DVDpedia : Library : Title : H

Theatrical: 1995

Studio: MGM (Video & DVD)

Genre: Action & Adventure

Duration: 105

Summary: As a depiction of the computer-hacker underground, this movie is bogus to the bone. As a thriller, it's cartoonish and conventional. The premise (computer-happy kids hack into the wrong system, and the Forces of Repression come after them) is recycled from John Badham's 1983 "WarGames". And the corporate-creep bad guy, played by Fisher Stevens, steeples his fingers and growls mossy villainous clichés. ("By the time they realize the truth, we'll be long gone with all the money.") For all its postmodern trappings the movie is working with sub-prehistoric storytelling tools. But it does succeed on one level, as a movie about adolescent bonding and alienation. The director, Iain Softley, helmed the Beatles-in-Hamburg biopic "Backbeat", and he seems to have an instinct for the emotions that pull kids together around common interests and the insecurities that drive them apart. The familiar crises of loyalty and betrayal have an ache of real loneliness. It doesn't hurt that the two stars, Jonny Lee Miller (Sick Boy Williamson in "Trainspotting") and Angelina Jolie ("Gia"), are just about equally gorgeous and charismatic; their longing glances steam up the screen. "--David Chute"

Theatrical: 2002

Studio: Geneon Entertainment

Genre: Anime / Adventure

Duration: 309

Summary: The Haibane, who look like angels with halos and small wings, share a walled town with humans. Both groups are forbidden to leave. Rakka awakens from a portentious dream when she emerges from a huge cocoon as Haibane. She was apparently human once, but can only remember fragments of that existence. She quickly settles into Old Home, a former dormitory where the Haibane live when they're not working. With the help of some fellow Haibane, Rakka learns about the enclosed world in a succession of brief vignettes. Unfortunately, life at Old Home is about as exciting as a visit to Ozzie and Harriet. These mini-episodes are cute, wistful, and dull, with passive, uninteresting characters. Rekka's curiosity about what lies beyond the walls will undoubtedly lead her to violate the Haibane's most sacred law in a later episode. (Rated 13 and older: brief nudity, minor profanity, tobacco use) "--Charles Solomon"

Theatrical: 1997

Studio: Image Entertainment

Genre: Art House & International

Duration: 96

Summary: The expressionistic, stylized visual brilliance (courtesy of Australian cinematographer Christopher Doyle) of "Happy Together" is so breathtaking and enveloping it nearly detracts from this startling, queasy, despairing glimpse at a gay relationship gone amok. Director Wong Kar-Wai ("Chungking Express", "Fallen Angels") won the Best Director Prize at Cannes in 1997--surprising many--but on viewing the film it's easy to see why. The subject matter may not be the easiest to swallow--any relationship on the rocks sometimes gets dirty and pathetically disturbing--but there is a universality to "Happy Together" that rings true and real and less like an edition of "The Honeymooners" than isolation tinged with the embarrassment of intimacy. Ho (Leslie Cheung) and Lai (Tony Leung) have left Hong Kong for Buenos Aires. The journey is another in Ho's attempts to "start over." But their initial optimism is short-lived, and once they become dislocated strangers in this strange land it only further thrusts the two into their already codependent, caretaking dark love affair. But like all crazy love, the trip through masochistic hell--from violence to apathy--leads to self-enlightenment, and Wong Kar-Wai's gorgeous, grasping film is true, tricky, difficult, and emotionally wrought, aided by Hong Kong superstars Cheung and Leung, who contribute greatly to creating a work that is exceptional--and lump-in-throat brutal--in image, story, and performance. "--Paula Nechak"

Theatrical: 2002

Studio: Warner Home Video

Genre: Fantasy

Duration: 161

Summary: First sequels are the true test of an enduring movie franchise, and "Harry Potter and the Chamber of Secrets" passes with flying colors. Expanding upon the lavish sets, special effects, and grand adventure of "Harry Potter and the Sorcerer's Stone", Harry's second year at Hogwarts School of Witchcraft and Wizardry involves a darker, more malevolent tale (parents with younger children beware), beginning with the petrified bodies of several Hogwarts students and magical clues leading Harry (Daniel Radcliffe), Ron (Rupert Grint), and Hermione (Emma Watson) to a 50-year-old mystery in the monster-laden Chamber of Secrets. House elves, squealing mandrakes, giant spiders, and venomous serpents populate this loyal adaptation (by "Sorcerer's Stone" director Chris Columbus and screenwriter Steve Kloves), and Kenneth Branagh delightfully tops the supreme supporting cast as the vainglorious charlatan Gilderoy Lockhart (be sure to view past the credits for a visual punchline at Lockhart's expense). At 161 minutes, the film suffers from lack of depth and uneven pacing, and John Williams' score mostly reprises established themes. The young, fast-growing cast offers ample compensation, however, as does the late Richard Harris in his final screen appearance as Professor Albus Dumbledore. Brimming with cleverness, wonderment, and big-budget splendor, "Chamber" honors the legacy of J.K. Rowling's novels. "--Jeff Shannon"

