Library

Languages: English, French, Spanish

Subtitles: English, French, Spanish

Sound: AC-3

Comments: Time is running out for a happy ending.

Summary: Or, if you prefer, "I See Wet People". M. Night Shyamalan's attempt at a newfangled mythology--about a depressed apartment superintendent (Paul Giamatti) who discovers a sea-nymph (Bryce Dallas Howard) who may hold the key to humanity's hopeful future--is intriguing enough to capture the imaginations of children and adults who haven't lost sight of their innocent sense of wonder. Cynics, on the other hand, will likely scoff at Shyamalan's awkward fantasy, which includes one victim--a film critic--widely interpreted as Shyamalan's revenge against reviewers who panned "The Village". Shyamalan originally improvised this melancholy fantasy as a bedtime story for his children; unfortunately, it still feels mostly half-baked and ultimately ineffective due to a number of plot holes and inconsistencies that a writer as talented as Shyamalan should've been able to avoid. For those wishing to learn more about the film's troubled history, and Shyamalan's petulant split from Disney studios, "The Man Who Heard Voices: Or, How M. Night Shyamalan Risked His Career on a Fairy Tale" is an interesting read. "--Jeff Shannon"

Languages: English, French, Spanish

Subtitles: English, French, Spanish

Sound: AC-3

Comments: CURSED FOR ETERNITY...No force in Heaven will release them. No power on Earth can save them. [UK Theatrical]

Summary: This lushly produced fantasy has gained a loyal following since its release in 1985, and it gave a welcomed boost to the careers of Matthew Broderick, Michelle Pfeiffer, and Rutger Hauer. You have to ignore the overly aggressive music score (critic Pauline Kael aptly dubbed it "disco-medieval") and director Richard Donner's reckless allowance of anachronistic dialogue and uninspired storytelling, but there's a certain charm to the movie's combination of romance and heroism. Broderick plays a young thief who comes to the aid of tragic lovers Isabeau (Pfeiffer), who is cursed to become a hawk every day at sunrise and Navarre (Hauer) who turns into a wolf at sunset. The curse was cast by an evil sorcerer-bishop (John Wood), and as Broderick eludes the bishop's henchmen, Navarre struggles to conquer the villain, lift the curse, and be reunited with his love in human form. The tragedy of this lovers' dilemma keeps the movie going, and Broderick is well cast as a young, medieval variation of Woody Allen. "--Jeff Shannon"

Languages: English, French

Subtitles: English

Sound: Dolby Digital 2.0 Surround

Comments: Who Is Lara Croft?

Summary: Like the video game series it's based on, "Tomb Raider" is best enjoyed for its physical strategies, since even casual scrutiny of story details will induce a headache. It's more concerned with puzzles than plot, populated with characters that don't have personalities so much as attitudes. It's silly and somber at the same time, but as a franchise vehicle for Angelina Jolie in the title role of relic hunter Lara Croft, this is packaged entertainment at its most agreeable, ambitious in scope and scale, and filled with the kind of globetrotting adventure that could make Jolie the best thing that's happened to action movies since Indiana Jones. "Could" being the operative word here, because "Tomb Raider" can't match any of Steven Spielberg's celebrated joyrides, but the ingredients are there for an exquisitely cinematic meal.
Perhaps to distance himself from Lara Croft's video game origins, director Simon West takes things a bit too seriously; "Tomb Raider" handles its plot (involving a planetary alignment, the nefarious Illuminati, and coveted relics that hold the key to controlling the flow of time) with all the gravity of a championship chess match... minus the tension. If the movie had lightened up and been truly suspenseful (instead of being suffused with been-there, done-that familiarity), it would have been an instant popcorn classic. As it is, however, this is an elegantly mounted adventure featuring exotic locations (in Cambodia and Iceland) and an exotic star born for her role. Even without her padded bra, Jolie would be the living embodiment of Lara Croft, and that's enough to bode well for inevitable sequels. "--Jeff Shannon"

Languages: English

Subtitles: English

Sound: Dolby Digital 5.1

Summary: Intrepid British archaeologist Lara Croft (Angelina Jolie) has made perhaps the most important archaeological discovery in history: an orb that leads to the mythical Pandora's Box. Unfortunately, the orb falls into the hands of Jonathan Reiss (Ciarán Hinds), an evil scientist who deals in killer viruses and hopes to sell the secrets of the box as the ultimate weapon. Recruited by British Intelligence to get the orb back from Reiss, Lara recruits Terry Sheridan (Gerard Butler), a British marine turned mercenary (and her former love interest) to help. The two embark on an adventure that spans continents in an attempt to regain the orb...

