DVDpedia : Library : Title : C

Theatrical: 1995

Studio: Warner Home Video

Genre: Classics

Duration: 102

Summary: A truly perfect movie, the 1942 "Casablanca" still wows viewers today, and for good reason. Its unique story of a love triangle set against terribly high stakes in the war against a monster is sophisticated instead of outlandish, intriguing instead of garish. Humphrey Bogart plays the allegedly apolitical club owner in unoccupied French territory that is nevertheless crawling with Nazis; Ingrid Bergman is the lover who mysteriously deserted him in Paris; and Paul Heinreid is her heroic, slightly bewildered husband. Claude Rains, Sydney Greenstreet, Peter Lorre, and Conrad Veidt are among what may be the best supporting cast in the history of Hollywood films. This is certainly among the most spirited and ennobling movies ever made. "--Tom Keogh"

Theatrical: 2002

Studio: Walt Disney Home Entertainment

Genre: Kids & Family

Duration: 75

Summary: "The Cat Returns" (2002) brings back Muta, the cranky fat cat, and Baron von Gikkingen, the elegant statue, from the feature "Whisper of the Heart" (1995). On her way home from school, Haru, a confused 17-year-old, prevents an elegant gray cat from being hit by a truck. She's inadvertently saved the life of Lune, Prince of the Cat Kingdom, and his royal father decides to thank her. He fills her locker with gift-wrapped mice and decides she should come to his kingdom and marry Lune. Haru seeks help from the Cat Bureau, and eventually returns to relatively normal life, with the assistance of Muta and the Baron.
"The Cat Returns" recalls "Whisper of the Heart" and Takashi Nakamura's "Catnapped", but it offers neither the wistful charm of the former nor the bold visual imagination of the latter. Hayao Miyazaki has been seeking young directors for Studio Ghibli for several years. After preparing the script and storyboards for "Whisper", he turned the film over to Yoshifumi Kondo, who died tragically shortly after the film's release. "The Cat Returns" was directed by Hiroyuki Morita, who shows promise, but lacks Kondo's elegant sensibility. The DVD extras include a fulsome making-of documentary, Morita's voluminous storyboards, and mini-interviews with the vocal cast that includes Tim Curry, Cary Elwes, Peter Boyle, and Elliott Gould. (Rated G: minor scary imagery and cartoon violence) "--Charles Solomon"

Theatrical: 2003

Studio: Paramount

Genre: Television

Duration: 30

Summary: The 2003 debut of "Chappelle's Show" on Comedy Central marked a high point for the cable channel, and now the entire, wildly creative first season can be seen, with hundreds of bleeps removed. That's not to say "Chappelle's Show" is perfect entertainment: there are too many moments among the 12 episodes here that descend into pointless scatology and booty fever. But for the most part, Chappelle, a talented comic slowly growing into greatness, is trying to push the sketch-humor envelope and succeeds at surprising us with original concepts and merciless execution.
The merely clever material includes "National Geography's Third World Girls Gone Wild," basically an update on those topless-native-women gags of yore, and Chappelle's "Educated Guess Line," in which the sage comic eschews psychic powers to logically deduce racial insights from his callers' questions. Far more wicked is an in-your-face satire on such autobiographical film fare as "Antwone Fisher" and "8 Mile", in which Chappelle plays himself ascending from street hustler to rapper-comedian to bona fide savior of America. The best thing here, however, is a parallel-universe version of "The Real World", in which the usual racial proportions on MTV's workhorse series are reversed, thrusting a token white guy into a Hoboken houseful of crazy African Americans. There are also laughs in "Ask a Gay Guy with Mario Cantoned," as well as a sketch about an "inner-thoughts cam" and a nasty piece about Chappelle's Make-a-Wish visit to a dying child, which decays into a cruel video game competition. Overlooking the series' weaker material, this is outstanding television comedy. "--Tom Keogh"

