Prepare for the all-new, action-packed Fantastic Four 2-Disc Extended Edition. Bursting with hours and hours of bonus material including an exclusive 100 minute “Making of” featurette and an Inside Look at Fantastic Four 2, this Extended Edition also features 20 minutes of footage added back into the film.Marvel Comics’ first family of superherodom, the Fantastic Four, hits the big screen in a light-hearted and funny adventure. It begins when down-on-his-luck genius Reed Richards (Ioan Gruffudd, Horatio Hornblower) has to enlist the financial and intellectual help from former schoolmate and rival Victor Von Doom (Julian McMahon, Nip/Tuck) in order to pursue outer-space research into human DNA. Also on the trip are Reed’s best friend, Ben Grimm (Michael Chiklis, The Shield); his former lover, Sue Storm (Jessica Alba, Dark Angel, Sin City), who’s now Doom’s employee and love interest; and her hotshot-pilot brother, Johnny Storm (Chris Evans, Cellular). Things don’t go as planned, of course, and the quartet becomes blessed–or is it cursed?–with superhuman powers: flexibility, brute strength, invisibility and projecting force fields, and bursting into flame. Meanwhile, Doom himself is undergoing a transformation.
Among the many entries in the comic-book-movie frenzy, Fantastic Four is refreshing because it doesn’t take itself too seriously. Characterization isn’t too deep, and the action is a bit sparse until the final reel (like most “first” superhero movies, it has to go through the “how did we get these powers and what we will do with them” churn). But it’s a good-looking cast, and original comic-book cocreator Stan Lee makes his most significant Marvel-movie cameo yet, in a speaking role as the FF’s steadfast postal carrier, Willie Lumpkin. Newcomers to superhero movies might find the idea of a family with flexibility, strength, invisibility, and force fields a retread of The Incredibles, but Pixar’s animated film was very much a tribute to the FF and other heroes of the last 40 years. The irony is that while Fantastic Four is an enjoyable B-grade movie, it’s the tribute, The Incredibles, that turned out to be a film for the ages. –David Horiuchi
On the DVD The Fantastic Four two-disc extended-cut edition is the DVD that should have come out first. But if you did buy the original edition, you don’t need it any more because this version has both the extended cut and the theatrical cut with the same commentary by Ioan Gruffudd, Jessica Alba, and Michael Chiklis. If you enjoyed the film, you’ll probably like the extended cut as well, since it adds 20 minutes to the relatively short 106-minute running time. The new and extended scenes (which are also viewable separately) are mostly character interplay–Sue/Reed, Sue/Victor, Ben-Alicia (with a glimpse at a possible future villain)–plus some gags like Johnny heating up an elevator. The new cut has a new commentary by director Tim Story, producers Avi Arad and Kevin Feige, and screenwriters Michael France and Mark Frost, though they choose to talk about producing the film and not the new material. The second disc is practically worth the price of admission, with two hourlong documentaries. One is the history of the FF comic book decade by decade, with interviews of Stan Lee, Joe Sinnott, Walter Simonson, Len Wein, Marv Wolfman, Alex Ross, and Jim Lee (John Byrne is discussed but not interviewed). The second focuses on master artist Jack Kirby, including his work from the ’40s on, life, work style, personal style, and far-reaching influence. The interviewees include many of the same from the other documentary, plus Neal Adams, Barry Windsor-Smith, and Kirby’s kids, assistants, and friends. More featurettes and still galleries of costumes and memorabilia fill out the disc. –David Horiuchi