Theatrical: 2005

Studio: Warner

Genre: Fantasy

Duration: 157

Summary: The fourth entry in the Harry Potter saga could be retitled "Fast Times at Hogwarts", where finding a date to the winter ball is nearly as terrifying as worrying about Lord Voldemort's return. Thus, the young wizards' entry into puberty (and discovery of the opposite sex) opens up a rich mining field to balance out the dark content in the fourth movie (and the stories are only going to get darker). Mike Newell ("Four Weddings and a Funeral") handily takes the directing reins and eases his young cast through awkward growth spurts into true young actors. Harry (Daniel Radcliffe, more sure of himself) has his first girl crush on fellow student Cho Chang (Katie Leung), and has his first big fight with best bud Ron (Rupert Grint). Meanwhile, Ron's underlying romantic tension with Hermione (Emma Watson) comes to a head over the winter ball, and when she makes one of those girl-into-woman Cinderella entrances, the boys' reactions indicate they've all crossed a threshold.
But don't worry, there's plenty of wizardry and action in "Goblet of Fire". When the deadly Triwizard Tournament is hosted by Hogwarts, Harry finds his name mysteriously submitted (and chosen) to compete against wizards from two neighboring academies, as well as another Hogwarts student. The competition scenes are magnificently shot, with much-improved CGI effects (particularly the underwater challenge). And the climactic confrontation with Lord Voldemort (Ralph Fiennes, in a brilliant bit of casting) is the most thrilling yet. "Goblet", the first installment to get a PG-13 rating, contains some violence as well as disturbing images for kids and some barely shrouded references at sexual awakening (Harry's bath scene in particular). The 2 1/2-hour film, lean considering it came from a 734-page book, trims out subplots about house-elves (they're not missed) and gives little screen time to the standard crew of the other Potter films, but adds in more of Britain's finest actors to the cast, such as Brendan Gleeson as Mad-Eye Moody and Miranda Richardson as Rita Skeeter. Michael Gambon, in his second round as Professor Dumbledore, still hasn't brought audiences around to his interpretation of the role he took over after Richard Harris died, but it's a small smudge in an otherwise spotless adaptation. "--Ellen A. Kim"
On the DVD
The highlight of the two-disc set is a half-hour conversation with actors Daniel Radcliffe, Emma Watson, and Rupert Grint. They discuss their reactions to the film and other topics with British writer Richard Curtis . Then they answer questions from contest-winning fans, such as what are their favorite kids' books (Watson bypasses the obvious answer in favor of Roald Dahl and Philip Pullman) and what scenes are they looking forward to in upcoming films. More routine extras include the "Reflections on the Fourth Film" featurette (14 min.), though it has comments from some of the other young cast members, and "Preparing for the Yule Ball" (9 min.). The 10 minutes of additional scenes are mostly skulking and skullduggery, plus a long musical number from the ball. The remaining material is grouped along the lines of the Triwizard Tournament, with behind-the-scenes looks at each of the competitions (about 22 min. total), two longer featurettes on He Who Must Not Be Named (11 min.) and the workday of the other contestants (Robert Pattinson, Stanislav Ianevski, and Clémence Poésy, 13 min.), and four games, playable with the directional arrows on the remote control, that can be frustrating to figure out. "--David Horiuchi"

Theatrical: 2004

Studio: Warner Home Video

Genre: Fantasy

Duration: 141

Summary: Some movie-loving wizards must have cast a magic spell on "Harry Potter and the Prisoner of Azkaban", because it's another grand slam for the Harry Potter franchise. Demonstrating remarkable versatility after the arthouse success of "Y Tu Mamá También", director Alfonso Cuarón proves a perfect choice to guide Harry, Hermione, and Ron into treacherous puberty as the now 13-year-old students at Hogwarts School of Witchcraft and Wizardry face a new and daunting challenge: Sirius Black (Gary Oldman) has escaped from Azkaban prison, and for reasons yet unknown (unless, of course, you've read J.K. Rowling's book, considered by many to be the best in the series), he's after Harry in a bid for revenge. This dark and dangerous mystery drives the action while Harry (the fast-growing Daniel Radcliffe) and his third-year Hogwarts classmates discover the flying hippogriff Buckbeak (a marvelous CGI creature), the benevolent but enigmatic Professor Lupin (David Thewlis), horrifying black-robed Dementors, sneaky Peter Pettigrew (Timothy Spall), and the wonderful advantage of having a Time-Turner just when you need one. The familiar Hogwarts staff returns in fine form (including the delightful Michael Gambon, replacing the late Richard Harris as Dumbledore, and Emma Thompson as the goggle-eyed Sybil Trelawney), and even Julie Christie joins this prestigious production for a brief but welcome cameo. Technically dazzling, fast-paced, and chock-full of Rowling's boundless imagination (loyally adapted by ace screenwriter Steve Kloves), "The Prisoner of Azkaban" is a Potter-movie classic. "--Jeff Shannon"

Theatrical: 2000

Studio: Turner Home Ent

Genre: Animation

Duration: 154

Summary: Once a third-rate superhero, Harvey Birdman is now a third-rate lawyer trying like hell to get by in a fancy law firm. It's not clear whether Harvey actually went to law school, but he definitely knows the things to say to sound like a lawyer. And he has a suit now, that's for sure.

