Sales Rank:580 List Price: $19.99 Lowest New Price: $7.32 Lowest Used Price: $6.98 MPAA Rating: R (Restricted)
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Rosanna Arquette
Steve Buscemi
Paul Calderon
Bronagh Gallagher
Peter Greene
With the knockout one-two punch of 1992's Reservoir Dogs and 1994's Pulp Fiction writer-director Quentin Tarantino stunned the filmmaking world, exploding into prominence as a cinematic heavyweight contender. But Pulp Fiction was more than just the follow-up to an impressive first feature, or the winner of the Palme d'Or at Cannes Film Festival, or a script stuffed with the sort of juicy bubblegum dialogue actors just love to chew, or the vehicle that reestablished John Travolta on the A-list, or the relatively low-budget ($8 million) independent showcase for an ultrahip mixture of established marquee names and rising stars from the indie scene (among them Samuel L. Jackson, Uma Thurman, Bruce Willis, Ving Rhames, Harvey Keitel, Christopher Walken, Tim Roth, Amanda Plummer, Julia Sweeney, Kathy Griffin, and Phil Lamar). It was more, even, than an unprecedented $100-million-plus hit for indie distributor Miramax. Pulp Fiction was a sensation. No, it was not the Second Coming (I actually think Reservoir Dogs is a more substantial film; and P.T. Anderson outdid Tarantino in 1997 by making his directorial debut with two even more mature and accomplished pictures, Hard Eight and Boogie Nights). But Pulp Fiction packs so much energy and invention into telling its nonchronologically interwoven short stories (all about temptation, corruption, and redemption amongst modern criminals, large and small) it leaves viewers both exhilarated and exhausted--hearts racing and knuckles white from the ride. (Oh, and the infectious, surf-guitar-based soundtrack is tastier than a Royale with Cheese.) --Jim Emerson
Sales Rank:1562 List Price: $39.99 Lowest New Price: $17.32 Lowest Used Price: $17.22 MPAA Rating: NR (Not Rated)
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Lena Headey
Thomas Dekker
Summer Glau
The mother of all destiny. Her son, the future leader of mankind. Their protector, a terminator from the future. Together they must take back the future as Sarah Connor (300's Lena Headey) prepares her son to fight the war against machines determined to annihilate the human race. The clock is ticking. Can they stop Judgment Day? The man-vs.-machine tale that's thrilled millions gets a reboot in this series set after the events of Terminator 2: Judgment Day. Now the battlefield has shifted to the present. Will John Connor (Heroes's Thomas Dekker) seize his destiny? Will a cell phone salesman's chess program evolve into Skynet? Can the sweet but deadly cyborg (Summer Glau of Firefly) be trusted? Answers – and the fight for the future – are here and now.
Sales Rank:753 List Price: $26.98 Lowest New Price: $15.71 Lowest Used Price: $14.93 MPAA Rating: PG-13 (Parental Guidance Suggested)
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Rona Benson
Blake Michael Bryan
Laura Dern
John Diehl
Bruce French
Jurassic Park Steven Spielberg's 1993 mega-hit rivals Jaws as the most intense and frightening film he'd ever made prior to Schindler's List, but it was also among his weakest stories. Based on Michael Crichton's novel about an island amusement park populated by cloned dinosaurs, the film works best as a thrill ride with none of the interesting human dynamics of Spielberg's Jaws. That lapse proves unfortunate, but there's no shortage of raw terror as a rampaging T-rex and nasty raptors try to make fast food out of the cast. The effects are still astonishing (despite the fact that the computer-generated technology has since been improved upon) and at times primeval, such as the sight of a herd of whatever-they-are scampering through a valley. --Tom Keogh
The Lost World - Jurassic Park In the low tradition of knockoff horror flicks best seen (or not seen) on a drive-in movie screen, Steven Spielberg's sequel to Jurassic Park is a poorly conceived, ill-organized film that lacks story and logic. Screenwriter David Koepp strings along a number of loose ideas while Jeff Goldblum returns as Ian Malcolm, the quirky chaos theoretician who now reluctantly agrees to go to another island where cloned dinosaurs are roaming freely. Along with his girlfriend (Julianne Moore) and daughter, Malcolm has to deal with hunters, environmentalists, and corporate swine who stupidly bring back a big dino to Southern California, where it runs amok, of course. Spielberg doesn't seem to care that the pieces of this project don't add up to a real movie, so he hams it up with big, scary moments (with none of the artfulness of those in Jurassic Park) and smart-aleck visual gags (a yapping dog in a suburb mysteriously disappears when a hungry T-rex stomps by). A complete bust.--Tom Keogh
Jurassic Park III Surpassing expectations to qualify as an above-average sequel, Jurassic Park III is nothing more or less than a satisfying popcorn adventure. A little cheesier than the first two Jurassic blockbusters, it's a big B movie with big B-list stars (including Laura Dern, briefly reprising her Jurassic Park role), and eight years of advancing computer-generated-image technology give it a sharp edge over its predecessors. While adopting the jungle spirit of King Kong, the movie refines Michael Crichton's original premise, and its dinosaurs are even more realistic, their behavior more detailed, and their variety--including flying pteranodons and a new villain, the spinosaurus--more dazzling and threatening than ever. These advancements justify the sequel, and its contrived plot is just clever enough to span 90 minutes without wearing out its welcome.