Theatrical: 2003

Studio: Paramount

Genre: Television

Duration: 30

Summary: Dave Chappelle's shrewd parodies, stinging satires, and boldly imaginative fantasias simply pour from the second season of his Comedy Central show, in every respect as funny as his well-received debut year. The structure is the same: a relaxed Chappelle introduces each sketch to an enthusiastic, studio audience (some of these introductions amount to stand-up routines), and then the madness begins. Among the many highlights from the 13 episodes on this boxed set's three discs is a mock ad for Samuel L. Jackson beer, featuring Chappelle's hilarious impression of Jackson's stern, overbearing persona from "Pulp Fiction", and a dozen other features. Chappelle, considering a career in politics, floats a couple of trial campaign commercials, including one that promises to solve America's health care crisis by giving every citizen a fake Canadian I.D. Chappelle also suggests an effective program for teaching sexual abstinence to high school students: Forcing them to watch their principals have sex with the oldest female teachers on staff.
There's a good bit, too, about black soothsayer Negrodamus, whose ability to foresee events is limited to the fortunes of celebrities. Coming under fire (amusingly) are those McDonald's commercials suggesting that burger-flipping employment for African Americans can overhaul inner city communities. But, as with season 1, there are several masterpieces in this collection as well, such as Chappelle's vision of what the Internet would look like if it was a place you could actually, physically visit (with the equivalents of pop-up ads, porn sites, etc.). Equally inspired is a sketch in which a freeloading Chappelle, having impregnated the ultra-rich Oprah Winfrey, indulges his every whim. Best of all is Chappelle's take on what President Bush's administration would look like if the Chief Executive were, in fact, a black man. "--Tom Keogh"

Theatrical: 1997

Studio: Miramax

Genre: Drama

Duration: 120

Summary: Writer-director Kevin Smith ("Clerks") makes a huge leap in sophistication with this strong story about a comic-book artist (Ben Affleck) who falls in love with a lesbian (Joey Lauren Adams) and actually gets his wish that she love him, too. Their relationship is attacked, however, by his business partner (Jason Lee), who pulls a very unsubtle Iago act to cast doubt over the whole affair. The film has the same sense of insiderness as "Clerks"--this time, Smith takes us within the arcane, funny world of comic-book cultism--but the themes of jealousy, deceit, and the high price of growing up enough to truly care for someone make this a very satisfying movie. "--Tom Keogh"

Theatrical: 2007

Studio: Universal Studios

Genre: Action & Adventure

Duration: 110

Summary: Presenting a bleak, harrowing, and yet ultimately hopeful vision of humankind's not-too-distant future, "Children of Men" is a riveting cautionary tale of potential things to come. Set in the crisis-ravaged future of 2027, and based on the atypical 1993 novel by British mystery writer P.D. James, the anxiety-inducing, action-packed story is set in a dystopian England where humanity has become infertile (the last baby was born in 2009), immigration is a crime, refugees (or "fugees") are caged like animals, and the world has been torn apart by nuclear fallout, rampant terrorism, and political rebellion. In this seemingly hopeless landscape of hardscrabble survival, a jaded bureaucrat named Theo (Clive Owen) is drawn into a desperate struggle to deliver Kee (Clare-Hope Ashitey), the world's only pregnant woman, to a secret group called the Human Project that hopes to discover a cure for global infertility. As they carefully navigate between the battling forces of military police and a pro-immigration insurgency, Theo, Kee, and their secretive allies endure a death-defying ordeal of urban warfare, and director Alfonso Cuaron (with cinematographer Emmanuel Lubezki) capture the action with you-are-there intensity. There's just enough humor to balance the film's darker content (much of it coming from Michael Caine, as Theo's aging hippie cohort), and although "Children of Men" glosses over many of the specifics about its sociopolitical worst-case scenario (which includes Julianne Moore in a brief but pivotal role), it's still an immensely satisfying, pulse-pounding vision of a future that represents a frightening extrapolation of early 21st-century history. "--Jeff Shannon"

Theatrical: 2008

Studio: Magnolia Home Entertainment

Genre: Action & Adventure

Duration: 90

Summary: A young girl learns to fight from watching TV and the fighters from the boxing school next door. When she finds a list of debtors in her ailing mother s diary, she sets upon a violent quest to collect payment for medical expenses. Her quest is a dangerous one that ultimately leads her to her father, a gang member of the Yakuza.

Theatrical: 2004

Studio: Universal

Genre: Action & Adventure

Duration: 119

Summary: Bigger isn't always better, but for anyone who enjoyed "Pitch Black", a nominal sequel like "The Chronicles of Riddick" should prove adequately entertaining. Writer-director David Twohy returns with expansive sets, detailed costumes, an army of CGI effects artists, and the star he helped launch--Vin Diesel--bearing his franchise burden quite nicely as he reprises his title role. The Furian renegade Riddick has another bounty on his head, but when he escapes from his mercenary captors, he's plunged into an epic-scale war waged by the Necromongers. A fascist master race led by Lord Marshal (Colm Feore), they're determined to conquer all enemies in their quest for the Underverse, the appeal of which is largely unexplained (since Twohy is presumably reserving details for subsequent "chronicles"). With tissue-thin plotting, scant character development, and skimpy roles that waste the talents of Thandie Newton (as a Necromonger conspirator) and Judi Dench (as a wispy "Elemental" priestess), Twohy's back in the B-movie territory he started in (with "The Arrival"), brought to vivid life on a vast digital landscape with the conceptual allure of a lavish graphic novel. But does Riddick have leadership skills on his resumé? To get an answer to that question, sci-fi fans will welcome another sequel. "--Jeff Shannon"