Languages: English

Sound: Dolby Digital

Comments: Before King Arthur, there was Excalibur.

Summary: Swordfights, battles, and betrayal fuel "The Last Legion", which tells the story of the last emperor of Rome: a slight 12-year-old boy who is a descendent of Julius Caesar. Protected by commander Aurelius (Colin Firth) and guided to an extent by the wizard Ambrosinus (Ben Kingsley), Romulus (Thomas Sangster) is an unlikely leader. Too inexperienced to rule wisely, he also shows little of the fortitude and courage needed to be a great warrior. After Romulus finds Caesar's sword--the legendary excaliburnus--he begins a search for the fabled last legion that will help him save Rome. Directed by Doug Lefler and produced by Dino De Laurentiis, the film has a clunky feel, thanks to uneven dialogue and fight sequences that are tepid at best. Portraying a female warrior, Bollywood star Aishwarya Rai is a beauty but unconvincing in her athletic skills. Kingsley makes the most of his role, chewing up the scenery and doing the best he can with some laughable lines. But Firth is out of his element here. More thinking man than action hero, the charming Brit is sorely miscast in this movie, which would've benefited from having better CGI animation and, just as importantly, a more developed script. With its broad strokes and lack of character development, "The Last Legion" actually would've worked better as a half-hour Saturday morning cartoon than a feature-length epic. "--Jae-Ha Kim"

Languages: English, French

Subtitles: English, French, Spanish

Sound: Dolby

Comments: In the face of an enemy, in the Heart of One Man, Lies the Soul of a Warrior.

Summary: While Japan undergoes tumultuous transition to a more Westernized society in 1876-77, "The Last Samurai" gives epic sweep to an intimate story of cultures at a crossroads. In America, tormented Civil War veteran Capt. Nathan Algren (Tom Cruise) is coerced by a mercenary officer (Tony Goldwyn) to train the Japanese Emperor's troops in the use of modern weaponry. Opposing this "progress" is a rebellion of samurai warriors, holding fast to their traditions of honor despite strategic disadvantage. As a captive of the samurai leader (Ken Watanabe), Algren learns, appreciates, and adopts the samurai code, switching sides for a climactic battle that will put everyone's honor to the ultimate test. All of which makes director Edward Zwick's noble epic eminently worthwhile, even if its Hollywood trappings (including an all-too-conventional ending) prevent it from being the masterpiece that Zwick and screenwriter John Logan clearly wanted it to be. Instead, "The Last Samurai" is an elegant mainstream adventure, impressive in all aspects of its production. It may not engage the emotions as effectively as Logan's script for "Gladiator", but like Cruise's character, it finds its own quality of honor. "--Jeff Shannon"

Languages: English

Subtitles: English

Sound: AC-3

Comments: God made him simple. Science made him a god. Now, he wants revenge.

Summary: With computer effects improving on a daily basis, a more visually dazzling "Lawnmower Man" sequel was inevitable. Ten minutes into "Jobe's War" (also known as "Beyond Cyberspace") you know the CGI is vastly better, even if composite shots and model work aren't! The focus of the effects is still former simpleton Jobe, who's been rescued from the fireball explosions at the first film's end. In a Los Angeles of "the future," he's had both legs amputated, his head is shaved, and he's now played by Matt Frewer. The Virtual Light Institute has Jobe building a chip once designed by disgraced scientist Dr. Trace (Patrick Bergin). Like the original, this sequel is a great snapshot of the special-effects industry of its day. In 1996, the cyber city and bike ride (a homage to "Tron") was as good as you got. "--Paul Tonks"

Languages: English

Summary: Lethal Weapon Director's Cut Lethal Weapon 2 Director's Cut Lethal Weapon 3 Director's Cut Lethal Weapon 4

Languages: English, French

Subtitles: English

Sound: Dolby Digital

Comments: Trust Me

Summary: An unctuous, smooth-talking divorce attorney's propensity for propitious prevarication may wow the juries, but his five-year-old son Max wants an end to the lies. So when Dad blows off the boy's birthday bash with yet another weak excuse, Max wishes his dad to spend a whole day incapable of lying. And lo and behold, the wish comes true, with hilariously disastrous results in the courtroom.



Muze/MTS Inc.

Languages: English, French, Spanish

Subtitles: English, French, Spanish

Sound: Dolby Digital 5.1

Comments: First came love... then came Reverend Frank.