Posing as wealthy tourists, an adventurous couple (William H. Macy, Téa Leoni) convince paleontologist Alan Grant (Sam Neill) and his protégé (Allesandro Nivola) to act as tour guides on a flyover trip to Isla Sorna, the ill-fated "Site B" where all hell broke loose in The Lost World: Jurassic Park. In truth, they're on a search-and-rescue mission to find their missing son (Trevor Morgan), and their plane crash is just the first of several enjoyably suspenseful sequences. Director Joe Johnston (October Sky) embraces the formulaic plot as a series of atmospheric set pieces, placing new and familiar dinosaurs in misty rainforests, fiery lakes, and mysterious valleys, turning JP3 into a thrill ride with impressive highlights (including a T. rex versus spinosaurus smack-down), adequate doses of wry humor (from the cowriters of Election), and an upbeat ending that's corny but appropriate, proving that the symptoms of sequelitis needn't be fatal. --Jeff Shannon
Sales Rank:1337 List Price: $28.98 Lowest New Price: $6.93 Lowest Used Price: $5.25 MPAA Rating: PG-13 (Parental Guidance Suggested)
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Steve Carell
Anne Hathaway
Maxwell smart agent 86 for control battles the forces of kaos with the more competent agent 99 at his side. Studio: Warner Home Video Release Date: 11/04/2008 Starring: Steve Carell Dwayne Johnson Run time: 110 minutes Rating: Pg13
Sales Rank:1394 List Price: $12.98 Lowest New Price: $5.24 Lowest Used Price: $3.24 MPAA Rating: R (Restricted)
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Jim Broadbent
Kenneth Cranham
Timothy Dalton
Julia Deakin
Patricia Franklin
In Shaun of the Dead, it was the zombie movie and the anomie of modern life. In Hot Fuzz, Edgar Wright and Simon Pegg set their sights on the buddy cop blockbuster and the eccentric English village. The two worlds collide when overachieving London officer Nicholas Angel (Pegg) is promoted to sergeant. The catch is that he's being transferred to Agatha Christie country. His superiors (the comic trifecta of Martin Campbell, Steve Coogan, and Bill Nighy) explain that he's making the rest of the force look bad. On the surface, Sandford is a sleepy little burg where the most egregious crimes, like loitering, are committed by hoody-sporting schoolboys. In truth, it's a hotbed of Willow Man-style evil. Upon his arrival, Chief Butterman (Jim Broadbent) partners Angel with his daft son, Danny (Nick Frost, Pegg's Shaun co-star), who aspires to kick criminal "arse" like the slick duo in Bad Boys II. When random citizens start turning up dead, he gets his chance. With the worshipful Danny at his side, Angel shows his cake-eating colleagues how things are done in the big city. As in Shaun, their previous picture, Wright and Pegg hit their targets more often than not. With the success of that debut comes a bigger budget for car chases, shoot-outs, and fiery explosions. Though Hot Fuzz earns its R-rating with salty language and grisly deaths, the tone is more good-natured than mean-spirited. A wall-to-wall soundtrack of boisterous British favorites, like the Kinks, T-Rex, and Sweet, contributes to the fast-paced fun. --Kathleen C. Fennessy
Sales Rank:235 List Price: $19.98 Lowest New Price: $8.49 Lowest Used Price: $5.33 MPAA Rating: R (Restricted)
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Colin Farrell
Brendan Gleeson
Ralph Fiennes
Mark Donovan
Ann Elsley
The considerable pleasures of In Bruges begin with its title, which suggests a glumly self-important art film but actually fits a rattling-good tale of two Irish gangsters "keepin' a low profile" after a murder gone messily wrong. Bruges, the best-preserved medieval town in Belgium, is where the bearlike veteran Ken (Brendan Gleeson) and newbie triggerman Ray (Colin Farrell) have been ordered by their London boss to hole up for two weeks. As the sly narrative unfolds like a paper flower in water, "in Bruges" also becomes a state of mind, a suspended moment amid centuries-old towers and bridges and canals when even thuggish lives might experience a change in direction. And throughout, the viewer has ample opportunity to consider whose pronunciation of "Bruges" is more endearing, Gleeson's or Farrell's. The movie marks the feature writing-directing debut of playwright Martin McDonagh, whose droll meditation on sudden mortality, Six Shooter, copped the 2005 Oscar for best live-action short. Although McDonagh clearly relishes the musicality of his boyos' brogue and has written them plenty of entertaining dialogue, In Bruges is no stageplay disguised as a film. The script is deceptively casual, allowing