Theatrical: 1995

Studio: Sony Pictures

Genre: Foreign

Duration: 112

Summary: The fantastic visions of Belgian filmmakers Marc Caro and Jean-Pierre Jeunet find full fruition in this fairy tale for adults. Evoking utopias and dystopias from "Brazil" to "Peter Pan", Caro and Jeunet create a vivid but menacing fantasy city in a perpetually twilight world. In this rough port town lives circus strongman One (Ron Perlman), who wanders the alleys and waterfront dives looking for his baby brother, snatched from him by a mysterious gang preying upon the children of the town. Rising from the harbor is an enigmatic castle where lives the evil scientist Krank (Daniel Emilfork), who has lost the ability to dream and robs the nocturnal visions of the children he kidnaps, but receives only mad nightmares from the lonely cherubs. Other wild characters include the Fagin-like Octopus--Siamese twin sisters who control a small gang of runaways-turned-thieves--Krank's six cloned henchmen (all played by the memorable Dominique Pinon from "Delicatessen"), and a giant brain floating in an aquarium (voiced by Jean-Louis Trintignant). Caro and Jeunet are kindred souls to Terry Gilliam (who is a vocal fan), creating imaginative flights of fancy built of equal parts delight and dread, which seem to be painted on the screen in rich, dreamy colors. "--Sean Axmaker"

Theatrical: 1994

Studio: Miramax

Genre: Comedy

Duration: 92

Summary: Before Kevin Smith became a Hollywood darling with "Chasing Amy", a film he wrote and directed, he made this $27,000 comedy about real-life experiences working for chump change at a New Jersey convenience store. A rude, foul-mouthed collection of anecdotes about the responsibilities that go with being on the wrong side of the till, the film is also a relationship story that takes some hilarious turns once the lovers start revealing their sexual histories to one another. In the best tradition of first-time, ultra-low budget independent films, Smith uses "Clerks" as an audition piece, demonstrating that he not only can handle two-character comedy but also has an eye for action--as proven in a smoothly handled rooftop hockey scene. Smith himself appears as a silent figure who hangs out on the fringes of the store's property. "--Tom Keogh"

Theatrical: 2000

Studio: Miramax

Genre: Comedy

Summary: Writer-director Kevin Smith revives the characters of his indie classic film "Clerks" for this animated series created for network television. Though it aired for just two episodes on TV, the two-disc set has all six episodes plus a bevy of special features.
The episodes feature store clerks Dante and Randal and their ongoing adventures among the shelves of your local corner store. Never far from the epicenter of these adventures are the irreverent Jay and Silent Bob. Whether it's getting trapped in the walk-in cooler, attending their high school reunion, or fighting rival Leonardo Leonardo (who wants to dominate the local Quick Mart market), "Clerks" spoofs TV and movies with mocking pop-culture jokes and cameos by a number of celebrities. Ultimately, though, "Clerks: The Animated Series" suffers at the hands of network censors, lacking the obnoxious punch that made "Clerks" the film so offbeat and amusing.
Smith doesn't disappoint, however, with the inclusion of a number of special features on the DVD set, most notably the ever-insightful director's commentary with guests Jason Mewes (Jay), Brian O'Halloran (Dante), and Jeff Anderson (Randal). So while the series itself may be ill-fated, featurette on the making of the animated series--including storyboards and information on character development and the comic book influence on the drawing style--make this a robust offering for Kevin Smith completists. "--Adam Medros"

