Osbourne, Ozzy

Moulin Rouge! (Widescreen Edition)

A dazzling and yet frequently maddening bid to bring the movie musical kicking and screaming into the 21st century, Baz Luhrmann's Moulin Rouge bears no relation to the many previous films set in the famous Parisian nightclub. This may appear to be Paris in the 1890s, with can-can dancers, bohemian denizens like Toulouse-Lautrec (John Leguizamo), and ribaldry at every turn, but it's really Luhrmann's pop-cultural wonderland. Everyone and everything is encouraged to shatter boundaries of time and texture, colliding and careening in a fast-cutting frenzy that thinks nothing of casting Elton John's "Your Song" 80 years before its time. Nothing is original in this kaleidoscopic, absinthe-inspired love tragedy--the words, the music, it's all been heard before. But when filtered through Luhrmann's love for pop songs and timeless showmanship, you're reminded of the cinema's power to renew itself while paying homage to its past.

Luhrmann's overall success with his third "red-curtain" extravaganza (following Strictly Ballroom and William Shakespeare's Romeo & Juliet) is wildly debatable: the scenario is simple to the point of silliness, and how can you appreciate choreography when it's been diced into hash by attention-deficit editing? Still, there's something genuine brewing between costars Ewan McGregor and Nicole Kidman (as, respectively, a poor writer and his unobtainable object of desire), and their vocal talents are impressive enough to match Luhrmann's orgy of extraordinary sets, costumes, and digital wizardry. The movie's novelty may wear thin, along with its shallow indulgence of a marketable soundtrack, but Luhrmann's inventiveness yields moments that border on ecstasy, when sound and vision point the way to a moribund genre's joyously welcomed revival. --Jeff Shannon

A spectacle beyond anything you've ever witnessed. An experience beyond everything you've ever imagined. Behind the red velvet curtain, the ultimate seduction of your senses is about to begin. Welcome to the Moulin Rouge! Nicole Kidman and Ewan McGregor sing, dance and scale the heights of passionate abandon in the year's most talked-about movie from visionary director Baz Luhrmann (William Shakespeare's Romeo + Juliet, Strictly Ballroom). Enter a tantalizing world that celebrates truth, beauty, freedom and above all things, love.

Little Nicky (New Line Platinum Series)

In Little Nicky, Adam Sandler plays the sweetest of three sons of Satan (Harvey Keitel), who's got to go to Earth and retrieve his nasty, power-hungry brothers lest they take over Hell and make it a thoroughly evil place. As with Sandler's other films, this weird premise (based oh-so-loosely on King Lear) is just an excuse to trot out a hodgepodge of comic bits and cameo performances. Admittedly, a lot of the jokes don't work (there was no need to repeat the one about shoving a pineapple up Hitler's ass), but the ones that do tend to be more memorable than the ones that don't, making for a pretty funny movie, when all is said and done. Sure, it's hard to overcome Sandler's speech impediment du jour, not to mention that romantic subplot with Patricia Arquette, but it can be done by focusing on the brilliant cameos by Regis Philbin, Reese Witherspoon, Ozzy Osbourne, and Henry Winkler (especially when he's covered with bees), as well as one of the funniest uses of a scene from De Palma's Scarface in years. Supporting Sandler throughout are two very funny heavy metal disciples and a bulldog named Beefy (voiced by Robert Smigel, the man behind Triumph the Insult Comic Dog). And, in an almost unrecognizable cameo, that's Clint Howard as the cross-dressing fetishist named "Nipples." --Andy Spletzer

Adam Sandler is Little Nicky, a shy and awkward guy with a penchant for heavy metal music and two bullies for older brothers. And another thing .... Little Nicky is the son of the Devil and lives in Hell. Also stars Patricia Arquette and Harvey Keitel.

Moulin Rouge! (Two-Disc Collector's Edition)

A dazzling and yet frequently maddening bid to bring the movie musical kicking and screaming into the 21st century, Baz Luhrmann's Moulin Rouge bears no relation to the many previous films set in the famous Parisian nightclub. This may appear to be Paris in the 1890s, with can-can dancers, bohemian denizens like Toulouse-Lautrec (John Leguizamo), and ribaldry at every turn, but it's really Luhrmann's pop-cultural wonderland. Everyone and everything is encouraged to shatter boundaries of time and texture, colliding and careening in a fast-cutting frenzy that thinks nothing of casting Elton John's "Your Song" 80 years before its time. Nothing is original in this kaleidoscopic, absinthe-inspired love tragedy--the words, the music, it's all been heard before. But when filtered through Luhrmann's love for pop songs and timeless showmanship, you're reminded of the cinema's power to renew itself while paying homage to its past.