Summary: Marriage is a huge step in any relationship and, with the divorce rate skyrocketing, some clergymen find it advisable to council prospective couples prior to the marriage ceremony. Reverend Frank (Robin Williams) takes his marriage preparation course to a whole new level, putting couples through a very unusual and grueling set of classes that cover everything from trust and communication to experiencing childbirth, meeting each other's needs in and out of bed, and group sessions on how to fight fairly. Happy couple Sadie Jones's (Mandy Moore) and Ben Murphy's (John Krasinski) perfect compatibility is tested to the limits with extraordinary (and hysterical) assignments like caring for twin baby robots that cry and poop without restraint while baby-sitting a friend's two young children and shopping for wedding china. Driving a car blindfolded while one's intended gives directions is no simple task either, but abstinence from sex and writing their own marriage vows may be the couple's most difficult homework assignments. Comedy reigns throughout the entire movie thanks to Robin Williams, his choir-boy assistant Josh Flitter ("Nancy Drew") and the rest of the cast and laughing out loud is definitely a course requirement for viewers, but underneath the hilarity is a serious message about making marriage work. "--Tami Horiuchi" DVD features Includes widescreen anamorphic and full-screen versions Additional scenes with optional director commentary Ask Choir Boy: Choose which relationship/marital questions he answers

Languages: English, Spanish

Sound: Dolby Digital 5.1

Comments: There's one in every family.

Summary: Warm, funny, and imaginative, "Lilo & Stitch" is the best animated feature the Walt Disney Studios have produced in years. On the planet Turo, mad scientist Jumba Jookiba (voice by David Ogden Stiers) has created a miniature monster programmed for destruction. When the monster escapes to Earth, it's adopted as a pet and named "Stitch" by Lilo (Daveigh Chase), a lonely little Hawaiian girl. Lilo and her older sister Nani (Tia Carrere) have been struggling to stay together since their parents died. Stitch and Lilo share some hilarious adventures, evading welfare officer Cobra Bubbles (Ving Rhames) and galactic police agents. They learn the timely lesson that a family can be something you're born into--or something you assemble. A warmth and sincerity that recall "The Iron Giant" and the films of Hiyao Miyazaki make "Lilo" a delightful fantasy adults and children can truly enjoy together. "--Charles Solomon"

Languages: English

Subtitles: English, French, Spanish

Sound: Dolby Digital 5.1

Comments: A Disgrace to Criminals Everywhere.

Summary: Cockney boys Tom, Soap, Eddie, and Bacon are in a bind; they owe seedy criminal and porn king "Hatchet" Harry a sizable amount of cash after Eddie loses half a million in a rigged game of poker. Hot on their tails is a thug named Big Chris who intends to send them all to the hospital if they don't come up with the cash in the allotted time. Add into the mix an incompetent set of ganja cultivators, two dimwitted robbers, a "madman" with an afro, and a ruthless band of drug dealers and you have an astonishing movie called "Lock, Stock and Two Smoking Barrels". Before the boys can blink, they are caught up in a labyrinth of double-crosses that lead to a multitude of dead bodies, copious amounts of drugs, and two antique rifles.
Written and directed by talented newcomer Guy Ritchie, this is one of those movies that was destined to become an instant cult classic à la "Reservoir Dogs". Although some comparisons were drawn between Ritchie and Quentin Tarantino, it would be unfair to discount the brilliant wit of the story and the innovative camerawork that the director brings to his debut feature. Not since "The Krays" has there been such an accurate depiction of the East End and its more colorful characters. Indicative of the social stratosphere in London, Ritchie's movie is a hilarious and at times touching account of friendships and loyalty. The director and his mates (who make up most of the cast) clearly are enjoying themselves here. This comes across in some shining performances, in particular from ex-footballer Vinnie Jones (Big Chris) and an over-the-top Vas Blackwood (as Rory Breaker), who very nearly steals the show. Full of quirky vernacular and clever tension-packed action sequences, "Lock, Stock and Two Smoking Barrels" is a triumph--a perfect blend of intelligence, humor, and suspense. "--Jeremy Storey"

Languages: English

Subtitles: English, French

Sound: Dolby Digital 5.1

Comments: Welcome to the 23rd Century: A perfect world of total pleasure, With just one catch...