The third installment in the widely beloved Spielberg/Lucas Indiana Jones saga begins with an introduction to a younger Indy (played by the late River Phoenix), who, through a fast-paced prologue, gives the audience insight into the roots of his taste for adventure, fear of snakes, and dogged determination to take historical artifacts out of the hands of bad guys and into the museums in which they belong. A grown-up Indy (Harrison Ford) reveals himself shortly afterward in a familiar classroom scene, teaching archeology to a disproportionate number of starry-eyed female college students in 1938. Once again, however, Mr. Jones is drawn away from his day job after an art collector (Julian Glover) approaches him with a proposition to find the much sought after Holy Grail. Circumstances reveal that there was another avid archeologist in search of the famed cup — Indiana Jones’ father, Dr. Henry Jones (Sean Connery) — who had recently disappeared during his efforts. The junior and senior members of the Jones family find themselves in a series of tough situations in locales ranging from Venice to the most treacherous spots in the Middle East. Complicating the situation further is the presence of Elsa (Alison Doody), a beautiful and intelligent woman with one fatal flaw: she’s an undercover Nazi agent. The search for the grail is a dangerous quest, and its discovery may prove fatal to those who seek it for personal gain. Indiana Jones and the Last Crusade earned a then record-breaking million in its first week of release.Not as good as the first one, but better than the second. That’s been the consensus opinion regarding Indiana Jones and the Last Crusade, the final installment in Steven Spielberg and George Lucas’ original adventure trilogy, throughout the nearly two decades since its 1989 theatrical release. It’s a fair assessment. After the relatively dark and disturbing Temple of Doom (1984), The Last Crusade (1989) recalls the sheer fun of Raiders of the Lost Ark (1981). With its variety of colorful locations, multiple chase scenes (the opening sequence on a circus train, with River Phoenix as the young Indy, is one of the best of the series, as is the boat chase through the canals of Venice), and cloak-and-dagger vibe, it’s the closest in tone to a James Bond outing, which director Spielberg has noted was the inspiration for the trilogy in the first place; what’s more, it harkens back to Raiders in its choice of villains (i.e., the Nazis–Indy even comes face to face with Hitler at a rally in Berlin) and its quest for an antiquity of incalculable value and significance (the Holy Grail, the chalice said to have been the receptacle of Christ’s blood as he hung on the cross). Add to that the presence of Sean Connery, playing Indy’s father and having a field day opposite Harrison Ford, and you’ve got a most welcome return to form.
Special features include a six-minute introduction by Spielberg and Lucas, who discuss the grail as a metaphor for bringing Indy and his estranged father together and agree that Crusade is the funniest of the three films; “Indy’s Women,” an American Film Institute tribute with leading ladies Karen Allen, Kate Capshaw, and Alison Doody each discussing her character (Capshaw candidly describes Temple of Doom’s Willie Scott as “whiny, petulant, and annoying”); “Indy’s Friends and Enemies,” a look at the films’ various villains and sidekicks; plus storyboards and photo galleries. –Sam Graham
JIGSAW IS BACK! THE BRILLIANT DISTURBED MASTERMIND WHO WREAKED HAVOC ON HIS VICTIMS IN 2004′S SAW IS BACK FOR ANOTHER ROUND OF HORRIFYING LIFE OR DEATH GAMES. DVD FEATURES AUDIO COMMENTARY WITH DIRECTOR AND ACTORS, THE PROPS OF SAW 2, AND DECONSTRUCTING JIGSAWS TRAPS!Saw II brings back many features of the original Saw: elaborate sadistic scenarios designed to “test” the victims’ will to live; Tobin Bell as the Machiavellian (yet doomed) serial killer Jigsaw; Shawnee Smith as Amanda, a survivor of one of Jigsaw’s “games”, forced to play again; Dina Meyer (Starship Troopers), whose role as a detective is considerably expanded; and the stunningly godawful dialogue of screenwriter Leigh Whannel. The set-up this time is even more preposterous than before, as a rough-and-tumble cop named Eric (Donnie Whalberg, Band of Brothers) watches, on video monitors, his son trapped in a house filled with nerve gas and a handful of other victims, all of whom are mysteriously connected. Eric has captured Jigsaw, but the implacable killer refuses to reveal where the cop’s son is being held… unless Eric will play by Jigsaw’s rules. Fans of Saw will love Saw II, as the tortures are more gruesome than before; viewers who found Saw either detestable or laughable won’t like Saw II either, as the characters rarely behave like actual people (even when a moment’s explanation would solve a conflict, no one bothers to communicate, even though their lives are on the line). It’s a festival of body fluids, agonized grimaces, and shrieks of pain–and if that’s your thing, this is your movie. –Bret Fetzer