Theatrical: 1995

Studio: Warner Home Video

Genre: Crime

Duration: 171

Summary: A Los Angeles crime saga, "Heat" focuses on the lives of two men on opposite sides of the law - one a detective; the other a thief.

Theatrical: 2001

Studio: Warner Home Video

Genre: Crime

Duration: 109

Summary: David Mamet's "Heist" is--not unlike many of his previous films--amusing, manicured, and fraught with an awkward tension. If you've seen "The Spanish Prisoner" or "House of Games", you're by now familiar with the plot-subverting gambit of the double-cross turned triple- and then quadruple-cross. "Heist" sticks to the formula. Likewise, the quips and laconic wit that adorn what can most accurately be called "Mametspeak" are again on display: "Cute as a pail full of kittens," for instance, and "Everybody needs money; that's why they call it money." What you haven't yet seen in a Mamet film is the magisterial charm of Gene Hackman. In the role of Joe Moore, an aging criminal out for one final score before cashing in, Hackman shows us all (Mamet included) how it's done, embodying tough-but-clever effortlessly. Delroy Lindo, as Joe's partner Bobby, picks up on Hackman's ultra-cool and gives plenty in return. While the script and the remaining cast (Danny Devito, Rebecca Pidgeon, Sam Rockwell) are serviceable, "Heist" is entirely Hackman's show to steal. "--Fionn Meade"

Theatrical: 2002

Studio: Geneon [Pioneer]

Genre: Anime / Manga

Duration: 320

Summary: The vampire-turned-hunter saga "Hellsing" owes a lot to both the original and remake of "Vampire Hunter D". In Britain, vampires that were artificially created by implanting chips in their necks are attacking people. Dispatching them is the job of the Royal Order of Religious Knights, headed by the icy (and apparently female) Sir Integra Hellsinger. Her chief agent, the red-clad Arucard, destroys one vampire, then turns police woman Victoria into a servant-vampire, bound to him. The outré story violates the rules of the traditional legends: vampires wear crosses, enter churches, and pose as priests; Hellsinger's mortal enemy is the Vatican's Iscariot Organization. The animation is very static, and the design style changes from character to character. Despite grotesque imagery borrowed from "Night of the Living Dead", the result is more silly than scary, and the series suffers from underdeveloped characters, a plot that is sketchy at best, a surfeit of pointless violence, and inadvertently hilarious dialogue.
In subsequent episodes, Luke and Jan, the Valentine Brothers, lay siege to the headquarters of the Hellsing organization, the Royal Order of Religious Knights. After numerous humans have been killed and eaten by an army of ghouls, Sir Integra Hellsinger, Arucard, and Seras must hunt down the perpetrators. Not surprisingly, the finale is elaborate, violent, and inconclusive. The closing titles announce that the search for the creators of the artificial vampires continues, so a sequel may be in the works. (Rated 16 and older, but unsuitable for viewers younger than 18: graphic violence, profanity, gore, violence against women) "--Charles Solomon"

Theatrical: 2002

Studio: Geneon [Pioneer]

Genre: Anime / Manga

Duration: 50

Summary: The "Ultimate" OVA series (2006) continues the popular vampire hunter broadcast series "Hellsing" (2001), both of which were based on the manga by Kouta Hirano. Vampires are stalking England, which means Sir Integra Hellsing must take them out. Most of this 50-minute segment is devoted to a duel between Hellsing's super-vampire Arucard and Father Alexander Anderson, a bio-engineered vampire in the service of the Vatican's murderous Iscariot Organization. It's a veritable gorefest, but not a particularly original one: the shooting effects are copied from "T2", while the ghouls recall "The Night of the Living Dead". The dialogue is often unintentionally hilarious: "It's been a while since I had my head cut off." Viewers may be repulsed by the endless sprays of blood, the leering sadism, and misappropriation of religious symbols. (Rated 16 and older, but more appropriate for 18 and older: graphic violence, violence against women, sadism, sexual situations, grotesque imagery, offensive religious imagery, tobacco use) "--Charles Solomon"

Theatrical: 2006

Studio: Geneon [Pioneer]

Genre: Anime / Manga

Duration: 46

Summary: An unusual new breed of vampires terrorizes England while increasing at an alarming rate, making it impossible to conceal their presence from the public for much longer. Furthermore, the attacks seem organized, which makes the situation even more ominous. While Sir Integra reports her findings to the members of the Round Table, the Hellsing mansion gets blitzed by an army of indestructible ghouls led by the Valentine brothers, a vicious and hedonistic duo who claim to have all the vampiric powers of Arucard and beyond. Indeed, the night has only just begun...

Theatrical: 2007

Studio: Geneon [Pioneer]

Genre: Anime / Manga

Duration: 46

Summary: An unusual new breed of vampires terrorizes England while increasing at an alarming rate, making it impossible to conceal their presence from the public for much longer. Furthermore, the attacks seem organized, which makes the situation even more ominous. While Sir Integra reports her findings to the members of the Round Table, the Hellsing mansion gets blitzed by an army of indestructible ghouls led by the Valentine brothers, a vicious and hedonistic duo who claim to have all the vampiric powers of Arucard and beyond. Indeed, the night has only just begun...

