Fudge, Alan

The Natural (Director's Cut)

From the sun-dappled heartland, a young man (Robert Redford, in soft lighting) emerges as maybe the best baseball player anybody's ever seen. On his way to the majors, he is cut down by an enigmatic black widow (Barbara Hershey) and vanishes for many years. When he reemerges, a silent mystery, he lands a spot with the New York team and begins tearing up the league--he's still the natural. Fans of the Bernard Malamud novel will be dismayed at the pure mythical hokum of this film, but baseball fanatics have been known to watch and rewatch this one; after all, it's constructed as a kind of shrine to the national pastime. Barry Levinson (Rain Man) directs the movie with an unabashed devotion to the game, although the film could use more of the realities of chewing tobacco and pine tar. Redford is fine, and Kim Basinger and Oscar-nominated Glenn Close are effective as the women in his life. The crowning touch is the soaring, extraordinary music by Randy Newman, the singer-songwriter turned orchestral composer. --Robert Horton

Director Barry Levinson mentions in his video introduction the 1984 movie was rushed to theaters and this 2007 DVD is more the film he originally intended. This "director's cut" adds about 15 minutes of footage and deletes 5. It tightens the first third of the film, yet any fan of the lyrical prologue set in perfect synchronization with Randy Newman's score will be disappointed. Now the beginning is told in flashback as the elder Hobbs returns home. (It's also confusing to keep track of which Hobbs story you are watching when they are both on a train.) The changes do not improve the story or character; it simply packs in more information before Hobbs enters the Knight's dugout. After that, there are a few new scenes and many extensions, most involving Memo (Kim Basinger) and Red (Richard Farnsworth). None of the additions are exceptional. One could hope there is an Easter egg with the remastered original edition. What is on the second disc are above-average featurettes with interviews from most of the major talent. The best little ditties includes Newman's playful "lyrics" to his theme music and Levinson's divulgence that he is the radio play-by-play man. There's a good discussion on adapting (and changing) the novel, the allegorical myths, and the real-life inspirations including a heart-felt segment on Eddie Waitkus, a baseball player who was shot by an obsessed fan. A 5.1 Dolby soundtrack is now available and compliments an excellent video upgrade. --Doug Thomas

Nothing was going to stop Roy Hobbs from fulfilling his boyhood dream of baseball superstardom. Robert Redford stars in this inspiring fable that begins when 14-year-old Hobbs (Redford) fashions a powerful bat from a fallen oak tree. He soon impresses major league scouts with his ability fixing his extraordinary talent in the mind of sportswriter Max Mercy (Robert Duvall) who eventually becomesinstrumental in Hobb's career. But a meeting with a mysterious woman shatters his dream. Years passand an older Hobbs reappears as a rookie from The New York Knights. Overcoming physical pain and defying those who have a stake in seeing the Knights lose Hobbs with his boyhood bat has his chanceto lead the Knights to the pennant and to finally fulfill his dream.System Requirements:Run Time: 144 minutesFormat: DVD MOVIE Genre: DRAMA Rating: PG UPC: 043396184084 Manufacturer No: 18408

The Man Who Wasn't There

For all of its late-1940s cold war paranoia, pulp fiction dialogue, and frenzied greed, Joel and Ethan Coen's The Man Who Wasn't There is their most cool and collected film since Blood Simple. An unassuming barber with a scheming wife (Frances McDormand) and a serious smoking habit, Ed Crane (Billy Bob Thornton) is an onlooker to his own life, a ghostly presence set against a silver-toned film noir backdrop. Only when he decides to alter his fate by blackmailing his wife's lover (James Gandolfini) in order to invest with a traveling salesman (Jon Polito) touting the wave of the future--dry cleaning--do we begin to hear the full extent of Ed's understated, existential lament. As his lawyer (Tony Shalhoub) says in Ed's defense at his eventual trial for murder, "He is modern man." Thornton's deadpan eloquence and cinematographer Roger Deakins's precision lighting offer the perfect counterbalance to the requisite one-liners, plot twists, and false endings that have come to characterize recent Coen brothers films. Almost in spite of the obsessive cultural references (flying saucers, Nabokov's Lolita, Heisenberg's uncertainty principle), Ed Crane steps neatly from the fray as one of cinema's most memorably disenchanted characters. --Fionn Meade

