DVDpedia : Library : Title : F

Theatrical: 1999

Studio: 20th Century Fox

Genre: Television

Duration: 88

Summary: To the ranks of shows too brilliant and outrageous for prime time ("The Ben Stiller Show", "Andy Richter Controls the Universe"), add Seth McFarland'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: 1999

Studio: 20th Century Fox

Genre: Television

Duration: 88

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: 1999

Studio: Adv Films

Genre: Television

Summary: The must-have collection includes 7 episodes of the first season of the Jim Henson Television, Hallmark Entertainment, and Nine Networks award-sinning series on 2 discs. This award-winning series, which airs on SCI FI, has been called "The Best Sci-Fi on TV", by TV Guide, and hailed as "TV's Best Space Series" by USA Today.

Theatrical: 1999

Studio: Adv Films

Genre: Television

Summary: This must-have collection includes 7 episodes of the first season of the Jim Henson Television, Hallmark Entertainment, and Nine Networks award-winning series on 2 discs. Airing on SCI FI, Farcape has been called "The Best SciFi on TV, " by TV Guide, and hailed as "TV's Best Space Series" by USA Today.

Theatrical: 1999

Studio: Adv Films

Genre: Television

Summary: This must-have collection includes 8 episodes of the first season of the Jim Henson Television, Hallmark Entertainment, and Nine Networks award-winning series on 2 discs. This award-winning series, which airs on SCI FI, has been called "The Best Sci-Fi on TV," by TV Guide, and hailed as "TV's Best Space Series" by USA Today.

Theatrical: 1999

Studio: Adv Films

Genre: Television

Summary: Farscape is an adventure as broad and weird as the universe-full of strange creature, bizarre twists, irreverent humor, raucous action, passion, and romance! Produced in Australia with the incredible talents of Jim Henson's Creature Shop, Farscape is the fantasy-scifi-drama-romance-comedy-adventure you will always remember!

Theatrical: 2005

Studio: Adv Films

Genre: Television

Summary: Don’t get your shivvies in an uproar! It’s the fifth collection in the Starburst Edition of Farscape -- the middle of Season 2! "I’m just looking for a way home." Astronaut John Crichton (Ben Browder) is lost. Really, really lost. Shot through a wormhole during an experimental space mission, he’s in a distant part of the universe, far from everything and everyone he’s ever known. Yes, he’s made friends with a bizarre crew of alien ex-cons onboard the massive living ship called Moya. He’s even risked his life for them. But he’s made some powerful enemies, too. Especially Scorpius, an obsessed military leader – and sadistic horror – who wants a secret technology that’s hidden deep in Crichton’s subconscious. And nightmare of nightmares, Scorpius has implanted a neural clone of himself into Crichton’s brain to hunt down the information he seeks, even if Crichton’s sanity is destroyed in the process! An ordinary guy on an extraordinary journey, Crichton is doing his best… to survive. Home has never seemed so far away. Farscape is an adventure as broad and weird as the universe -- full of strange creatures, bizarre twists, irreverent humor, raucous action, passion, and romance! Produced in Australia with the incredible talents of Jim Henson’s Creature Shop, Farscape is the fantasy-scifi-drama-romance-comedy-adventure you will always remember!

Theatrical: 1999

Studio: Adv Films

Genre: Television

Summary: Farscape is an enduring sci-fi franchise, thanks to thrilling yarns, plenty of space opera, and a menagerie of captivating aliens, courtesy of Jim Henson's Creature Shop. Now, thanks to the Starburst Editions, fans can load p on the ultimate Farscape experience, packed with brand new extras at a low low price.

Theatrical: 1999

Studio: Adv Films

Genre: Television

Summary: Farscape is an enduring sci-fi franchise. Now, thans to the Starburst Editions, fans can load up on the ultimate Farscape experience, packed with brand new extras at a low low price!