Theatrical: 2006

Studio: Weinstein Company

Genre: Comedy

Summary: Lo and behold, "Clerks II" defies the odds as a sequel that even the most ardent "Clerks" fans can be happy about. Twelve years after Kevin Smith turned the independent film world upside-down with his $27,000 black-and-white comedy, perpetual slackers Dante (Brian O'Halloran) and Randal (Jeff Anderson) return for another raucous romp in suburbia, but this time there's no beloved Quick Stop mini-mart to ensure their low-level employment. Now they're aimless 33-year-olds flippin' burgers at Mooby's, a fast-food joint with a cow theme that's "udderly delicious." Dante's engaged to his long-time girlfriend but has unexpectedly fallen in love with Mooby's manager Becky (and since she's played by Rosario Dawson, can you blame him?), and Randal's still holding out for life, liberty, and the pursuit of low ambition. The responsibilities of adulthood are rearing their ugly head, and with Jay and Silent Bob (Jason Mewes and Kevin Smith) still dealing weed and generally being obnoxious, well... something's gotta give, right? The way Smith has written this long-awaited follow-up, the dilemmas of Dante, Randal, and their ongoing friendship are something that anyone can relate to, and with Dawson lighting up the screen (in a role demanded by producer Harvey Weinstein to boost box-office appeal), the movie's romantic chemistry is surprisingly delightful. Rest assured, also, that Smith (shooting mostly in color this time, on a $5 million budget) hasn't forgotten where he came from: "Clerks II" is jam-packed with the same lewd, crude humor that made "Clerks" and indie-film phenomenon, and Smith's good-natured sincerity is still on full display, ensuring that only the most prudish viewers could possibly be offended. For everyone else, this is as enjoyable as any sequel could ever hope to be, with amusing cameos by Smith-movie veterans Ben Affleck and Jason Lee, among others. "--Jeff Shannon"

Theatrical: 2004

Studio: Fox Home Entertainme

Genre: Comedy

Duration: 104

Summary: Looking for plenty of sex, violence, and lowbrow comedy? If you are, you could do a lot worse (or is it a lot better?) than to visit "Club Dread", a boldly wretched excuse for broad comedy perpetrated by the Broken Lizard troupe--the same guys who brought their potty-mouthed brand of lunacy to bear on 2002's "Super Troopers". That alone should serve as ample warning or invitation, depending on your tolerance for way-too-casual sketch comedy, stitched together with an emphasis on big, gross laughs and enough female frontal nudity to give "Girls Gone Wild" a run for its money. It all takes place on Coconut Pete's Pleasure Island, where Pete (Bill Paxton, slumming it with infectious abandon) holds court while scantily clad vacationers play crazy games (life-size Pac-Man, anyone?) and provide easy prey for a slasher on the loose. Ah, but there's the rub: Is this schizoid movie a comedy or a horror flick? It's both... and neither... and the bloodletting is surprisingly extreme amidst all the poop and fart jokes. Of course, that won't stop "Club Dread" from finding its audience. We know you're out there and you know who you are. "--Jeff Shannon"

Theatrical: 2003

Studio: Miramax Home Entertainment

Genre: Drama

Duration: 154

Summary: Freely adapted from Charles Frazier's beloved bestseller, "Cold Mountain" boasts an impeccable pedigree as a respectable Civil War love story, offering everything you'd want from a romantic epic except a resonant emotional core. Everything in this sweeping, Odyssean journey depends on believing in the instant love that ignites during a "very" brief encounter between genteel, city-bred preacher's daughter Ada (Nicole Kidman) and Confederate soldier Inman (Jude Law), who deserts the battlefield to return, weary and wounded, to Ada's inherited farm in the rural town of Cold Mountain, North Carolina. In an epic (but dramatically tenuous) case of absence making hearts grow fonder, Inman endures a treacherous hike fraught with danger (and populated by supporting players including Philip Seymour Hoffman, Natalie Portman, and others) while the struggling, inexperienced Ada is aided by the high-spirited Ruby (Renée Zellweger), forming a powerful farming partnership that transforms Ada into a strong, lovelorn survivor. The film's episodic structure slightly weakens its emotional impact, and it's fairly obvious that director Anthony Minghella is striving to repeat the prestigious romanticism of his Oscar®-winning hit "The English Patient". For the most part it works, especially in the dynamic performances of Zellweger and Kidman, and the explosive 1864 battle of Petersburg, Virginia, is recreated with violent, percussive intensity. Those who admired Frazier's novel may regret some of the changes made in Minghella's adaptation (the ending is particularly altered), but "Cold Mountain" remains a high-class example of grand, old-fashioned filmmaking, boosted by star power of the highest order. "--Jeff Shannon"