Summary: If you can stifle the urge to laugh at its pastel unisex costumes and futuristic shopping-mall décor, this extravagant science fiction film from 1976 is still visually fascinating and provocatively entertaining. Set in the year 2274, when ecological disaster has driven civilization to the protection of domed cities, the story revolves around a society that holds a ceremonial death ritual for all citizens who reach the age of 30. In a diseaseless city where free sex is encouraged and old age is virtually unknown, Logan (Michael York) is a "sandman," one who enforces this radical method of population control (but he's about to turn 30 and he doesn't want to die). Escaping from the domed city via a network of underground passages, Logan is joined by another "runner" named Jessica (Jenny Agutter), while his former sandman partner (Richard Jordan) is determined to terminate Logan's rebellion. Using a variety of splendid matte paintings and miniatures, "Logan's Run" earned a special Oscar for visual effects (images of a long-abandoned Washington, D.C., are particularly impressive), and in addition to fine performances by Jordan and Peter Ustinov, the film features '70s poster babe Farrah Fawcett in a cheesy supporting role. Jerry Goldsmith's semi-electronic score is still one of the prolific composer's best, and "Logan's Run" remains an interesting example of '70s sci-fi that preceded "Star Wars" by less than a year. "--Jeff Shannon"

Languages: English

Subtitles: English, French, Spanish

Sound: AC-3

Summary: You don't have to be an Albert Brooks fan to enjoy "Looking for Comedy in the Muslim World", but it helps. As always, Brooks (as writer, director, and star) presents a timely comedic premise that's ripe with possibilities, and he capitalizes on his ideas with witty one-liners, hilarious expressions, and comedic situations that are patently absurd and yet, in Brooks' hands, amusingly believable. At a time of great fear and turmoil in the Middle East, Brooks plays a barely-fictional version of himself (a respected comedian named Albert Brooks) and dares to ask, "what's considered funny in the world of Islam?" That's what the State Department wants to know (in the President's effort to improve U.S.-Muslim relations), so they dispatch Brooks to India and Pakistan to write a 500-page report on what makes Muslims laugh. That he never really finds an answer is beside the point, because "Looking for Comedy" is more about the nature of comedy itself--specifically, the nature of Albert Brooks' comedy, which is self-deprecating, low-key, and so idiosyncratic that it defies mainstream expectations. After a brilliant opening, "Looking for Comedy" loses some of its momentum, but it's filled with brilliant bits and throwaway gags that keep you smiling from start to finish. One can only wonder, how will it play in Baghdad? "--Jeff Shannon"

Languages: English

Subtitles: English

Sound: Dolby Digital 5.1

Comments: The Legend Comes to Life

Summary: The extended editions of Peter Jackson's "The Lord of the Rings" present the greatest trilogy in film history in the most ambitious sets in DVD history. In bringing J.R.R. Tolkien's nearly unfilmable work to the screen, Jackson benefited from extraordinary special effects, evocative New Zealand locales, and an exceptionally well-chosen cast, but most of all from his own adaptation with co-writers Fran Walsh and Philippa Boyens, preserving Tolkien's vision and often his very words, but also making logical changes to accommodate the medium of film. While purists complained about these changes and about characters and scenes left out of the films, the almost two additional hours of material in the extended editions (about 11 hours total) help appease them by delving more deeply into Tolkien's music, the characters, and loose ends that enrich the story, such as an explanation of the Faramir-Denethor relationship, and the appearance of the Mouth of Sauron at the gates of Mordor. In addition, the extended editions offer more bridge material between the films, further confirming that the trilogy is really one long film presented in three pieces (which is why it's the greatest trilogy ever--there's no weak link). The scene of Galadriel's gifts to the Fellowship added to the first film proves significant over the course of the story, while the new Faramir scene at the end of the second film helps set up the third and the new Saruman scene at the beginning of the third film helps conclude the plot of the second.

To top it all off, the extended editions offer four discs per film: two for the longer movie, plus four commentary tracks and stupendous DTS 6.1 ES sound; and two for the bonus material, which covers just about everything from script creation to special effects. The argument was that fans would need both versions because the bonus material is completely different, but the features on the theatrical releases are so vastly inferior that the only reason a fan would need them would be if they wanted to watch the shorter versions they saw in theaters (the last of which, "The Return of the King", merely won 11 Oscars). The "LOTR" extended editions without exception have set the DVD standard by providing a richer film experience that pulls the three films together and further embraces Tolkien's world, a reference-quality home theater experience, and generous, intelligent, and engrossing bonus features. "--David Horiuchi"

Languages: Arabic, English, French, German, Russian, Spanish, Turkish, Ukrainian

Sound: Dolby

Comments: The first and most important rule of gun-running is: never get shot with your own merchandise.