Theatrical: 1999

Studio: Adv Films

Genre: Television

Summary: Well, frell me dead! It’s the Starburst Edition of Farscape -- Season 3, Collection 2! It’s a big, crazy universe out there. And American astronaut John Crichton (Ben Browder) is about as lost in it as he can be! The poor guy’s been through a lot. He’s been probed, prodded, framed, frozen, and frelled by alien life forms more bizarre than anything he could have imagined. Now, our long-suffering hero has been cloned against his will. And it’s double-trouble as two Crichtons go on separate adventures! Throw in an dysfunctional crew of quarreling alien ex-cons, a bio-mechanoid ship with a neurotic Pilot, a sadistic military leader with a secret agenda, a beautiful ex-commando who’s learning how to love, and it’s no wonder that… John Crichton is losing his mind! Praised by TV Guide as one of the "25 Top Cult Shows Ever," Farscape is an adventure as broad and weird as the universe -- full of strange creatures, bizarre twists, irreverent humor, raucous action, passion, and romance! Produced in Australia with the incredible talents of Jim Henson’s Creature Shop, Farscape is the fantasy-scifi-drama-romance-comedy-adventure you will always remember!

Theatrical: 1999

Studio: Adv Films

Genre: Television

Summary: You bet your frangle! It’s the Starburst Edition of Farscape -- Season 3, Collection 3! Who is John Crichton? An astronaut. Good-looking, all-American, nice guy lost somewhere in a crazy universe. A hero who’s been probed, prodded, framed, frozen, and frelled by alien life forms more bizarre than anything in Captain Kirk’s wildest dreams. Who is John Crichton (Ben Browder)? Did we mention he’s in love with a beautiful ex-commando named Aeryn (Claudia Black)? Did we mention he’s been cloned? Two Crichtons so identical even he can’t tell who’s the original. One Crichton gets the girl of his... er... their dreams. The other gets left behind. One Crichton dies. The other goes toe-to-toe against death itself, in the form of a sadistic military leader searching for a secret that will forever alter the balance of power in the universe. It’s hidden deep in Crichton’s impenetrable human subconscious, where even he can’t find it. Toss in a dysfunctional crew of quarreling alien ex-cons onboard a bio-mechanoid ship with a neurotic Pilot, and you’ve got a hint of the incredible Farscape universe. But only a hint. Praised by TV Guide as one of the "25 Top Cult Shows Ever," Farscape is an adventure as broad and weird as the universe -- full of strange creatures, bizarre twists, irreverent humor, raucous action, passion, and romance! Produced in Australia with the incredible talents of Jim Henson’s Creature Shop, Farscape is the fantasy-scifi-drama-romance-comedy-adventure you will always remember!

Theatrical: 1999

Studio: Adv Films

Genre: Television

Summary: After a forced landing, the crew is separated by an elaborate trap that leaves Crichton, D'Argo, Noranti and Rygel in a lava-filled system of underground caves. While Chiana and Sikozu are on the surface trying to reactivate D'Argo's ship, Crichton and the others are being hunted down by mercenaries who are led by a monster impervious to the fiery lava.

Theatrical: 1999

Studio: Adv Films

Genre: Television

Summary: Farscape is an enduring sci-fi franchise, thanks to thrilling yarns, plenty of space opera, and a menagerie of captivating aliens, courtesy of the Jim Henson's Creature Shop. Now, thanks to the Starburst Editions, fans can load up on the ultimate Farscape experience, packed with brand new extras at a low low price!

Theatrical: 1999

Studio: Adv Films

Genre: Science Fiction & Fantasy

Summary: Farscape is an enduring sci-fi franchise, thanks to thrilling yarns, plenty of space opera, and a menagerie of captivating aliens, courtesy of the Jim Henson Creature Shop. Now, thanks to the Starburst Editions, fans can load up on the ultimate Farscape experience, packed with brand new extras at a low low price!

Theatrical: 2004

Studio: Hallmark

Genre: Television

Duration: 182

Summary: Created at least in part due to popular demand, "Farscape: The Peacekeeper Wars" will provide some closure to fans who were dismayed by the demise of the popular science fiction television show in 2003 and campaigned mightily to bring it back. Indeed, this miniseries (originally broadcast over two nights on the Sci-Fi Channel) will likely appeal primarily to the "Farscape" faithful, as the somewhat convoluted storyline may prove baffling to the uninitiated.