Capricorn One

Thanks to repeated showings on cable television and home video, this speculative thriller has built quite a loyal following since its release in 1978. The provocative "what if?" scenario still packs a punch, even if it is not always believable. James Brolin, Sam Waterston, and O.J. Simpson star as three astronauts who agree to spare the government embarrassment by faking their historic landing on Mars after their spacecraft is determined to be unsafe for blastoff. When a scheming mission controller (Hal Holbrook) plots to kill the astronauts in a staged capsule fire, the trio embarks on a dangerous mission to expose the truth. Elliott Gould costars as the journalist determined to crack the conspiracy, and director Peter Hyams turns up the tension with an exciting chase sequence involving Telly Savalas as an eccentric barnstormer who comes to Gould's aid in his attempt rescue the hoax mission's sole survivor. --Jeff Shannon

Brainstorm

Brainstorm is a fascinating but frustrating film, simply because it dabbles in greatness but fails to develop the fullest implications of its provocative ideas. It's a visually dazzling film with outstanding special effects; directed by veteran effects creator Douglas Trumbull, of 2001 fame; but too caught up in marvels of hardware and software at the expense of its characters, who remain interesting but dramatically two-dimensional. The story involves the development of a headset recorder that can replay one person's experiences--even their emotional states--into the mind of another. The device obviously invites corporate or military exploitation, and Cliff Robertson plays a ruthless executive determined to tap into its lucrative potential. But when a scientist (Louise Fletcher) records her own death experience with the device, along with incriminating evidence, the technology's inventor (Christopher Walken) must unlock the mysteries of his colleague's suspicious demise and the very nature of death itself. Punctuated by remarkable sequences from the perspective of those who use the mind-expanding headset, Brainstorm dares to reach for ambitious themes and innovative movie experiences, and that alone makes it eminently worthwhile. But with a conclusion that too literally interprets the afterlife experience with conventional angelic imagery, and a disappointingly thin role for Natalie Wood (who died while the film was still in production), the film strives for profundity and settles instead for an inspirational light show. --Jeff Shannon

If Someone Had Known (True Stories Collection TV Movie)

Katie Liner (Kellie Martin) is a teenaged girl with a bright future who is swept off her feet by an attractive, but dubious young man, Jimmy Pettit (Ivan Sergei). The two soon marry and live a storybook life on the outside. But, on the inside they live with a terrible secret - he's physically abusive and she's too afraid to confide in anyone, especially her domineering father (Kevin Dobson), a police detective. When their son is born, the beatings increase in frequency due to Jimmy's jealousy over the baby. Yet, each time he apologizes and promises it will never happen again. Upon the impending birth of their second child, Katie realizes the situation will only get worse and makes an earnest attempt to leave her husband. When he threatens to kill her, she turns the tables and murders him in self defense. Faced with a life sentence, will a jury believe Katie's story and find her not guilty?

The Natural

From the sun-dappled heartland, a young man (Robert Redford, in soft lighting) emerges as maybe the best baseball player anybody's ever seen. On his way to the majors, he is cut down by an enigmatic black widow (Barbara Hershey) and vanishes for many years. When he reemerges, a silent mystery, he lands a spot with the New York team and begins tearing up the league--he's still the natural. Fans of the Bernard Malamud novel will be dismayed at the pure mythical hokum of this film, but baseball fanatics have been known to watch and rewatch this one; after all, it's constructed as a kind of shrine to the national pastime. Barry Levinson (Rain Man) directs the movie with an unabashed devotion to the game, although the film could use more of the realities of chewing tobacco and pine tar. Redford is fine, and Kim Basinger and Oscar-nominated Glenn Close are effective as the women in his life. The crowning touch is the soaring, extraordinary music by Randy Newman, the singer-songwriter turned orchestral composer. --Robert Horton