Theatrical: 2008

Studio: Geneon [Pioneer]

Genre: Anime / Manga

Duration: 50

Summary: The "Ultimate" OVA series (2006) continues the popular vampire hunter broadcast series "Hellsing" (2001), both of which were based on the manga by Kouta Hirano. Vampires are stalking England, which means Sir Integra Hellsing must take them out. Most of this 50-minute segment is devoted to a duel between Hellsing's super-vampire Arucard and Father Alexander Anderson, a bio-engineered vampire in the service of the Vatican's murderous Iscariot Organization. It's a veritable gorefest, but not a particularly original one: the shooting effects are copied from "T2", while the ghouls recall "The Night of the Living Dead". The dialogue is often unintentionally hilarious: "It's been a while since I had my head cut off." Viewers may be repulsed by the endless sprays of blood, the leering sadism, and misappropriation of religious symbols. (Rated 16 and older, but more appropriate for 18 and older: graphic violence, violence against women, sadism, sexual situations, grotesque imagery, offensive religious imagery, tobacco use) "--Charles Solomon"

Theatrical: 2007

Studio: Plexifilm

Genre: Documentary

Duration: 80

Summary: Helvetica is a feature-length independent film about typography, graphic design and global visual culture. It looks at the proliferation of one typeface (which will celebrate its 50th birthday in 2007) as part of a larger conversation about the way type affects our lives. The film is an exploration of urban spaces in major cities and the type that inhabits them, and a fluid discussion with renowned designers about their work, the creative process, and the choices and aesthetics behind their use of type.

Theatrical: 2006

Studio: Universal

Genre: TV Series / Action

Duration: 1035

Summary: This is the best and most exciting show on television today!



I admit that their were a few clunkers and flaws but its to be expected by a brand new freshman series!



For all the naysayers out there get your heads examined.



Even a bad episode of Heroes is better than a God forsaken edition of yet another mindless reality based episode of Dancing with the stars and the like!



I can't wait for Season 2!

Theatrical: 2001

Studio: Lions Gate

Genre: Action

Duration: 94

Summary: When the FBI can't protect a witness, it's up to ex-agent Price and his own protection program to take them under.

Theatrical: 1991

Studio: Film Brigade

Genre: Comedy

Duration: 93

Summary: Thane Furrows, an extremely cynical but unintentionally hilarious children's book writer, wakes up one morning, and, since pretty much everyone and everything annoys him, begins another day of complaining to himself. However, the day proves to be much different than normal when Thane begins to recieve strange phone calls, letters, and voices in his head, all indicating that something will happen at 8 o'clock. As the day goes on, Thane rants and raves about the things that annoy him, as the clock slowly ticks closer and closer to his destiny

Theatrical: 2002

Studio:

Genre: Action

Duration: 9

Summary:

Theatrical: 1982

Studio: BBC Warner

Genre: TV Series / Sci-Fi

Duration: 190

Summary: The original BBC radio adventures of Arthur Dent (an ape-descendant whose anger at the apparently inexplicable destruction of his home planet Earth, situated in an obscure corner of the outer spiral arm of the galaxy, is expressed in frequent irritation at friendly automatic doors and vending machines) and his travelling companions, Ford Prefect (an itinerant towel-carrying hitch-hiker originally from a small planet somewhere in the vicinity of Betelgeuse), Zaphod Beeblebrox (the notorious ex-Galactic President and patron of Eccentrica Galumbits, the triple-breasted whore of Eroticon Six) and Marvin the Paranoid Android (who's still suffering from that terrible pain in all the diodes down his left side) proved to be such a success for the BBC that its transition to TV was (almost) inevitable. In 1981 several key members of the radio cast made the move to the small screen. Simon Jones' bewildered Arthur Dent remains the central character, shambling around in his dressing gown (a fact easy to forget on radio); Mark Wing-Davey's Zaphod Beeblebrox is the same as his boastful radio persona, even if the second head utterly fails to convince. Unfortunately, newcomers David Dixon (as Ford Prefect) and the irritating Sandra Dickinson (as Trillian) are no match for their radio predecessors.
The problem here is not so much the low-budget look as the script itself, which is lovingly faithful to the radio series in a way that Douglas Adams' novels aren't. "The Hitchhiker's Guide to the Galaxy" was a lucid, satirical, occasionally profound, utterly unique comic invention on radio. As such, it has nothing to gain from TV. The script needs no visual elaboration--that's best left to the listener's own imagination. Only the animated renditions of the Guide itself enhance Peter Jones' wonderfully dry narration; otherwise--paradoxically, perhaps--by supplying images the concept is oddly diminished here.
On the DVD: A suitably eclectic not to say eccentric collection of extra features makes this a wholly satisfying two-disc set, neatly packaged in a fold-out slipcase. On the second disc there's an hour-long "making of" documentary from 1992 featuring contributions from the cast and crew, including Douglas Adams; and then there's even more in a 20-minute section entitled "Don't Panic!". A fascinating behind-the-scenes peek at filming as the clock runs out on studio time and a look at the recording of the original radio series complete the first part. Then navigate to the "Outer Planets" to find outtakes, a deleted scene, Zaphod's animatronic second head on "Tomorrow's World" and Peter Jones's witty and shambolic introduction to the first episode, plus more besides. The series itself is presented in standard 4:3 ratio and Dolby stereo. --"Mark Walker"