A brief bit of backstory explains how John Crichton, an astronaut from Earth, went through a wormhole and ended up on Moya, a living spaceship, with a motley group of aliens, including D'Argo (Anthony Simcoe), Chiana (Gigi Edgley), various puppet characters (designed by the Jim Henson Company), and Aeryn (Claudia Black), Crichton's love interest, who's expecting their first child. As "The Peacekeeper Wars" begins, our heroes find themselves in the middle of a war-to-end-all-wars between the lizard-like, implacably evil Scarrans and their rivals, the Peacekeepers. Crichton is the lynchpin in all of this, as his knowledge of "wormhole technology" is coveted by all, including his old nemesis Scorpius (Wayne Pygram), who captured and tortured Crichton back in season 1 and with whom Crichton must now form an uneasy alliance against the Scarrans.

Over the course of the three-hour miniseries, we get lots of weird- and cool-looking aliens, some nice sets and special effects, plenty of battles, and lots of portentous talk about the fate of the universe--nothing especially original, but all presented with outstanding production values. There's drama and action, love and betrayal, tragedy and triumph, war and, ultimately, peace, with a suitably spectacular ending (and a nod to Stanley Kubrick's "2001: A Space Odyssey"). With a 30-minute "making of" documentary among the DVD special features, "The Peacekeeper Wars" is a fitting way to end the "Farscape" saga. "--Sam Graham"

Theatrical: 1975

Studio: BBC Warner

Genre: Art House & International

Duration: 500

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: 1997

Studio: Sony Pictures

Genre: Science Fiction & Fantasy

Duration: 126

Summary: Ancient curses, all-powerful monsters, shape-changing assassins, scantily-clad stewardesses, laser battles, huge explosions, a perfect woman, a malcontent hero--what more can you ask of a big-budget science fiction movie? Luc Besson's high-octane film incorporates presidents, rock stars, and cab drivers into its peculiar plot, traversing worlds and encountering some pretty wild aliens. Bruce Willis stars as a down-and-out cabbie who must win the love of Leeloo (Milla Jovovich) to save Earth from destruction by Jean-Baptiste Emmanuel Zorg (Gary Oldman) and a dark, unearthly force that makes Darth Vader look like an Ewok.

Theatrical: 2004

Studio: Lions Gate

Genre: Thriller

Duration: 95

Summary: While it works better as a somber mood piece than a futuristic thriller, "The Final Cut" posits a unique what-if scenario that some viewers will find fascinating. In a role that calls for his low-key "One Hour Photo" persona, Robin Williams plays an expert "cutter" who's in demand for his ability to distill anyone's lifetime into a feature-length "rememory" film that highlights the better side of anyone's nature. His profession is made possible by the "Zoe" chip, a prenatal brain implant capable of recording a person's entire lifetime--a technology opposed by a former cutter (Jim Caviezel) and puzzled over by Williams' on-and-off girlfriend (Mira Sorvino). First-time writer-director Omar Naim divided critics with his impressive visual style and lackluster screenplay, which fails to account for the larger implications of the Zoe chip's exploitation. Still, the film contains several intriguing ideas that place it among other sci-fi films like "Gattaca", suggesting one of the many potential controversies that await us in a future where ethics and technology are not always compatible. "--Jeff Shannon"

Theatrical: 2002

Studio: 20th Century Fox

Genre: Television

Duration: 42

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: 1982

Studio: Live / Artisan

Genre: Action & Adventure

Duration: 97

Summary: It's easy to forget that this Spartan, violent film, which begat the Rambo series, was such a big hit in 1982 because it was a good movie. Green Beret vet John Rambo (Sylvester Stallone) wanders into the wrong small town to find a fellow 'Nam buddy and gets the living heck kicked out of him by the local law enforcement (led by Brian Dennehy). The vet strikes back the only way he knows how, leading to a visceral, if unrealistic, flight and fight through the local mountains. Based on the 1972 novel by David Morrell, this film saved Stallone's then-foundering career and the Rambo character became the inspiration for countless political cartoons. But this film is "Deliverance" without the moral ambiguity. "--Keith Simanton"

Theatrical: 1991

Studio: Sony Pictures

Genre: Drama

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: 1994

Studio: Dragon Dynasty

Genre: Art House & International

Duration: 103

Summary: A Chinese martial artist returns to Shanghai to find his teacher dead and his school harassed by occupying Japanese forces. He has but one choice - to avenge his master's murder and restore his school's honor.