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Voldemort is tightening his grip on both the Muggle and wizarding worlds and Hogwarts is no longer the safe haven it once was. Harry suspects that dangers may even lie within the castle, but Dumbledore is more intent upon preparing him for the final battle that he knows is fast approaching. Together they work to find the key to unlock Voldemort s defenses and, to this end, Dumbledore recruits his
Voldemort is tightening his grip on both the Muggle and wizarding worlds and Hogwarts is no longer the safe haven it once was. Harry suspects that dangers may even lie within the castle, but Dumbledore is more intent upon preparing him for the final battle that he knows is fast approaching. Together they work to find the key to unlock Voldemort’s defenses and, to this end, Dumbledore recruits his old friend and colleague, Professor Horace Slughorn, whom he believes holds crucial information. Even as the decisive showdown looms, romance blossoms for Harry, Ron, Hermione and their classmates. Love is in the air, but danger lies ahead and Hogwarts may never be the same.
The Blu-ray disc of Harry Potter and the Half-Blood Prince will feature Warner Bros. Maximum Movie Mode, an interactive viewing experience that examines the entire film with such features as Focus Points, Picture-in-Picture, photo galleries and more. Maximum Movie Mode includes commentary from director David Yates, producers David Heyman and David Barron, and stars Daniel Radcliffe, Rupert Grint, Emma Watson and Tom Felton.
The disc also includes Warner Bros. BD-LiveTM, which allows users with web-enabled Blu-ray players to access exciting additional content and connect and share with other BD-Live users via the My Commentary and Live Community Screening features. Another feature of the BD-Live interactivity is Facebook Connect, which allows users to interact with their friends from Facebook, update their Facebook status while in BD-Live and invite their Facebook friends to a Live Community Screening.The sixth installment of the Harry Potter series begins right where The Order of the Phoenix left off. The wizarding world is rocked by the news that “He Who Must Not Be Named” has truly returned, and the audience finally knows that Harry is “the Chosen One”–the only wizard who can defeat Lord Voldemort in the end. Dark forces loom around every corner, and now regularly attempt to penetrate the protected walls of Hogwarts School. This is no longer the fun and fascinating world of magic from the first few books—it’s dark, dangerous, and scary.
Harry (Daniel Radcliffe) suspects Draco Malfoy (Tom Felton) to be a new Death Eater recruit on a special mission for the Dark Lord. In the meantime, Professor Dumbledore (Michael Gambon) seems to have finally removed the shroud of secrecy from Harry about the dark path that lies ahead, and instead provides private lessons to get him prepared. It’s in these intriguing scenes that the dark past of Tom Riddle (a.k.a. Voldemort) is finally revealed. The actors cast as the different young versions of Riddle (Hero Fiennes-Tiffin and Frank Dillane) do an eerily fantastic job of portraying the villain as a child. While the previous movies’ many new characters could be slightly overwhelming, only one new key character is introduced this time: Professor Horace Slughorn (with a spot-on performance by Jim Broadbent). Within his mind he holds a key secret in the battle to defeat the Dark Lord, and Harry is tasked by Dumbledore to uncover a memory about Voldemort’s darkest weapon–the Horcrux. Despite the long list of distractions, Harry, Ron (Rupert Grint), and Hermione (Emma Watson) still try to focus on being teenagers, and audiences will enjoy the budding awkward romances. All of the actors have developed nicely, giving their most convincing performances to date.