Theatrical: 1982

Studio: A&E Home Video

Genre: Television

Duration: 1749

Summary: New for 2005, "The Complete Monty Python's Flying Circus 16-Ton Megaset" packs together the original 14-DVD megaset with the two-disc "Monty Python Live" in space-saving Thinpaks. While more cautious fans may want to pick and choose among the previously released individual volumes of "Monty Python" for their collection, true Pythonites will want to own this definitive megaset that contains all 45 episodes (in chronological order) of "Monty Python's Flying Circus". This "persistently silly" collection encompasses three-and-a-half seasons of dead parrots, cross-dressing lumberjacks, loonies, upper class twits, and spam, spam, spam, spam, spam, spam, spam, baked beans, spam, spam, and spam. Click past the occasional clunker and go directly to such signature sketches as the Ministry of Silly Walks, the Spanish Inquisition, the Fish-Slapping Dance, the Dead Parrot Sketch, the Lumberjack Song, the Cheese Shop, the Argument Clinic, and Nudge, Nudge. Taken as a whole, one marvels at how Graham Chapman, John Cleese, Eric Idle, Terry Jones, Michael Palin, and Terry Gilliam thoroughly subverted television convention with "something completely different," like sketches with no punch lines ("Your average TV viewer isn't going to understand this"). A warning to the uninitiated: there is much "material that some may find offensive, but which is really smashing." Violations of something called the "Strange Sketch Act" are the least of the troupe's offenses, as witness the Oscar Wilde Sketch, the Dirty Vicar Sketch, and the Most Awful Family in Britain Sketch, all of which achieve "the really gross awfulness" all Python fans are looking for. Say no more.
Monty Python TV shows, movies, records, and books are a time capsule of their anarchic lunacy. But more precious is an audience with Python, and as close as we can get is "Live at the Hollywood Bowl", the long-sought-after 1982 concert film in which the Fab Six perform their greatest hits before a wildly enthusiastic crowd. Robert Klein moderates "Live at Aspen", the irreverent 1998 U.S. Comedy Arts Festival tribute that reunited John Cleese, Eric Idle, Michael Palin, Terry Gilliam, and Terry Jones onstage for the first time in 18 years on the occasion of the troupe's 30th anniversary. Highlights include a shockingly funny moment involving Graham Chapman's ashes, and a joyous "Always Look on the Bright Side of Life" sing-along. Less essential is 1989's clip show "Parrot Sketch Not Included: 20 Years of Python", which also does not include "The Oscar Wilde Sketch," "Cheese Shop," "Nudge-Nudge," and many other signature sketches. "--Donald Liebenson"

Theatrical: 1984

Studio: Mca Home Video

Genre: Action & Adventure

Summary: "Conan the Barbarian", the movie that turned Arnold Schwarzenegger into a global superstar, is a prime example of a match made in heaven. It's the movie that macho maverick writer-director John Milius was born to make, and Arnold was genetically engineered for his role as the muscle-bound, angst-ridden hero created in Robert E. Howard's pulp novels. Oliver Stone contributed to Milius's screenplay, and the production design by comic artist Ron Cobb represents a perfect cinematic realization of Howard's fantasy world. To avenge the murder of his parents, Conan tracks down the evil Thulsa Doom (James Earl Jones) with the help of Queen Valeria (played by buff B-movie vixen Sandahl Bergman) and Subotai the Mongol (Gerry Lopez). Aptly described by critic Roger Ebert as "the perfect fantasy for the alienated pre-adolescent," this blockbuster is just as enjoyable for adults who haven't lost their youthful imagination. "--Jeff Shannon"

The dark, brooding tone of Conan the Barbarian is replaced in this rousing sequel by a lighter, more humorous tone and one of the campiest casts ever assembled. This time, Conan is assigned by a duplicitous queen (Sarah Douglas) to escort a virgin princess (Olivia d'Abo) on a treacherous trek to a crystal palace where they will retrieve a priceless gemstone. Basketball champ and self-described Lothario Wilt Chamberlain plays Bombaata, a warrior sent on a secret mission to kill Conan, and the androgynous Grace Jones plays Zula, a wild woman who becomes Conan's loyal ally. Some consider this sequel a disappointment, but the film makes no apologies for its silliness, and that's the key to its success as gloriously pulpy entertainment. --Jeff Shannon

Theatrical: 1982

Studio: Mca Home Video

Genre: Action & Adventure

Summary: "Conan the Barbarian", the movie that turned Arnold Schwarzenegger into a global superstar, is a prime example of a match made in heaven. It's the movie that macho maverick writer-director John Milius was born to make, and Arnold was genetically engineered for his role as the muscle-bound, angst-ridden hero created in Robert E. Howard's pulp novels. Oliver Stone contributed to Milius's screenplay, and the production design by comic artist Ron Cobb represents a perfect cinematic realization of Howard's fantasy world. To avenge the murder of his parents, Conan tracks down the evil Thulsa Doom (James Earl Jones) with the help of Queen Valeria (played by buff B-movie vixen Sandahl Bergman) and Subotai the Mongol (Gerry Lopez). Aptly described by critic Roger Ebert as "the perfect fantasy for the alienated pre-adolescent," this blockbuster is just as enjoyable for adults who haven't lost their youthful imagination. "--Jeff Shannon"