Theatrical: 1999

Studio: MGM (Video & DVD)

Genre: Drama

Duration: 115

Summary: Paul Schrader's "Forever Mine" tells a not-very-compelling, still-less-credible story of love, betrayal, and retribution. A cabana boy (Joseph Fiennes) at a Florida beach resort falls hard for a gorgeous guest (Gretchen Mol) neglected by her wheeler-dealer husband (Ray Liotta). After a steamy nude scene and a sweet, barefoot date, Fiennes follows her home to New York and declares undying love. Mol, a good Catholic girl who reads "Madame Bovary", confesses the affair to Liotta. Being shadier than she realizes, he arranges to have nasty things befall his rival. Cut to 14 years later (though in fact the movie has been shuffling time periods since the beginning): Fiennes, long presumed dead, resurfaces to lend his talents (he's become a master criminal) to the now thoroughly corrupt Liotta and see what his beloved is up to. Fiennes has a new name, and a scar on one side of his face, so neither recognizes him. You don't have a problem with that, do you?
Nonrecognition is always a tricky proposition in movies, but "Forever Mine"'s problems don't end there. Fiennes, sans "Shakespeare in Love" beard and Bardlike charisma, doesn't begin to suggest a guy who'd inspire obsession. His costar's attempt at creating a soul sister to Emma Bovary is as underacted as it is underwritten, and Liotta's husband is just a lout, despite a desperate stab at giving him a virtually literary sensitivity regarding his romantic one-upping. You want a spellbinding Schrader movie about outré passion and literary mystery, look up "The Comfort of Strangers". "--Richard T. Jameson"

Theatrical: 2006

Studio: Warner Home Video

Genre: Action & Adventure

Duration: 96

Summary: Science fiction and romance collide in "The Fountain", the ambitious third feature from director Darren Aronofsky ("Pi", "Requiem for a Dream"), who labored for four years to complete this epic-sized love story that stretches across centuries and galaxies. Hugh Jackman and Rachel Weisz (Aronofsky's real-life companion) play lovers in each of the film's three settings--16th century Europe and America (Jackman is a Spanish explorer searching for Incan magic), the present day (Jackman is a doctor attempting to cure his dying wife), and the 26th century (Jackman is a space traveler seeking a gateway to the afterlife)--who struggle mightily to stay united, only to lose each other time and again. Aronofsky may not have chosen the easiest presentation for audiences to absorb his theories on the lasting qualities of life and the transformative powers of death--the final sequence, in particular, with a bald Jackman floating through space in a bubble, harks back uncomfortably to "head movies" of the late '60s--but his leads have considerable chemistry (and look terrific to boot), which goes a long way towards securing viewers' hopes for a happy ending. Critical reception for The "Fountain" has been nothing short of bloodthirsty, with Cannes audiences booing, but there are elements to enjoy here, even if the premise throws one for a loop. Ellen Burstyn (who earned an Oscar nomination for "Requiem") delivers a typically solid performance as Jackman's boss in the present day sequence, and special effects (most done without the benefit of CGI) are also impressive given the film's low budget (spurred by a mid-production shutdown after original stars Brad Pitt and Cate Blanchett ankled the picture). And science-fiction fans whose tastes run towards the metaphysical (Asimov, Le Guin) will appreciate the attempt to present the genre in a serious light. " -- Paul Gaita"