Theatrical: 2005

Studio: Touchstone / Disney

Genre: Comedy

Duration: 109

Summary:
Don't panic! After twenty years stuck in development (a mere blink compared to how long it takes to find the answer to life, the universe, and everything), "The Hitchhiker's Guide to the Galaxy" has finally been turned into a movie. Following the radio play, TV series, commemorative towel, and books, this latest installment in the sci-fi-comedy franchise is based on the screenplay and detailed notes by Douglas Adams.
Hitching a ride.
For those unfamiliar with the story, everyman Arthur Dent (Martin Freeman) wakes up one morning to discover that his house is set to be demolished to make room for a bypass. Little does he know the entire planet Earth is also set to be destroyed for an interplanetary bypass by the Vogons, a hideous and bureaucratic race of aliens realized in the film by Jim Henson's Creature Shop. Whisked off the planet by his best friend, alien-in-disguise Ford Prefect (Mos Def), Dent embarks on a goofy jaunt across the galaxy accompanied by his trusty Hitchhiker's Guide, which looks like a really fancy PDA.
The guide itself provides some of the funniest bits of the movie, little animated shorts that explain the ludicrous life forms and extraterrestrial phenomena our heroes encounter. Along the way Arthur meets the two-headed party animal/president of the galaxy Zaphod Beeblebrox (Sam Rockwell) and develops an unrequited crush on fellow earthling Trillian (Zooey Deschanel). The creatures and sets are inspired and answer to the sci-fi fan's primal need to see lots and lots of cool stuff. In particular, there's John Malkovich's creepy, CGI-enhanced Humma Kavula. He's a guru leading a religion that worships the gigantic nose that allegedly sneezed the universe into existence (naturally all their prayers end not with "Amen" but with "Bless you.") The aliens the team encounters are inspired creations, eminently worthy of action figure-ification, and the sets belie an attention to detail worthy of freeze-framing. Fans of the other "Hitchhiker" manifestations, namely the British TV series, will be amused by a number of in-jokes sprinkled throughout the movie.
Concept art: The Heart of Gold pod on the planet Vogsphere
Where the story stumbles is in the telling--as books, the "Hitchhiker's Guide" was foremost about goofy and brilliant ideas that raised questions about our place in the universe while getting a laugh. The cast seems at times bewildered, at least when Sam Rockwell isn't picking pieces of scenery out of his teeth, perhaps a natural reaction to an adaptation of a book with no traditional plot. The movie has enough trouble figuring out how to get the characters from one fantastical location to the next that Adams's funniest concepts often feel left in the dust. While the reverence the filmmakers felt toward Adams's legacy is apparent, one wonders what we could have expected had the creator of this science fiction universe lived to see it with his own eyes. "-- Ryan Boudinot"
A Guide to the "Guide"
The Soundtrack
The Radio Play (CD)
The TV Series
"The Ultimate Hitchhiker's Guide" (Deluxe Edition)
"The Ultimate Hitchhiker's Guide" (Paperback)
"The Filming of the Douglas Adams Classic" (book)
Interviews with The Cast and Director
Watch our interviews with the cast and director of "The Hitchhiker's Guide to the Galaxy" and find out what they think of other DVDs and books:
high bandwidth
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Theatrical: 2003

Studio:

Genre: Drama

Duration: 179

Summary: A unique slant, profiling the life of Adolf Hitler as a child and his rise through the ranks of the National German Workers' Party prior to World War II.

Theatrical: 2006

Studio:

Genre: Comedy

Duration: 115

Summary: "The Hoax" is a happy surprise. Surprise because, for once, having a film's release date bumped back half a year didn't mean it's a dog. Happy because Lasse Hallström's dancing-on-eggshells comedy about a notorious literary scandal of the 1970s is bounteously entertaining, with more solid laughs and certainly slyer wit than, say, the latest Will Ferrell romp.
The subject is the world-shaking con an unsuccessful writer named Clifford Irving (Richard Gere) ran on some supposedly sharp cookies in the highest echelons of Manhattan publishing. Irving persuaded McGraw-Hill and "Life" magazine that ultra-reclusive tycoon Howard Hughes had selected him to transcribe his memoirs. It's pure balderdash, a desperate improvisation by a glib-talker who's perennially one jump ahead of the repo men. But the epic audacity of Irving's scam, the quicksilver way he weaves imaginary and accidental real-life details into beguiling patterns, and the legendary self-isolation of his supposed subject all conspire to keep the fiction afloat ... for a while.
This story isn't new to cinema, though few reviewers seem aware of that. In 1973 Orson Welles told it as part of "F for Fake", a kaleidoscopic meditation on art, forgery, and the slipperiness of media, in which the real-life Irving was a semi-witting participant. But there's no need to beat up on "The Hoax" for being inferior to that postmodern masterpiece. Hallström and a deft cast do a killer job on the skyscraper corporate world where there are always more people in the room than there are useful purposes for them to serve (see especially Hope Davis, Stanley Tucci, and Zjelko Ivanek); Marcia Gay Harden summons up a daft Viking serenity as spouse Edith Irving, a.k.a. "Helga R. Hughes"; and Alfred Molina rates a supporting Oscar nod for his balletic suspension between bemusement and panic attack as Dick Suskind, Irving's researcher accomplice and conscience-in-default. As for the con artist in chief, Richard Gere dials back the narcissism of previous performances to limn a schmuck just suave enough to seduce even himself. "--Richard T. Jameson"