More dramatic and significant things go down in this movie than any of its predecessors, and the stakes are higher than ever. The creators have been tasked with a practically impossible challenge, as fans of the beloved J.K. Rowling book series desperately want the movies to capture the magic of the books as closely as possible. Alas, the point at which one accepts that these two mediums are very different is the point at which one can truly enjoy these brilliant adaptations. Harry Potter and the Half-Blood Prince is no exception: it may be the best film yet. For those who have not read the book, nail-biting entertainment is guaranteed. For those who have, the movie does it justice. The key dramatic scenes, including the cave and the shocking twist in the final chapter, are executed very well. It does a perfect job of setting up the two-part grand finale that is to follow. –Jordan Thompson
In rural Maine, Vic and Donna Trenton (Hugh-Kelly and Wallace) struggle to repair their crumbling marriage, while their young son Tad (Danny Pintauro) befriends a hulking, lovable, 200-pound St. Bernard named Cujo. With Vic away on business, Donna and Tad take their decrepit car to be fixed at the remote farm of their mechanic (Lauter). As their aging Pinto sputters to a stop and dies, Cujo appears. But the once docile dog has undergone a hideous transformation – and becomes a slavering, demonic, killer possessed by almost supernatural strength…and unholy cunning. Critically acclaimed, CUJO is a fearsome, spine-chilling tour de force from the most popular name in horror!This 1983 adaptation of the Stephen King horror novel is the anti-Beethoven, the story of a rabid St. Bernard that terrorizes a community, tears up a few folks, and goes after a woman and her son. Once the point has been made that big, lovable Cujo has been bitten by a rabid bat, there isn’t much more to say. The film is essentially a linear progression of doggy violence, though director Lewis Teague (The Jewel of the Nile)–building on King’s implication that we all know what it’s like to be afraid of a big, scary pooch–succeeds at making the fear almost primitive for an audience. –Tom Keogh
In this unrelenting action masterpiece from director John Carpenter (Halloween, Escape from New York), a police station under siege from a vicious street gang becomes a cataclysmic battleground where only the strongest survive! Inspired by Howard Hawks’ immortal western, Rio Bravo, this explosive gem from one of cinema’s great frightmasters has been newly remastered with a host of high-powered extras! Before making the original Halloween into one of the most profitable independent films of all time, John Carpenter directed this riveting low-budget thriller from 1976, in which a nearly abandoned police station is held under siege by a heavily armed gang called Street Thunder. Inside the station, cut off from contact and isolated, cops and convicts who were headed for death row must now join forces or die. That’s the basic plot, but it’s what Carpenter does with it that’s remarkable. Drawing specific inspiration from the classic Howard Hawks Western Rio Bravo (which included a similar siege on disadvantaged heroes), Carpenter used his simple setting for a tense, tightly constructed series of action sequences, emphasizing low-key character development and escalating tension. Few who’ve seen the film can forget the “ice cream cone” scene in which a young girl is caught up in the action by patronizing a seemingly harmless ice cream truck. It’s here, and in other equally memorable scenes, that Carpenter demonstrates his singular knack for injecting terror into the mundane details of daily life, propelling this potent thriller to cult favorite status and long-standing critical acclaim. –Jeff Shannon
This documentary of the Sixth Nazi Party Congress at, ironically enough, Nuremberg, is a frightening example of powerful film propaganda. It helped launch Hitler into power and its sweeping style was later used by American director Frank Capra for his war documentaries. Format: DVD MOVIE Genre: DOCUMENTARIES Rating: NR Age: 654930305294 UPC: 654930305294 Manufactur
Studio: Wea-des Moines Video Release Date: 03/28/2006 Run time: 120 minutesTriumph of the Will is one of the most important films ever made. Not because it documents evil–more watchable examples are being made today. And not as a historical example of blind propaganda–those (much shorter) movies are merely laughable now. No, Riefenstahl’s masterpiece–and it is a masterpiece, politics aside–combines the strengths of documentary and propaganda into a single, overwhelmingly powerful visual force.