Theatrical: 2002

Studio: Lions Gate

Genre: Thriller

Duration: 100

Summary: Steeped in gloomy atmosphere, "Frailty" locates its horror in the tyranny of religious fanaticism. Making an assured directorial debut, actor Bill Paxton costars as a Texas widower who believes God has recruited him to destroy demons in human form. Feeling divinely justified in committing a series of ax murders (discreetly unseen), he urges his two young sons to assist him in the killings--a living nightmare recalled in flashback by one of the now-adult sons (Matthew McConaughey) to the FBI agent (Powers Boothe) who's investigating the murders. But mystery is of secondary importance in Brent Hanley's cleverly twisting screenplay; "Frailty" suggests, with unsettling subtlety, that Paxton's mission may not be delusional, thus burdening his deadly wrath with spiritually disturbing significance. It's definitely not a feel-good film, but with celebrity endorsements by Stephen King and directors James Cameron and Sam Raimi (who both made films with Paxton), "Frailty" gets under the skin with insidious efficiency. "--Jeff Shannon"

Theatrical: 2003

Studio: Live / Artisan

Genre: Television

Duration: 235

Summary: Conspiracies abound in "Children of Dune", Sci-Fi Channel's praiseworthy miniseries sequel to "Frank Herbert's Dune", loyally adapted from the Herbert novels "Dune Messiah" and "Children of Dune" by John Harrison, who passed directorial duties (due to a scheduling conflict) to Greg Yaitanes, a 31-year-old TV director and "Dune" neophyte tackling his biggest assignment to date. Uninitiated viewers face a disadvantage; it's best to read Herbert's books and/or see the first miniseries before plunging into this remarkably coherent tangle of political intrigue, unfolding 12 years after the events of "Dune".
To his horror, Maud'Dib--Arrakis emperor Paul Atreides (Alec Newman, reprising his "Dune" role)--has become the unintended figurehead of a violent dictatorship, and his enemies are multiplying. Vanishing into the desert, he waits as destiny shapes his twin heirs Leto II (James McAvoy) and Ghanima (Jessica Brooks), who must contend with their scheming aunt Alia (Daniela Amavia) while Princess Wensicia (Susan Sarandon), of the enemy House Corrino, plots her own attack on Maud'Dib's familial empire. Exiled Atreides matriarch Lady Jessica (Alice Krige, giving the film's finest performance) returns to Arrakis, where the enormous, desert-dwelling sandworms face an uncertain future. As always, the spice must flow, and the universe's most coveted commodity remains at the center of this richly detailed and physically impressive production. Special effects range from awesome (fly-over shots of the capital city, Arakeen) to awful (the saber-tooth tigers look like "Jumanji" rejects), and "Dune" devotees will endlessly debate the miniseries' strengths and weaknesses. Some may desire more action to punctuate the film's inherent verbosity, but consensus will surely conclude that this is "Dune" done right, with monumental effort and obvious devotion from everyone involved. "--Jeff Shannon"

Theatrical: 2000

Studio: Live / Artisan

Genre: Television

Duration: 292

Summary: It's a mixed blessing, but "Frank Herbert's Dune" goes a long way toward satisfying science fiction purists who scoffed at David Lynch's previous attempt to adapt Herbert's epic narrative. Ironically, director John Harrison's 288-minute TV miniseries (broadcast on the Sci-Fi Channel in December 2000) offers its own share of strengths and weaknesses, which, in retrospect, emphasize the quality of Lynch's film while treating Herbert's novel with more comprehensive authority. Debate will continue as to which film is better; Lynch's extensive use of internal monologue now seems like a challenge well met, and Harrison's more conventional approach is better equipped to convey the epic scope of Herbert's interplanetary political intrigue.
This much is certain: this "Dune" is a sumptuous treat for the eyes, with sets and costumes that were conceived with no apparent limits of budget or creativity. In terms of architecture alone, this is one of the most impressive films in science fiction history. And although the special effects fall short of feature-film quality, writer-director Harrison (who rose from an extensive background in TV) admirably tames the sprawling narrative that pits the opposing houses of Atreides and Harkonnen in a struggle to control the lucrative market for the spice melange. This is as accurate as any "Dune" adaptation is likely to get (i.e., there's no need for another attempt), and even then, it can be tricky to keep track of who's doing what to whom. Unfortunately, the film's biggest flaws are the casting of a nearly comatose William Hurt as Duke Leto, and a wooden Alec Newman as the messiah-to-be, Paul Atreides. These are regrettable shortcomings, but this "Dune" remains altogether respectable. That Frank Herbert would be impressed is perhaps the biggest compliment one can pay. "--Jeff Shannon"

Theatrical:

Studio: Warner Home Video

Genre: Television

Duration: 144

Summary: Pretty much one of the funniest shows of all time, but definitely not for everyone. The humor is crude and extremely unique, but if you're into it, then it's the greatest.