Theatrical: 2005

Studio: Warner Home Video

Genre: Action & Adventure

Duration: 121

Summary: In the grand scheme of theological thrillers, "Constantine" aspires for the greatness of "The Exorcist" but ranks more closely with "The Order". Based on the popular "Hellblazer" comic book series, and directed with nary a shred of intelligence by music video veteran Francis Lawrence, it's basically "The Matrix" with swarming demons instead of swarming machines. Keanu Reeves slightly modifies his "Matrix" persona as John Constantine, who roams the dark-spots of Los Angeles looking for good-evil, angel-devil half-breeds to ensure that "the balance" between God and Satan is properly maintained. An ancient artifact and the detective twin of a woman who committed evil-induced suicide (Rachel Weisz) factor into the plot, which is taken so seriously that you'll want to stand up and cheer when Tilda Swinton swoops down as the cross-dressing angel Gabriel and turns this silliness into the camp-fest it really is. The digital effects are way cool (dig those hellspawn with the tops of their heads lopped off!), so if you don't mind a juvenile lesson in pseudo-Catholic salvation, "Constantine" is just the movie for you! "--Jeff Shannon"

Theatrical: 2005

Studio: Warner Home Video

Genre: Animation

Duration: 76

Summary: Who else but Tim Burton could make "Corpse Bride", a necrophiliac's delight that's fun for the whole family? Returning to the richly imaginative realm of stop-motion animation (after previous successes with "The Nightmare Before Christmas" and "James and the Giant Peach"), Burton, with codirector Mike Johnson, invites us to visit the dour, ashen, and drearily Victorian mansions of the living, where young Victor Van Dort (voiced by Johnny Depp) is bequeathed to wed the lovely Victoria (Emily Watson). But the wedding rehearsal goes sour and, in the kind of Goth-eerie forest that only exists in Burton-land, Victor suddenly finds himself accidentally married to the Corpse Bride (Helena Bonham Carter), a blue-tinted, half-skeletal beauty (how pleasantly full-bosomed she remains!) with a loquacious maggot installed behind one prone-to-popping eyeball. This being a Burton creation, the underworld of the dead is a lively and colorful place indeed, and Danny Elfman's songs and score make it even livelier, presenting Victor with quite a dilemma: Should he return above-ground to Victoria, or remain devoted to his corpse bride? At a brisk 76 minutes, Burton's graveyard whimsy (loosely based on a 19th century Russian folktale) never wears out its welcome, and the voice casting (which includes Tracey Ullman and Albert Finney) is superbly matched the film's gloriously amusing character design, guaranteed to yield a wealth of gruesome toys and action figures for many Halloweens to come. "--Jeff Shannon"

Theatrical: 2003

Studio: Sony Pictures

Genre: Anime

Duration: 116

Summary: As the eagerly awaited "Cowboy Bebop" feature film reunites the original director, screenwriter, composer, and vocal cast, it's not surprising that the film plays like an expanded TV episode. What should be the routine capture of a two-bit hacker by Faye escalates into a deadly game of cat and mouse, as Spike and the gang struggle to prevent the evil Vincent Volaju from murdering every human on Mars. Director Shinichiro Watanabe handles the action sequences with his usual panache. Inside the sinister Cherious Medical research facility, Spike fights a beautiful agent, using a push broom in a series of maneuvers Jackie Chan might envy. The climactic duel between Spike and Vincent plays against innocent yet eerie images of a Halloween carnival, recalling the amusement park setting of episode 20, "Pierrot Le Fou." "Knockin' on Heaven's Door" will delight fans of the series and provide an excellent introduction for the uninitiated who want to know why "Cowboy Bebop" is so popular on both sides of the Pacific. (Rated R: violence, brief nudity, minor profanity, tobacco use) "--Charles Solomon"

Theatrical:

Studio: Bandai Entertainment

Genre: Action & Adventure

Duration: 650

Summary: The crew of the Bebop is once again ready to take control of space, bringing bad guys to justice and trying to make some cash while doing it. Join the always cool Spike, investigative genius Jet, the fabulous Faye, the amazing (but weird) Ed and the super-smart Welsh Corgi named Ein as they try to make a buck in the year 2071. How do they do it? They re bounty hunters. But then again, you probably wouldn t be reading this if you didn t already know that...Now, for the first time in North America the entire Cowboy Bebop Remix series in one package!!!