Riefenstahl was hired by the Reich to create an eternal record of the 1934 rally at Nuremberg, and that’s exactly what she does. You might not become a Nazi after watching her film, but you will understand too clearly how Germany fell under Hitler’s spell. The early crowd scenes remind one of nothing so much as Beatles concert footage (if only their fans were so well behaved!).
Like the fascists it monumentalizes, Triumph of the Will overlooks its own weaknesses–at nearly two hours, the speeches tend to drone on, and the repeated visual motifs are a little over-hypnotic, especially for modern viewers. But the occasional iconic vista (banners lining the streets of Nuremberg, Hitler parting a sea of 200,000 party members standing at attention) will electrify anyone into wakefulness. –Grant Balfour Triumph of the Will is one of the most important films ever made. Not because it documents evil–more watchable examples are being made today. And not as a historical example of blind propaganda–those (much shorter) movies are merely laughable now. No, Riefenstahl’s masterpiece–and it is a masterpiece, politics aside–combines the strengths of documentary and propaganda into a single, overwhelmingly powerful visual force. Riefenstahl was hired by the Reich to create an eternal record of the 1934 rally at Nuremberg, and that’s exactly what she does. You might not become a Nazi after watching her film, but you will understand too clearly how Germany fell under Hitler’s spell. The early crowd scenes remind one of nothing so much as Beatles concert footage (if only their fans were so well behaved!). Like the fascists it monumentalizes, Triumph of the Will overlooks its own weaknesses–at nearly two hours, the speeches tend to drone on, and the repeated visual motifs are a little over-hypnotic, especially for modern viewers. But the occasional iconic vista (banners lining the streets of Nuremberg, Hitler parting a sea of 200,000 party members standing at attention) will electrify anyone into wakefulness. –Grant Balfour
Leonardo DiCaprio and Oscar-nominatee Kate Winslet light up the screen as Jack and Rose the young lovers who find one another on the maiden voyage of the “unsinkable” R.M.S. Titanic. But when the doomed luxury liner collides with an iceberg in the frigid North Atlantic their passionate love affair becomes a thrilling race for survival. From acclaimed filmmaker James Cameron comes a tale of forbidden love and courage in the face of disaster that triumphs as a true cinematic masterpiece.Format: DVD MOVIE Genre: DRAMA/BIOGRAPHY UPC: 097361313443 Manufacturer No: 131344When the theatrical release of James Cameron’s Titanic was delayed from July to December of 1997, media pundits speculated that Cameron’s 0 million disaster epic would cause the director’s downfall, signal the end of the blockbuster era, and sink Paramount Studios as quickly as the ill-fated luxury liner had sunk on that fateful night of April 14, 1912. Some studio executives were confident, others horrified, but the clarity of hindsight turned Cameron into an Oscar-winning genius, a shrewd businessman, and one of the most successful directors in the history of motion pictures. Titanic would surpass the billion mark in global box-office receipts (largely due to multiple viewings, the majority by teenage girls), win 11 Academy Awards including best picture and director, produce the best-selling movie soundtrack of all time, and make a global superstar of Leonardo DiCaprio. A bona fide pop-cultural phenomenon, the film has all the ingredients of a blockbuster (romance, passion, luxury, grand scale, a snidely villain, and an epic, life-threatening crisis), but Cameron’s alchemy of these ingredients proved more popular than anyone could have predicted. His stroke of genius was to combine absolute authenticity with a pair of fictional lovers whose tragic fate would draw viewers into the heart-wrenching reality of the Titanic disaster. As starving artist Jack Dawson and soon-to-be-married socialite Rose DeWitt Bukater, DiCaprio and Kate Winslet won the hearts of viewers around the world, and their brief but never-forgotten love affair provides the humanity that Cameron needed to turn Titanic into an emotional experience. Present-day framing