs"

Theatrical: 2007

Studio: 20th Century Fox Home Entertainment

Genre: Animation / Comedy

Duration: 88

Summary:
Proving that you just can't keep a good animated series down, "Bender's Big Score" revives the "Futurama" crew in a full-length feature (reportedly, the first of four which will later be broken down into individual episodes for television broadcast) chock full of the satiric touches that made the Matt Groening series a cult favorite among sci-fi and animation fans. In true "Futurama" form, the plot of "Big Score" is proudly ridiculous: At its core, it's about alien telemarketers with a plan to steal Earth's most valuable historical objects, who use e-mail viruses to cripple Planet Express and take control of belligerent robot Bender; the latter carries out their scheme via a time-travel code tattooed on Fry's backside. This allows for all manner of subplots involving Fry's return to the 20 th century, romantic confusion between Fry and Leela (Katey Sagal), and a host of cameos ranging from Kwaanza-bot (Coolio) and Zapp Brannigan to Al Gore (voiced by the real former vice-president, who once again displays an offbeat sense of humor).
"Bender's Big Score" also features a staggering amount of extras that reflect the show's sense of playful anarchy. Most valuable to longtime fans is the feature-length commentary by Groening, writers Ken Keeler and David X. Cohen, director Dwayne Carey-Hill, and cast members Billy West (Fry), DiMaggio, and Phil LaMarr, which provides a wealth of information on the film's production as well as plenty of laughs from the voice actors. "Futurama Returns!" is a live comic book reading by the cast in front of an enthusiastic convention audience, while "A Terrifying Message from Al Gore" is a short animated promo featuring the ex-veep in an animated promo for his "Inconvenient Truth" documentary (Gore's commentary for this short is worth the DVD's sale price alone), and "Bite My Shiny Metal X" is an amusing, tongue-in-cheek lesson on the mathematics used to deliver the show's futuristic touches. Perhaps the oddest extra is a full-length episode of "Everybody Loves Hypnotoad", a sitcom based around the bizarre title creature that will provoke equal amounts of laughter and exasperation. A small battery of deleted scenes, new character design sketches, and a five-minute promo shot for Comic-Con round out the extras. "--Paul Gaita"
"Futurama: Bender's Big Score" Image Gallery Visit our image gallery for exclusive stills from "Futurama: Bender's Big Score".

Theatrical: 2008

Studio: 20th Century Fox

Genre: Animation / Comedy

Duration: 88

Summary: At once a merciless skewering of all things fanboy and an extremely satisfying addition to the Futurama franchise, Bender's Game is among the best of the animated series' feature length adventures. The game in question is Dungeons and Dragons, and Bender wants in--only robots aren't programmed with the necessary imagination. Naturally, Bender's plans to develop one go completely awry and land him in an android asylum. The role-playing plotline later re-emerges--in typically convoluted Futurama fashion--via a subplot involving Professor Farnsworth's conversion of dark matter into spaceship fuel, which created a key to a very D&D-influenced universe where our hapless heroes eventually find themselves. The alternate world storyline allows for much lampooning of fantasy tropes, with Lord of the Rings receiving the lion's share of the tweaks. Seeing as how the writers have already devoted much of the movie's running time to parodying Star Wars and Star Trek (and their Lego offshoots), one might think that Bender's Game might suffer from pop-culture overload, but surprisingly, it all feels fresh and frequently funny, and the writers are wise to ground the story in their eccentric characters rather than pinballing them through an endless string of gags. The result is probably the strongest of the direct-to-DVD Futurama releases to date, and one that newcomers to the show's cracked universe can appreciate as much as longtime fans.As with previous Futurama DVD releases, the extras come fast and furious on Bender's Game: commentary by members of the cast and production team (including Matt Groening) is both informative and funny, while interviews with the writers and producers discuss, among other topics, the influence of Dungeons and Dragons on the series and the 3D models used in the feature. Aspiring animators might appreciate "How To Draw Futurama in 83 Easy Steps and the storyboard animatic for the first part of the story, while the "Genetics Lab" feature allows for some amusing Dr. Moreau-style cross-breeding of the characters. Recording session bloopers and a deleted scene offer their own laughs, but the most enjoyable extra must be the preview for the next Futurama feature, Into the Wild Green Yonder, which suggests a shocking development for one of the show's regulars. -- Paul Gaita

Beyond Futurama: Bender's Game
The Simpsons

Family Guy

King of the Hill



Stills from Futurama: Bender's Game (Click for larger image)

Theatrical: 2009

Studio: 20th Century Fox

Genre: Animation /Comedy

Duration: 88

Summary: Well, it's finally over - the four movie Futurama direct-to-video series ends with Futurama: Into the Wild Green Yonder, and it maintains the trend of the films: it's the worst of the four, making Bender's Big Score look like Blade Runner in comparison.



How did such a classic TV series struggle in the home video space? The chief problem is format - Futurama worked as a half-hour series, but when stretched to 90 minutes, it just suffered. The first film managed to pack a coherent storyline, but some of the humor was sacrificed for fan service (starting with the entire lame sequence of "Box Network" jokes and the hokey opening credits.)



The subsequent sequels, though, didn't fare as well. They began to struggle to fill 90 minutes, and entire pointless 20 minute TV episode sequences would be introduced and go nowhere, with only a thread of the plot making them relevent to the story.



Into the Wild Green Yonder is the worst offender. Bender's affair with a mob boss' moll is introduced and forgotten, having zero to do with the plot, for instance. What was the point of it save having Bender compete in a poker tournament with Fry, who has become psychic from a freak accident? None. The poker tournament itself also forgotten about roughly 5 seconds after it is over.



The most serious problem, though, is what Woody Allen's character complained about in Manhattan: "It's worse than not insightful. It's not funny."



Forgetting the fact that the film is disjointed and scatterbrained like a six year old ADD sufferer on acid - it just isn't funny. Some jokes are telegraphed and predictable, while others aren't funny in the first place (especially the eco-feminists, who are a shrill parody of a parody.) Some blatant fan-service jokes will be lost on non-Futurama fans, while boring to Futurama fans because they'd seen the same humor in many of the episodes.



I don't want to believe that the series was canceled at the right time - I'd rather think that the problems with the films are the fact they had to expand a 23 minute-per-episode format to 90, that they had too long to think about a script (while during the series, they had to push out scripts for 22 episodes fairly quickly), and that they only had to please already established Futurama fans rather than attract new ones since they didn't expect non-Futurama fans to buy the DVDs. One wonders what might have been produced had instead of trying to produce four films, they just produced four new episodes per disc, creating a direct-to-video season instead.



Despite the badness of the script, the film does send the crew off in style, in one of the appropriate places for fan service, wrapping up one or two ongoing stories, and bidding farewell to the crew in a truly poignant moment while leaving the door a crack open for a possible return.



As much as it pains me to say this - I hope they stay away. The closure to the series in the last few minutes is perfect, and I'd rather accept that than another dismal effort that further stains my enthusiasm for the license. Now I know what a Star Wars fan felt after the second trilogy.



(My review from GameStooge, reposted here with my own permission.)

Theatrical: 2008

Studio: 20th Century Fox

Genre: Animation / Comedy

Duration: 90

Summary: The thrilling conclusion to Futurama: Benders Big Score.Bender and the planet express crew must contend with a massive cosmic team that sends the world into panic.System Requirements:Running Time: 90 minutesFormat: DVD MOVIE Genre: ANIMATION/CARTOON NETWORK Rating: NR UPC: 024543520931 Manufacturer No: 2252093