Theatrical: 1982

Studio: Warner Home Video

Genre: Horror

Duration: 120

Summary: Inspired by the controversial E.C. Comics of the 1950s--which also provided the title and inspiration for the popular "Tales from the Crypt" TV series--director George Romero and screenwriter Stephen King serve up five delightfully frightful stories. Utilizing comic-book panels, animated segues, and exaggerated lighting and camera angles, Romero and cinematographer Michael Gornick come very close to replicating a horror comic in film format. The results mix fine acting with the morbid sense of humor and irony that made the E.C. books so popular in their heyday. Actors such as Leslie Nielsen, Hal Holbrook, Ted Danson, Adrienne Barbeau, Ed Harris, E.G. Marshall, and even King appear in the stories, which include tales of a sinister father's day celebration, a mysterious meteor, seaweed-draped zombies, a monster in a crate, and a cockroach-phobic millionaire. Fiendishly fun fare from one of horror's most famous directors. "--Bryan Reesman"

Theatrical:

Studio: Adv Films

Genre: Anime & Manga

Duration: 325

Summary: Japan's smartest comedy is totally stupid --- and maybe that's why we love it so! Based on Eiji Nanaka's award-winning manga CROMARTIE HIGH SCHOOL is an absurdist romp through Japan's toughest most notorious reform school. Populated by a motley crew of thugs misfits and the occasional gorilla it won over legions of Japanese late night TV viewers. Now through this super affordable thin-pack Japan's #1 comedy is soon to become North America's favorite funny anime. "A+" (Anime on DVD)DVD Features:Available Subtitles: EnglishAvailable Audio Tracks: English (Dolby Digital 5.1) Japanese (Dolby Digital 2.0 Stereo)26 episodes on three discs in thinpaksSystem Requirements:Run Time: 325 minutesFormat: DVD MOVIE Genre: ANIMATION/ADULT SWIM Rating: NR UPC: 702727155222 Manufacturer No: DCHS/BX2

Theatrical: 2000

Studio: Sony Pictures

Genre: Foreign

Duration: 120

Summary: Hong Kong "wuxia" films, or martial arts fantasies, traditionally squeeze poor acting, slapstick humor, and silly story lines between elaborate fight scenes in which characters can literally fly. "Crouching Tiger, Hidden Dragon" has no shortage of breathtaking battles, but it also has the dramatic soul of a Greek tragedy and the sweep of an epic romance. This is the work of director Ang Lee, who fell in love with movies while watching "wuxia" films as a youngster and made "Crouching Tiger" as a tribute to the form. To elevate the genre above its B-movie roots and broaden its appeal, Lee did two important things. First, he assembled an all-star lineup of talent, joining the famous Asian actors Chow Yun-fat and Michelle Yeoh with the striking, charismatic newcomer Zhang Ziyi. Behind the scenes, Lee called upon cinematographer Peter Pau ("The Killer", "The Bride with White Hair") and legendary fight choreographer Yuen Wo-ping, best known outside Asia for his work on "The Matrix". Second, in adapting the story from a Chinese pulp-fiction novel written by Wang Du Lu, Lee focused not on the pursuit of a legendary sword known as "The Green Destiny," but instead on the struggles of his female leads against social obligation. In his hands, the requisite fight scenes become another means of expressing the individual spirits of his characters and their conflicts with society and each other.
The filming required an immense effort from all involved. Chow and Yeoh had to learn to speak Mandarin, which Lee insisted on using instead of Cantonese to achieve a more classic, lyrical feel. The astonishing battles between Jen (Zhang) and Yu Shu Lien (Yeoh) on the rooftops and Jen and Li Mu Bai (Chow) atop the branches of bamboo trees required weeks of excruciating wire and harness work (which in turn required meticulous "digital wire removal"). But the result is a seamless blend of action, romance, and social commentary in a populist film that, like its young star Zhang, soars with balletic grace and dignity. "--Eugene Wei"