Theatrical: 2008

Studio: Warner Home Video

Genre: Animation

Duration: 133

Summary: Studio: Warner Home Video Release Date: 01/06/2009 Rating: Nr

Theatrical: 1996

Studio: Tokyo Shock

Genre: Action & Adventure

Duration: 100

Summary: Riki Fudoh appears to be a highly cultured, model high school student. But underneath that gentle façade lies a deep and vengeful rage. He witnessed his brother’s grisly murder at the hands of their own father, a powerful Yakuza crime lord. Sworn to revenge, Riki recruits his own teenage crime organization. His goal, assassinate the old generation of Yakuza bosses. Directed by Takashi Miike

Theatrical:

Studio: Funimation Prod

Genre: Television

Duration: 400

Summary: "Entertaining, heart-breaking and thought-provoking. One of - if not the - greatest anime ever" --- "Anime Insider"
The Season 1 set contains the first four volumes of the Fullmetal Alchemist series The Curse The Scarred Man of the East Equivalent Exchange The Fall of Ishbal

Theatrical:

Studio: Funimation Prod

Genre: Television

Duration: 300

Summary: The second half of the first season of the hit fantasy-adventure "Fullmetal Alchemist" offers some of the most emotionally intense moments in the series. Dr. Marcoh's research into the creation of a Philosopher's Stone leads Edward and Alphonse Elric to the secret Military Laboratory #5. In its dungeons, the brothers find that Shou Tucker has continued producing chimeras, helping to draw them to the Lab. But Tucker is just a pawn for the Homunculi, Lust, Envy, and Gluttony, who want the Philosopher's Stone--which they believe Ed can create. Edward is faced with the terrible choice of losing Al or committing multiple murders when the experiment is interrupted by Scar, the avenging survivor of Ishbal. The Elric brothers' inner struggles eclipse the violent external battles: Al has begun to doubt that he ever existed in human form; Ed fears that Al hates him for delving into the forbidden knowledge that destroyed his body. After escaping from the Lab, Ed and Al meet up with the one individual they fear: their brutal but loving instructor Izumi. Realizing that the Elrics committed the crime of attempting human transmutation, Izumi sends them back to the island where they began their apprenticeship. The filmmakers intercut the Brothers' present sojourn with flashbacks of their early training, suggesting the ongoing journey to mastery of the art of alchemy. The dramatic episodes are balanced against comedic moments with Winrey, Major Armstrong and Col. Hughes. The brothers share a rare, carefree moment in Resembool, sparring and roughhousing. Despite his mechanical limbs, Ed frolics unselfconsciously in a sleeveless shirt and shorts--something no American animated character could do. Many anime series lose momentum after their first season; "Fullmetal Alchemist" only gets better. (Rated TV PG: violence, grotesque imagery, tobacco use) "--Charles Solomon"