for digressions on the newly united and briskly thriving Europe, and annexing passers-by as characters who have a way of circling back into the story with unanticipatable consequences. That includes a film crew--shooting a movie featuring, to Ray's fascination, "a midget" (Jordan Prentice)--and a fetching blond production assistant (Clémence Poésy) whose job description keeps evolving. There's one other key figure: Harry, the Cockney gang boss whose omnipotence remains unquestioned as long as he remains offscreen, back in England, as if floating in an early Harold Pinter play. Harry has reasons inextricably tender and perverse for selecting Bruges as his hirelings' destination, and eventually he emerges from the aether to express them--first as a garrulous telephone voice and then in the volatile form of Ralph Fiennes. By that point the charmed moment of suspension, already shaken by several irruptions of violence, is pretty well doomed. But In Bruges continues to surprise and satisfy right up to the end. --Richard T. Jameson
Sales Rank:406 List Price: $14.99 Lowest New Price: $7.88 Lowest Used Price: $5.81 MPAA Rating: R (Restricted)
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Kurt Russell
Val Kilmer
Sam Elliott
Bill Paxton
Powers Boothe
This Western has become a modest cult favorite since its release in 1993, when the film was met with mixed reviews but the performances of Kurt Russell (as Wyatt Earp) and especially Val Kilmer, for his memorably eccentric performance as the dying gunslinger Doc Holliday, garnered high praise. The movie opens with Wyatt Earp trying to put his violent past behind him, living happily in Tombstone with his brothers and the woman (Dana Delany) who puts his soul at ease. But a murderous gang called the Cowboys has burst on the scene, and Earp can't keep his gun belt off any longer. The plot sounds routine, and in many ways it is, but Western buffs won't mind a bit thanks to a fine cast and some well-handled action on the part of Rambo director George P. Cosmatos, who has yet to make a better film than this. --Jeff Shannon
Sales Rank:456 List Price: $19.99 Lowest New Price: $9.89 Lowest Used Price: $4.45 MPAA Rating: R (Restricted)
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Marcia Gay Harden
Hal Holbrook
William Hurt
Catherine Keener
Vince Vaughn
A superb cast and an even-handed treatment of a true story buoy Into the Wild, Sean Penn's screen adaptation of Jon Krakauer's bestselling book. Emile Hirsch stars as Christopher McCandless, scion of a prosperous but troubled family who, after graduating from Atlanta's Emory University in the early 1990s, decides to chuck it all and become a self-styled "aesthetic voyager" in search of "ultimate freedom." He certainly doesn't do it halfway: after donating his substantial savings account to charity and literally torching the rest of his cash, McCandless changes his name (to "Alexander Supertramp"), abandons his family (William Hurt and Marcia Gay Harden as his bickering, clueless parents and Jena Malone as his baffled but loving sister, who relates much of the backstory in voice-over), and hits the road, bound for the Alaskan bush and determined not to be found. For the next two years he lives the life of a vagabond, working a few odd jobs, kayaking through the Grand Canyon into Mexico, landing on L.A.'s Skid Row, and turning his back on everyone who tried to befriends him (including Catherine Keener and Brian Dierker as two kindly, middle-aged hippies and Hal Holbrook in a deeply affecting performance as an old widower who tries to take "Alex" under his wing). Penn, who directed and wrote the screenplay, alternates these interludes with scenes depicting McCandless' Alaskan idyll--which soon turns out be not so idyllic after all. Settling into an abandoned school bus, he manages to sustain himself for a while, shooting small game (and one very large moose), reading, and recording his existential musings on paper. But when the harsh realities of life in the wilderness set in, our boy finds himself well out of his depth, not just ill-prepared for the rigors of day to day survival but realizing the importance of the very thing he wanted to escape--namely, human relationships. It'd be easy to either idealize McCandless as a genuinely free spirit, unencumbered by the societal strictures that tie the rest of us down, or else dismiss him as a hopelessly callow naïf, a fool whose disdain for practical realities ultimately doomed him. Into the Wild does neither, for the most part telling the tale with an admirable lack of cheap sentiment and leaving us to decide for ourselves. --Sam Graham