Theatrical: 1999

Studio: Warner Home Video

Genre: Television

Duration: 45

Summary: The first and only spin-off of "Babylon 5", J. Michael Straczynski's short-lived sci-fi series "Crusade" had its roots in the "B5" television movie "A Call to Arms", in which Earth was battling a Drakh invasion at the end of the Shadow Wars. When "Crusade" begins, the Drakh have released a deadly virus that threatens to wipe out all 10 billion humans living on Earth unless a cure can be found in five years. To take on this monumental task, Captain Matthew Gideon (Gary Cole) is assigned command of the state-of-the-art Destroyer-class ship "Excalibur". His crew includes telepath John Matheson (Daniel Dae Kim); pompous but brilliant archaeologist-linguist Max Eilerson (David Allen Brooks); Dureena, a member of the Thieves' Guild and the last surviving member of her species (Carrie Dobro); medical officer Sarah Chambers (Marjean Holden); and technomage Galen (Peter Woodward).
While "Babylon 5" had five years to develop into a powerful saga, "Crusade" had its plug pulled after a mere 13 episodes (which were reordered for TNT's broadcast), and the series never really got its footing. Galen often took center stage, then disappeared for several episodes. Matheson was underutilized (other than to provide fans with clues about what happened in the Psi-Wars after "B5" ended), and tough-guy Gideon bounced back and forth between his desire to save the human race and his own moral code. There were some good action scenes and intriguing concepts (developed in conjunction with the NASA Jet Propulsion Laboratory). Special effects sometimes were impressive and sometimes showed budget constraints, and we never really saw the power and scope of the mile-and-a-half-long ship, other than the cool bullet cars used to traverse its length. But it did have its moments. If "B5" was the spiritual companion to "Star Trek: Deep Space Nine" with its space-station setting and long story arc, "Crusade" was more like a traditional "Star Trek" setting, with mostly stand-alone episodes involving first contact with various species (even if, due to the nature of the "Excalibur"'s quest, such species were usually extinct). And there were occasional tantalizing hints of a broader conspiracy that might have allowed the series to soar. Regardless, "B5" fans will welcome even a brief opportunity to revisit this universe, especially when the "Excalibur" visits the station in "The Rules of the Game." John Sheridan's ex-wife Captain Elizabeth Lochley (Tracy Scoggins) even earned a spot in the opening credits for her appearance in a few episodes. "--David Horiuchi"

Theatrical: 2007

Studio: Sony Pictures

Genre: Action & Adventure

Duration: 114

Summary: "Curse of the Golden Flower", a fictionalized historical glimpse into the brutally complicated politics of Emperor Ping's (Chow Yun Fat) reign during the Tang Dynasty, shows the viewer just how far a megalomaniac must go to gain and retain power in medieval China. Lavish sets, massive ceremonial displays, and perversely fascinating battle scenes impress similarly to the special effects Americans have come to love and expect from Chinese action films like Zhang Yimou's previous "House of Flying Daggers" and "Crouching Tiger, Hidden Dragon". An intricate plot involving the Emperor's wife, Empress Phoenix (Gong Li) and their three sons, Crown Prince Xiang, Prince Jie, and Prince Cheng, most closely follows the Empress's secret plan to force abdication upon her corrupt husband as revenge for his slowly poisoning her with Black Fungus tea. Opening on the eve of the Chysanthemum Festival, 928 A.D., the Empress obsessively embroiders gold chysanthemums to adorn her army's uniforms while hatching plans with Jai to overthrow the Crown Prince for control of the throne. Meanwhile, a side plot develops as the Emperor's ex-wife and mother to Crown Prince Yu reemerges as Yu's lover. By the time the Festival occurs, family members are pitted against each other in a "King Lear"-ian web of lies that can only result in demise. The most sophisticated narrative aspect of "Curse of the Golden Flower" is that as the royal family crumbles, the Emperor's death grip on China remains unwavering. Gorgeous scenes set in the palace and costume design displaying China's upper class decadence cannot fail to entertain. The paradox between good and evil, here, is highlighted by how the Emperor successfully rules despite, and because of, his utter cruelty. "--Trinie Dalton"

Theatrical: 1989

Studio: MGM (Video & DVD)

Genre: Action & Adventure

Duration: 86

Summary: Jean-Claude Van Damme, a.k.a. "the Muscles from Brussels," had only a few movies to his credit when he played the hero in this lame postapocalyptic action flick from 1989. It's really just another martial-arts movie, dressed down with near-future trash and dirty sets that have "low budget" written all over them. Van Damme plays the protective escort for a half-human, half-cyborg woman whose programming contains a possible cure for a plague that's threatening to wipe out the entire population of Earth. But the woman is kidnapped by Van Damme's evil nemesis (is there any other kind?) while they are en route to her Atlanta headquarters. That leads Van Damme right into a lion's den of sadomasochistic torture and torment. If you've made it this far (and if you have, why?), you're probably a founding member of the Jean-Claude Van Damme fan club. To everyone else: Don't say you weren't warned--this is the kind of movie in which naming characters after electric guitars (Van Damme's character is named "Gibson Rickenbacker") qualifies as clever screenwriting. "--Jeff Shannon"