Theatrical: 2002

Studio: Dreamworks Video

Genre: Comedy

Duration: 112

Summary: With "Hollywood Ending", Woody Allen good-naturedly bites the hand that feeds him. The modern studio system is a ripe target for Allen's rapier wit, but the veteran writer-director goes a delicious step further by playing a has-been filmmaker who suffers from psychosomatic blindness--during the production of his big-budget comeback! Rather than sabotage his career, he proceeds to direct the film with guidance from his Chinese cinematographer's translator, telling his agent (played by another veteran director, Mark Rydell) while hiding the truth from his ex-wife and producer (Téa Leoni), her studio honcho husband (Treat Williams), and his ditzy actress girlfriend (Debra Messing), who has a small role in the film. Chaos ensues--and so does Allen's predilection for casting much-younger female costars--but "Hollywood Ending" favors a more contemplative blend of comedy and drama, peppered with memorable punch lines and blessed with, yes, a Hollywood ending that's as entertaining as the mayhem that precedes it. "--Jeff Shannon"

Theatrical: 2007

Studio:

Genre: Comedy / Crime

Duration: 121

Summary: In "Shaun of the Dead", it was the zombie movie and the anomie of modern life. In "Hot Fuzz", Edgar Wright and Simon Pegg set their sights on the buddy cop blockbuster and the eccentric English village. The two worlds collide when overachieving London officer Nicholas Angel (Pegg) is promoted to sergeant. The catch is that he's being transferred to Agatha Christie country. His superiors (the comic trifecta of Martin Campbell, Steve Coogan, and Bill Nighy) explain that he's making the rest of the force look bad. On the surface, Sandford is a sleepy little burg where the most egregious crimes, like loitering, are committed by hoody-sporting schoolboys. In truth, it's a hotbed of "Willow Man"-style evil. Upon his arrival, Chief Butterman (Jim Broadbent) partners Angel with his daft son, Danny (Nick Frost, Pegg's "Shaun" co-star), who aspires to kick criminal "arse" like the slick duo in "Bad Boys II". When random citizens start turning up dead, he gets his chance. With the worshipful Danny at his side, Angel shows his cake-eating colleagues how things are done in the big city. As in "Shaun", their previous picture, Wright and Pegg hit their targets more often than not. With the success of that debut comes a bigger budget for car chases, shoot-outs, and fiery explosions. Though "Hot Fuzz" earns its R-rating with salty language and grisly deaths, the tone is more good-natured than mean-spirited. A wall-to-wall soundtrack of boisterous British favorites, like the Kinks, T-Rex, and Sweet, contributes to the fast-paced fun. "--Kathleen C. Fennessy"

Theatrical: 2002

Studio: Paramount

Genre: Drama

Duration: 114

Summary: The story of how the novel "Mrs. Dalloway" affects three generations of women, all of whom, in one way or another, have had to deal with suicide in their lives.

Theatrical: 2004

Studio: Universal Studios

Genre: TV Series / Drama

Duration: 972

Summary: He pops pills, watches soaps, and always, always says what's on his mind. He's Dr. Gregory House (Emmy nominee Hugh Laurie, "Blackadder"). Producers David Shore, Bryan Singer, Katie Jacobs, and Paul Attanasio haven't rewritten the hospital drama--at heart, it's a cross between "St. Elsewhere", "ER", and "C.S.I."--but they've infused a moribund genre with new life and created one of TV's most compelling characters. More than any previous medical procedural, it resembles Attanasio's underrated "Gideon's Crossing", but "House" is lighter on its feet. As fascinating as he is, the show wouldn't work as well if it were all House all the time (that would be like Sherlock Holmes without Watson or Moriarty). Fortunately, he's joined by an intriguing cast of characters, portrayed by a combination of experienced vets (Omar Epps, Lisa Edelstein, Tony winner Robert Sean Leonard) and new faces (Jennifer Morrison, Jesse Spencer). Aside from the complicated cases they tackle each week, the sparks really fly when House's brilliant, if naïve charges are put to the test--and as the head of a teaching hospital, it's his job to test them (although his tough love approach is constantly landing him in hot water with Edelstein's administrator). From the first episode, "House" attracted a talented array of guests, including Robin Tunney ("Pilot"), Joe Morton ("Role Model"), and Patrick Bauchau ("Cursed") as Spencer's father. In addition, Chi McBride and Sela Ward appear frequently (with Ward returning for the second season). Viewers who first watched these 22 episodes on Fox will be gratified to note that the music has survived the transition to disc, such as the Rolling Stones' "You Can't Always Get What You Want," as featured in both the pilot and season finale ("Honeymoon"). The only apparent omission is the credit theme (Massive Attack's "Teardrop") from the pilot. "--Kathleen C. Fennessy"