Summary: The lethal business of arms dealers provides an electrifying context for the black-as-coal humor of Andrew Niccol's "Lord of War". Having proven his ingenuity as the writer of "The Truman Show", and writer-director of "Gattaca" and the under-appreciated "Simone", Niccol is clearly striving for Strangelovian relevance here as he chronicles the rise and inevitable fall of Yuri Orlov (Nicolas Cage), a Ukrainian immigrant to America who makes his fortune selling every kind of ordnance he can get his amoral hands on. With a trophy wife (Bridget Moynahan) who's initially clueless about his hidden career, and a younger brother (Jared Leto) whose drug-addled sense of decency makes him an ill-chosen accomplice, Yuri traffics in death the way other salesman might push vacuum cleaners (he likes to say that alcohol and tobacco are deadlier products than his), but even he can't deny the sheer ruthlessness of the Liberian dictator (a scene-stealing Eamonn Walker) who purchases Orlov's "products" to expand his oppressive regime. Niccol's themes are even bigger than Yuri's arms deals, and he drives them home with a blunt-force lack of subtlety, but Cage gives the film the kind of insanely dark humor it needs to have. To understand this monster named Yuri, we have to see at least a glimpse of his humanity, which Cage provides as only he can. Otherwise, this epic tale of gunrunnng would be as morally unbearable as the black market trade it illuminates. "--Jeff Shannon"

Languages: English, Spanish

Comments: Some doors are better left closed.

Summary: From the first scene of the movie, I knew I was hooked. That could be because I love just about anything that is unique and original; with plots that seem implausible and stories that really get me thinking. This mini series was all of that and more. I hope they come out with a sequel.

Languages: English

Sound: Dolby Digital 5.1

Comments: Deliver us from evil.

Summary: "Lost Souls" is certainly one of the most gorgeous-looking movies to come out in 2000. The cinematography has a striking, visual texture reminiscent of old photographs, all the color bleeding out into rich and evocative shades of grey and black. The movie doesn't quite live up to its look, though it's not without its pleasures. The broader outlines of its story--about a true-crime writer (Ben Chaplin) who discovers, through the efforts of a former victim of possession (Winona Ryder), that he's about to become the Antichrist--lack any surprises or ingenuity. But individual scenes are largely well-written, spookily directed, and acted with commitment and intensity. Chaplin is particularly good, Ryder does her best, and a crew of superb character actors (including John Hurt, Elias Koteas, and Philip Baker Hall) flesh out the skeletally scripted supporting characters with skill and intelligence. Some of the special effects go a little overboard, but the movie is surprisingly free of the cheesy, demonic posturing and portentous speeches that afflict too many religious thrillers. Fans of "The Exorcist" or "The Omen" may find "Lost Souls" to be a modest but flavorful variation on the "devil-is-coming-to-get-you" genre. "--Bret Fetzer"

Languages: English

Subtitles: Spanish

Sound: Dolby

Comments: Wrong Time. Wrong Place. Wrong Number.

Summary: How boring it is to label a movie Tarantino-esque anymore. The thing is, when it comes to an offering like "Lucky Number Slevin", the shoe fits, and the result is anything but boring. Gruesome killings, arid wit, self-reflexive pop culture references, an A-list cast, and style-heavy production values abound, which gives the proceedings an epoxy bond that seals the Q.T. homage factor. Josh Hartnett--who spends a lot of buffed-up time with his shirt off--is Slevin Kelevra, a hapless fellow visiting his New York friend Nick. But Nick has disappeared, which sets off a mistaken-identity thrill ride when two goons grab Slevin (he's in Nick's apartment so he must be Nick) and take him to their crime lord boss, the Boss (Morgan Freeman). The Boss doesn't care about Slevin's wrong-man protests; he just wants the $96,000 Nick owes him. In one of many offers he can't refuse, Slevin has to agree to murder the son of the Boss's felonious arch rival, the Rabbi (Ben Kingsley) or take the bullet himself. But Slevin turns out to be no ordinary patsy. Thrown into the ingeniously designed production, clever plot twists, and academic nods to Bond, Hitchcock, and obscure old cartoons are Lucy Liu as a sexy coroner, Stanley Tucci as an obsessed cop, and Bruce Willis as a wily hit man with his finger in many pots. With so much visual and narrative trickery, there's almost too much to absorb in one viewing of this convoluted jigsaw puzzle of revenge and entertaining mayhem. "Lucky Number Slevin" isn't quite up to par with similarly brainy thrillers like "Memento" and "The Usual Suspects", but the prospect of seeing it again in order to get your bearings is just as appealing."--Ted Fry"