Theatrical: 2004

Studio: Funimation

Genre: Anime & Manga

Duration: 300

Summary: The first episodes of the second season of "Fullmetal Alchemist" focus on the origins of the Homunculi. Izumi reveals that when Edward and Alphonse attempted to bring their mother back from the dead, they disturbed the order of the universe more profoundly than they could imagine. Ed remembers confronting a mysterious Gate that seemed to guard the path to all knowledge. The artists based the design on Rodin's "Gates of Hell", and its swirling human forms lend an appropriately grim power to the visuals. A new Wrath appears at the same time Greed has been freed from decades of confinement. When Ed fights Greed, he discovers that the Homunculi have weaknesses and can be destroyed under the right conditions. The fallen city of Ishbal remains at the center of the search for the Philosopher's Stone. Sheska's research into the death of Gen. Hughes suggests a link to Ishbalan war and the mysterious Col. Juliet Douglas who supposedly triggered it. Ed and Al reach the ruins of Ishbal and learn the true story of its destruction before Cols. Mustang and Kimbley arrive with an army. In nearby Liore, Ed finds himself caught between a monstrous plot hatched by Scar, Lust, and Gluttony, and the sinister plans of the Scarlet Alchemist, Lt. Col. Frank Archer, and their military superiors. Many series falter and grow repetitious in their second season; "Fullmetal Alchemist" only gets better. As the saga of the Elric Brothers unfolds, director Seiji Mizushima deftly blends powerful emotional drama, physical action and broad comedy into an unusually engaging adventure-fantasy. (Rated TV PG: violence, grotesque imagery, tobacco and alcohol use, nudity) "--Charles Solomon"

Theatrical:

Studio: Funimation Prod

Genre: Television

Duration: 315

Summary: These episodes bring the "Fullmetal Alchemist" series to its appropriately moving climax. Director Seiji Mizushima and screenwriter Shou Aikawa ratchet up the emotional intensity as they draw together the threads of the narrative, beginning with the terrible night when Al and Ed tried to resurrect their mother. In Liore, Scar uses the arcane knowledge of the Ishbalans and the lives of hundreds of soldiers to create a Philosopher's Stone. But the Elric Brothers have no time to explore its power: The Homunculi and the Military are circling them like sharks. Complicating matters further is the appearance of Hohenheim of Light, the boys' long-lost father. Newly promoted General Mustang and Major Armstrong launch a revolt against King Bradley as disagreements among the Homunculi escalate into violence. Alphonse tries to learn how to use the Philosopher's Stone to aid his brother, asking the despicable Shou Tucker for instruction. The fate of their world (and, possibly, this one) is at stake as Ed and Al are put to the ultimate test: If they fail, the Homunculi will continue their murderous rampage. But "Fullmetal Alchemist" isn't just a simple good versus evil story, as revelations about the origins of Envy and the role of Hohenheim prove. A truth even greater than the law of Equivalent Exchange prevails: the love between Alphonse and Edward Elric. The skillful blend of drama, adventure, and comedy make "Fullmetal Alchemist" a truly noteworthy series in the history of anime, one whose influence is sure to be felt for years to come. At the end of the last disc, viewers may feel the sort of emptiness readers experience when Sherlock Holmes goes over Reisenbach Falls. But the final episodes set up the feature, "The Conqueror of Shamballa" and Hiromu Arakawa's manga continues. (Rated TV PG: violence, grotesque imagery, nudity, tobacco use) "--Charles Solomon"

Theatrical: 2007

Studio: 20th Century Fox Home Entertainment

Genre: 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: 1999

Studio: 20th Century Fox

Genre: Television

Duration: 97

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: 1999

Studio: 20th Century Fox

Genre: Television

Summary: Matt Groening's second season of the 31st century sci-fi sitcom "Futurama" maintained the high scripting standards of the first and also well brought improved digital animation. Couch potato Fry now seems thoroughly reconciled to his new existence, transported 10 centuries hence to "New New York" and working for Professor Farmsworth's delivery service. He's surrounded by a cast of freaks, including the bitchily cute Amy (with whom he has a romantic brush) and Hermes, the West Indian bureaucrat. Most sympathetic is the one-eyed Leela (voiced by Katey Segal). Like Lisa Simpson, she is brilliant but unappreciated; she finds solace in her pet Nibbler, a tiny creature with a voracious, carnivorous appetite. By contrast, Bender, the robot, is programmed with every human vice, a sort of metal Homer Simpson with a malevolent streak.
In one of the best episodes, Bender is given a "feelings" chip in order to empathize with Leela after he flushes Nibbler down the toilet. Elsewhere, Fry falls in love with a mermaid when the team discover the lost city of Atlanta, Fry and Bender end up going to war after they join the army to get a discount on gum, and John Goodman guest stars as Santa Claus, an eight-foot gun-toting robot. Brimful with blink-and-you'll-miss-them hip jokes (such as the sign for the Taco Bellevue hospital) and political and pop satire, "Futurama" isn't a stern warning of things to come but rather, as the makers put it, "a brilliant, hilarious reflection of our own materially (ridiculously) overdeveloped but morally underdeveloped society." "--David Stubbs"