Theatrical: 2004

Studio: Universal Studios

Genre: TV Series / Drama

Duration: 1044

Summary: The overall strength of the second season of "House, M.D." proves that its first-year success wasn't a fluke. This season starts with Dr. House (Golden Globe winner Hugh Laurie) pursuing his ex-wife Stacy (Sela Ward) and ending with a tragedy that could potentially be deadly for himself and two colleagues. The premise of each show follows a set routine--a patient is brought in with unusual symptoms; House challenges his trio of underlings to diagnose the problem; they treat the patient, usually incorrectly the first few tries; and then at the very last minute--through a revelation that often has little to do with the patient--House figures out what's wrong and saves the day. It would be easy for this set up to grow old fast. But because of the smart writing, nuanced acting, and believability of the characters (who're often dealing with unbelievable scenarios), the formula works on each of the 24 episodes that aired on Fox during the 2005-2006 season. Viewers have been conditioned by the Marcus Welbys of the TV world to think of doctors as saviors. Even on "ER", the most narcissistic physician was selfless at heart. But House is a different breed. When he's at an off-track betting parlor and a woman collapses, he doesn't miss a beat. Still eying his race on television, he asks, "Is anybody here a doctor?" He'll mock a sick patient's complaints with a sarcastic, "Boo hoo!" And, if there happens to be a dead body around, he has no qualms about shooting it if he believes that could help diagnose another gun-shot victim.
Not that he's any more reasonable or compassionate to his boss Cuddy (Lisa Edelstein), his oncologist best friend Wilson (Tony winner Robert Sean Leonard), or his young charges Foreman (Omar Epps), Cameron (Jennifer Morrison), and Chase (Jesse Spencer). He instructs his doctors to break into patients' homes as if they're cat burglars. He does not know the meaning of the phrase "politically correct." But because he spits out insults (as if he has a mild case of Tourette's) equally to both his patients and colleagues, the latter never flinch at his constant stream of inappropriateness. When his three young doctors storm into his office to report the declining condition of a patient by blurting out, "We have rectal bleeding," House says, "What? All three of you?" To sensitive Wilson, who is trying to get some work done without being interrupted, House says, "I know you're in there. I can hear you caring." And when Foreman's father says, "My son says you're a manipulative bastard," House replies, "It's a pet name. I call him Dr. Bling." Of course House actually does care about his patients, but he views a good bedside manner as the luxury of a doctor who has a healthy patient. But dying patients with seemingly incurable diseases need something more. They need House. "--Jae-Ha Kim"

Theatrical: 2004

Studio: Universal Studios

Genre: TV Series / Drama

Duration: 60

Summary: You have to give the "House" production team credit. Your show has the "American Idol" lead-in and is often the highest-rated scripted drama on TV. However, instead of playing it safe with disease-of-the week plots, "House" swung for the fences several times: putting its main character in jail and threatening him with prison; ramping up the conflicts between all six of the main characters; and ending the year with a big cliffhanger that threatened to cut the main cast in half. Even when a given episode wasn't advancing the progressive storyline, the writers attempted to push the envelope with several politically themed episodes.

Early in Season 3, the big storyline revolved around recurring guest star David Morse, a detective out to get House and his questionable supply of Vicodin. In previous years, lengthy story arcs were given to Chi McBride and Sela Ward: would House lose his job? would House get married? This year, the theme was: would House go to prison? Morse dominated his episodes by playing the rare character that wouldn't back down to House. Although some media critics grew tired of the plot, which perhaps went on 2-3 episodes too long, the resolution was clever and allowed House to keep his dignity (and his job) without having to sacrifice... anything.

Several subplots emerged throughout the season, such as the romance between Drs. Chase and Cameron (first shown in season 2), and Dr. Foreman's growing dissatisfaction with having House as his mentor. House's fascination (or, some might say, obsession) with his boss, Dr. Cuddy, reached new levels. By the end of the season, House faced near mutiny from his underlings... and still didn't seem all that bothered. Perhaps House was too busy counseling a patient to end his life, or faking cancer in order to get a supply of pain medications. Perhaps he was dodging the romantic advances of a teenager, or trading in his case for a wheelchair in order to recover his handicapped parking spot. The more outrageous the behavior, the better Hugh Laurie was in the role. He even upgraded his cane to a model decorated with stars.

Standout guest stars this season included John Larroquette as a man waking up from a decade-long coma, Joel Grey as an ailing doctor, Dave Matthews as a stunted piano prodigy, and the return of Charles S. Dutton as Foreman's dad.

While the "House" season DVDs are never what you'd call packed with extras, the tightly knotted plots and the rapid-fire dialogue makes this a great show to watch more than once. Also try and track down plot-lines that never quite went anywhere, like Cuddy's rumored pregnancy or her not-quite romance with Wilson.

"House" season 3 drew top ratings while continuing with the show's unflinching dialogue and medical situations. This may not have been a great year for "Grey's Anatomy" or "E.R.", so cruise on over to Princeton Plainsborough for a few hours of intense hospital drama.