Director Barry Levinson mentions in his video introduction the 1984 movie was rushed to theaters and this 2007 DVD is more the film he originally intended. This "director's cut" adds about 15 minutes of footage and deletes 5. It tightens the first third of the film, yet any fan of the lyrical prologue set in perfect synchronization with Randy Newman's score will be disappointed. Now the beginning is told in flashback as the elder Hobbs returns home. (It's also confusing to keep track of which Hobbs story you are watching when they are both on a train.) The changes do not improve the story or character; it simply packs in more information before Hobbs enters the Knight's dugout. After that, there are a few new scenes and many extensions, most involving Memo (Kim Basinger) and Red (Richard Farnsworth). None of the additions are exceptional. One could hope there is an Easter egg with the remastered original edition. What is on the second disc are above-average featurettes with interviews from most of the major talent. The best little ditties includes Newman's playful "lyrics" to his theme music and Levinson's divulgence that he is the radio play-by-play man. There's a good discussion on adapting (and changing) the novel, the allegorical myths, and the real-life inspirations including a heart-felt segment on Eddie Waitkus, a baseball player who was shot by an obsessed fan. A 5.1 Dolby soundtrack is now available and compliments an excellent video upgrade. --Doug Thomas

Nothing was going to stop Roy Hobbs from fulfilling his boyhood dream of baseball superstardom. Robert Redford stars in this inspiring fable that begins when 14-year-old Hobbs (Redford) fashions a powerful bat from a fallen oak tree. He soon impresses major league scouts with his ability, fixing his extraordinary talent in the mind of sportswriter Max Mercy (Duvall), who eventually becomes instrumental in Hobbs' career. But a meeting with a mysterious woman shatters his dream. Years pass and an older Hobbs reappears as a rookie for the New York Knights. Overcoming physical pain and defying those who have a stake in seeing the Knights lose, Hobbs, with his boyhood bat, has his chance to lead the Knights to the pennant and to finally fulfill his dream.

The Border

This is one of Jack Nicholson's most underrated performances and director Tony Richardson's most overlooked films. Nicholson is a member of the U.S. Border Patrol who moves with his materialistic wife (Valerie Perrine) to a small Texas town. There, his new colleagues try to pull him into the web of corruption that runs through the local department and he's tempted, because the illicit cash will help pay the bills that his charge-happy wife is running up. But his conscience gets the better of him when he gets involved in a case of a young Mexican woman whose baby is stolen to be sold for adoption. Nicholson simmers, stews, and eventually explodes. The superior cast includes Perrine, Harvey Keitel, and Warren Oates. --Marshall Fine

The Man Who Wasn't There

For all of its late-1940s cold war paranoia, pulp fiction dialogue, and frenzied greed, Joel and Ethan Coen's The Man Who Wasn't There is their most cool and collected film since Blood Simple. An unassuming barber with a scheming wife (Frances McDormand) and a serious smoking habit, Ed Crane (Billy Bob Thornton) is an onlooker to his own life, a ghostly presence set against a silver-toned film noir backdrop. Only when he decides to alter his fate by blackmailing his wife's lover (James Gandolfini) in order to invest with a traveling salesman (Jon Polito) touting the wave of the future--dry cleaning--do we begin to hear the full extent of Ed's understated, existential lament. As his lawyer (Tony Shalhoub) says in Ed's defense at his eventual trial for murder, "He is modern man." Thornton's deadpan eloquence and cinematographer Roger Deakins's precision lighting offer the perfect counterbalance to the requisite one-liners, plot twists, and false endings that have come to characterize recent Coen brothers films. Almost in spite of the obsessive cultural references (flying saucers, Nabokov's Lolita, Heisenberg's uncertainty principle), Ed Crane steps neatly from the fray as one of cinema's most memorably disenchanted characters. --Fionn Meade

Billionaire Boys Club

Too Young to Die? (True Stories Collection TV Movie)