Theatrical: 1999

Studio:

Genre: Television

Summary: Good news, everyone, the third DVD volume of "Futurama" is just as funny as ever--irreverent, boundlessly inventive, warmhearted, and chock-full of in-jokes, sight gags, and fleeting references to all manner of pop-culture icons and obscure genre classics. In fact, if the show has a problem, it's that it's all so lovingly crafted that scarcely a frame goes by without something both funny and clever going on: when a horse wins a race by a quantum fraction, Prof. Farnsworth fulminates, "You changed the result by observing it!" Recurring minor characters (Elzar the chef, the robot mafia, the mutants in the sewers) pop up unexpectedly throughout, providing another wink to dedicated fans; like "Red Dwarf", this is a show that loves the genre it sets out to spoof. Shame, then, that the show has had a troubled broadcast history and never quite found the mainstream appeal of its stablemate "The Simpsons".
Fry and the "Planet Express" team find themselves stranded on a planet of unfeasibly large women ("Amazon Women in the Mood"), standing in for psychotic Robo-Santa ("A Tale of Two Santas", with John Goodman reprising his evil robot), and variously falling in love with each other and sundry other humans, aliens, man-bots, fem-bots, virtual reality constructs, and even the "Planet Express" ship itself.
"Futurama, Vol. 3" comprises 22 episodes on four discs. As with previous DVD sets, the animated menus are a treat, and there's a selection of bonus features including deleted scenes, storyboards, commentaries on every episode, animatics, "How to draw" tips, and more. Sheer heaven. "--Mark Walker"

Theatrical: 1999

Studio: 20th Century Fox

Genre: Television

Summary: No more good news, everyone--this fourth volume of "Futurama" is the show's last. By turns frenetic and far-sighted, Matt Groening's futuristic comedy provided belly-laughs for self-confessed sci-fi nerds, but somehow failed to connect with a broader audience, even though it was often funnier and sharper than stablemate "The Simpsons". So now bid farewell to the Planet Express team--Fry, Leela, Zoidberg, Bender, Amy, Hermes, Prof Farnsworth--as well as to kindly Kif, cloned Cubert, megalomaniac Mom, mutants in the sewer, the cast of robo-sitcom "All My Circuits", swashbuckling space lothario and William Shatner wannabe Zapp Brannigan, Elzar the four-armed chef, and all the other characters that made "Futurama" such a unique experience.
This fourth and final year has all the elements that fans enjoyed so much--but also those elements that partially explain its cancellation. Recurring characters are great if you've watched the show before, as are the in-jokes; and the many parodies of classic science fiction are fine for the initiated, but risk leaving other viewers out in the cold. The show's strengths and perceived weaknesses are exemplified in the episode "Where No Fan Has Gone Before," in which the original cast of "Star Trek" play themselves: hilarious for Trekkers, but not really for anyone else. Elsewhere we find Leela discovering her real parents aren't aliens at all but in fact live in the sewers; Kif getting pregnant; Fry discovering the fossilized remains of his faithful pet dog; and Bender being converted to steam power. Despite some ups and downs, it's still the funniest animated TV show. Multifarious DVD extras include cast and crew commentaries, deleted scenes, animatics, galleries and Easter eggs. "--Mark Walker"

Theatrical: 2008

Studio: 20th Century Fox

Genre: Animation

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"

Theatrical: 2009

Studio: 20th Century Fox

Genre: Animation

Duration: 89

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

Duration: 89

Summary: Studio description:
In "Futurama's" latest and most tentacle-packed epic, space itself rips open, revealing a gateway to another universe. But what lies beyond? Horror? Love? Or maybe both, if it happens to contain a repulsive, planet-sized monster with romantic intentions! Nothing less than the fate of human and robot-kind is at stake as the "Futurama" crew takes on "The Beast with a Billion Backs".