Theatrical: 2004

Studio: Universal Studios

Genre: TV Series / Drama

Duration: 688

Summary: The cantankerous and brilliant Dr. House (Golden Globe winner Hugh Laurie) is back for a third season of the hit drama "House", which picks up with his being shot at the end of season two and ends with his staff dramatically refusing to put up with his oddball (and borderline abusive) demands. Each of the 24 episodes, which aired on FOX from 2006 to 2007, is included in this 5-disc set. Fans of the drama will be happy to hear that the formula remains the same: Each show begins with a medical dilemma that's so severe and life-threatening that only Dr. House can diagnose and fix the problem, even if it goes against conventional medical rules. His put-upon boss Cuddy (Lisa Edelstein) is back, as are his young charges Foreman (Omar Epps), Cameron (Jennifer Morrison), and Chase (Jesse Spencer). Oncologist Wilson (Tony winner Robert Sean Leonard), who is House's best friend by default, also returns to support (and infuriate) the cranky doctor. Speaking of cranky, House's difficult nature proves to bite him in the rear. In a six-episode arc, the Vicodin-popping House meets his match after he antagonizes the wrong patient, police officer Michael Twitter (David Morse, who played a compassionate physician on "St. Elsewhere"). Hell hath no fury like a patient poked and prodded like a guinea pig, and Twitter makes it his business to make House's life miserable. But since the show is called "House", viewers are safe in assuming that House will not be rotting his life away in a jail cell. After all, the excitement of the show is driven by his unorthodox treatment of patients. As Cuddy succinctly points out, "You just keep on going until you come up with something so insane it's usually right." Look for a slew of excellent guest stars (rocker Dave Matthews, Charles S. Dutton, Piper Perabo, John Larroquette) to help stir things up. The episodes are as compelling as ever, focusing on a morbidly obese patient in denial, an autistic child, and a comatose man that House insists on "waking" up. The bonus materials include Morrison and Edelstein doing scenes in Valley Girl-speak and a featurette on Laurie's all-star charity group called Band from TV (Laurie plays piano). "--Jae-Ha Kim"

Theatrical: 2004

Studio: Universal Studios

Genre: TV Series / Drama

Duration: 45

Summary: The main problem with season 5 isn't the writing (per se) or the acting, it's the 'we will shock you by covering ground we've already covered before on this show- WITH A TWIST'. It's continually trying to one up itself. The 'private eye' storyline was included on this show as a testing ground to see if they could develop a spin off series, which only damaged the overall show in my opinion with all the airtime it hogged up.

Is it 'bad' tv? Not really. Hugh Laurie could make reciting nursey rhymes entertaining. But so far,season is pretty much just 'House:More of the same- But SHOCKING'.

Theatrical: 2008

Studio: Paramount

Genre: Comedy

Duration: 121 mins

Summary: He's Across The Pond and Out of His Depth Sidney Young, a smalltime, bumbling, British celebrity journalist, is hired by an upscale magazine in New York City. In spectacular fashion Sidney enters high society and burns bridges with bosses, peers and superstars. After disrupting one black-tie event by allowing a wild pig to run rampant, Sidney catches the attention of Clayton Harding, editor of Sharp, and accepts a job with the magazine in New York City. Clayton warns Sidney that he'd better impress and charm everyone he can, if he wants to succeed. Instead, Sidney instantly insults and annoys fellow writer Alison Olsen. He dares to target the star clients of power publicist Eleanor Johnson. He upsets his direct boss Lawrence Maddox and tries to make amends by hiring a stripper to dance for Lawrence during a staff meeting. Sidney, of course, doesn't stop there, finding creative ways to annoy nearly everyone. His saving graces: a rising, sexy starlet develops an odd affection for him, and in time, Alison whose friendship with him might be the only thing saving Sidney from torpedoing his career.

Theatrical: 2004

Studio: Walt Disney Home Entertainment

Genre: Anime / Adventure

Duration: 119

Summary: A love story centered on Zofî, an 18-year-old in an old woman's body, and a magician named Hauru. The film is set in a fantasy world with elements of science and is reportedly a war drama.

Theatrical: 1983

Studio: Warner Home Video

Genre: Horror

Duration: 100

Summary: James, un joven y solitario americano, se siente fascinado por Musidora, una preciosa y misteriosa chica que actúa en un espectáculo en el cual el público le clava una espada en el abdomen sin que ella derrame ni una gota de sangre ni sienta el mínimo dolor. Ambos se enamoran locamente, pero quizás este amor haga que las espadas que le daban la vida, ahora resulten mortales. La señorita Gati es una solitaria, malhumorada y enferma señorita postrada en una silla de ruedas. Su nueva enfermera, Steph, iniciará una relación con el encargado del apartamento y pronto pasará de ser una chica dulce y cariñosa a mostrarse más violenta e irritable, mientras que la señorita Gati va sintiéndose cada vez más feliz. ¿Acaso la señorita Gati tiene algo que ver con la violenta conducta sexual de Steph? William Cobb se encuentra de vacaciones cuando se empieza a fijar en Helma, una imponente criatura que le roba el corazón y la imaginación. Ella está acompañada por un señor mayor del que se rumorea que es Necros, una criatura muerta que se alimenta de seres vivos. ¿Debería Cobb seguir sus instintos o escuchar los avisos del pueblo? Una noche de pasión febril revelará la verdad