Luhrmann's overall success with his third "red-curtain" extravaganza (following Strictly Ballroom and William Shakespeare's Romeo & Juliet) is wildly debatable: the scenario is simple to the point of silliness, and how can you appreciate choreography when it's been diced into hash by attention-deficit editing? Still, there's something genuine brewing between costars Ewan McGregor and Nicole Kidman (as, respectively, a poor writer and his unobtainable object of desire), and their vocal talents are impressive enough to match Luhrmann's orgy of extraordinary sets, costumes, and digital wizardry. The movie's novelty may wear thin, along with its shallow indulgence of a marketable soundtrack, but Luhrmann's inventiveness yields moments that border on ecstasy, when sound and vision point the way to a moribund genre's joyously welcomed revival. --Jeff Shannon

A spectacle beyond anything you've ever witnessed. An experience beyond everything you've ever imagined. Behind the red velvet curtain, the ultimate seduction of your senses is about to begin. Welcome to the Moulin Rouge! Nicole Kidman and Ewan McGregor sing, dance and scale the heights of passionate abandon in the year's most talked-about movie from visionary director Baz Luhrmann (William Shakespeare's Romeo + Juliet, Strictly Ballroom). Enter a tantalizing world that celebrates truth, beauty, freedom and above all things, love.

Trick or Treat

Ozzy Osbourne - Live at Budokan

Ozzy Osbourne - Live & Loud

Ozzy Osbourne: Speak of the Devil

At the peak of his career, Ozzy made this unforgettable show in California in 1982. With exciting performances of his solo career's greatest hits, like 'Mr Crowley', 'Suicide Solution' & 'Crazy Train', the singer shows here how to conquer an audience that

Black Sabbath - The Last Supper

There was something genuinely heartwarming about the decision by Black Sabbath's founding members to take to the road again in 1999. The fractious intra-band relationships that have characterized Black Sabbath's long career were a major inspiration for the writers of This Is Spinal Tap, and so the Sabs' reunion created something pleasingly symmetrical and evocative of the closing scenes of that fine film.

The concert footage was taken from six of the concerts on that tour. It is conclusive proof that the original quartet of Osbourne, Iommi, Butler, and Ward (or, in Osbourne's words, "four dickheads from Aston, near Birmingham") were every bit as exuberantly juvenile a rock & roll band in their early 50s as their late teens. Also included is a sketchy biography and interviews with the band by Henry Rollins, one of the countless contemporary musicians influenced by Sabbath. It's a nice idea, but the only real weakness of the package is that Ozzy is never granted time to wheel out any of his peerless reserve of grotesque rock & roll anecdotes. Nevertheless, the already formidable case for Osbourne's knighthood is strengthened further. --Andrew Mueller, Amazon.co.uk

The Last Supper is the first-ever live DVD from legendary Metal superstars Black Sabbath, which includes all of Sabbath's biggest hits performed live. The Last Supper features all of the original members of Black Sabbath--Ozzy Osbourne, Tony Iommi, Geezer Butler and Bill Ward--on their sold-out 1999 Reunion tour, and includes behind-the-scenes interviews and tour photos. 120 minutes.

Alice Cooper - Prime Cuts (Limited Edition 2-Disc Set)

This 1991 documentary explores the ever-likable ghoul-rocker's history in the music biz, from the early days when Alice Cooper was, in fact, the name of a pretty good band (whose members are all unfortunately spoken of, even analyzed, here in past tense, as if they're all dead) to Cooper's elder- statesman status by the time this production was underway. Along the way, we see too-brief clips from more than 20 videos, all interrupted for reflections by manager Shep Gordon, producer Bob Ezrin, Slash, Ozzy, and the man-of-the-hour himself. The most welcome elements here are selections from the original band, including "I'm Eighteen," "Billion Dollar Babies," and "Black Ju Ju." Solo material--"Only Women Bleed," "How You Gonna See Me Now"--is an interesting reminder of Cooper's somewhat altered direction by the late 1970s. Rounding things out is the real story behind that infamous urban legend about Cooper and a chicken. --Tom Keogh

The Jerky Boys [Region 2]