scenes (featuring Gloria Stuart as the 101-year-old Rose) add additional resonance to the story, and although some viewers proved vehemently immune to Cameron’s manipulations, few can deny the production’s impressive achievements. Although some of the computer-generated visual effects look artificial, others–such as the sunset silhouette of Titanic during its first evening at sea, or the climactic splitting of the ship’s sinking hull–are state-of-the-art marvels. In terms of sets and costumes alone, the film is never less than astounding. More than anything else, however, the film’s overwhelming popularity speaks for itself. Titanic is an event film and a monument to Cameron’s risk-taking audacity, blending the tragic irony of the Titanic disaster with just enough narrative invention to give the historical event its fullest and most timeless dramatic impact. Titanic is an epic love story on par with Gone with the Wind, and like that earlier box-office phenomenon, it’s a film for the ages. –Jeff Shannon
Brotherhood of the Wolf leaps into a new realm of suspense with this thrilling 2-disc Director’s Cut of the international film sensation! When a mysterious beast ravages the countryside, two unlikely heroes are called in to fight the evil. And now, their battle against dark, unspeakable terror is even more gripping with a daring extended version of the film that showcases more of the breathtaking martial arts action and over four hours of in-depth bonus features. The incredible hit that took audiences and critics alike on “a wild ride” (Premiere) is back with more chilling adventure that’s sure to have pulses racing all over again.If you crave an over-the-top historical kung fu-fantasy epic with a good dose of voluptuous nudity, bravura machismo, and passions so intense they verge on ridiculous, then Brotherhood of the Wolf is your movie. Based (loosely) on an 18th-century legend, this French film follows a hunky scientist (Samuel Le Bihan, who’s sort of a second-string Christopher Lambert) and his Iroquois sidekick/spiritual partner (Mark Dacascos) as they pursue a monstrous wolf ravaging the French countryside. Along the way Le Bihan gets entwined with a beautiful noblewoman (Émilie Dequenne) and a gorgeous prostitute (Monica Belluci) with secrets. The plot grows more and more incomprehensible, but the mix of torrid emotions, outrageous action sequences, and lurid titillation is really what the movie is about. Ignore the highbrow philosophizing and confused political intrigue; just enjoy the sensual images. –Bret Fetzer
Saw II (Widescreen Edition)
Saw II (Widescreen Edition)
JIGSAW IS BACK! THE BRILLIANT DISTURBED MASTERMIND WHO WREAKED HAVOC ON HIS VICTIMS IN 2004′S SAW IS BACK FOR ANOTHER ROUND OF HORRIFYING LIFE OR DEATH GAMES. DVD FEATURES AUDIO COMMENTARY WITH DIRECTOR AND ACTORS, THE PROPS OF SAW 2, AND DECONSTRUCTING JIGSAWS TRAPS!Saw II brings back many features of the original Saw: elaborate sadistic scenarios designed to “test” the victims’ will to live; Tobin Bell as the Machiavellian (yet doomed) serial killer Jigsaw; Shawnee Smith as Amanda, a survivor of one of Jigsaw’s “games”, forced to play again; Dina Meyer (Starship Troopers), whose role as a detective is considerably expanded; and the stunningly godawful dialogue of screenwriter Leigh Whannel. The set-up this time is even more preposterous than before, as a rough-and-tumble cop named Eric (Donnie Whalberg, Band of Brothers) watches, on video monitors, his son trapped in a house filled with nerve gas and a handful of other victims, all of whom are mysteriously connected. Eric has captured Jigsaw, but the implacable killer refuses to reveal where the cop’s son is being held… unless Eric will play by Jigsaw’s rules. Fans of Saw will love Saw II, as the tortures are more gruesome than before; viewers who found Saw either detestable or laughable won’t like Saw II either, as the characters rarely behave like actual people (even when a moment’s explanation would solve a conflict, no one bothers to communicate, even though their lives are on the line). It’s a festival of body fluids, agonized grimaces, and shrieks of pain–and if that’s your thing, this is your movie. –Bret Fetzer
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