Turner, Guinevere

American Psycho (Uncut Killer Collector's Edition)

The Bret Easton Ellis novel American Psycho, a dark, violent satire of the "me" culture of Ronald Reagan's 1980s, is certainly one of the most controversial books of the '90s, and that notoriety fueled its bestseller status. This smart, savvy adaptation by Mary Harron (I Shot Andy Warhol) may be able to ride the crest of the notoriety; prior to the film's release, Harron fought a ratings battle (ironically, for depictions of sex rather than violence), but at the time the director stated, "We're rescuing [the book] from its own bad reputation." Harron and co-screenwriter Guinevere Turner (Go Fish) overcome many of the objections of Ellis's novel by keeping the most extreme violence offscreen (sometimes just barely), suggesting the reign of terror of yuppie killer Patrick Bateman (Christian Bale) with splashes of blood and personal souvenirs. Bale is razor sharp as the blank corporate drone, a preening tiger in designer suits whose speaking voice is part salesman, part self-help guru, and completely artificial. Carrying himself with the poised confidence of a male model, he spends his days in a numbing world of status-symbol one-upmanship and soul-sapping small talk, but breaks out at night with smirking explosions of homicide, accomplished with the fastidious care of a hopeless obsessive. The film's approach to this mayhem is simultaneously shocking and discreet; even Bateman's outrageous naked charge with a chainsaw is most notable for the impossibly polished and gleaming instrument of death. Harron's film is a hilarious, cheerfully insidious hall of mirrors all pointed inward, slowly cracking as the portrait becomes increasingly grotesque and insane. --Sean Axmaker

The Bret Easton Ellis novel American Psycho, a dark, violent satire of the "me" culture of Ronald Reagan's 1980s, is certainly one of the most controversial books of the '90s, and that notoriety fueled its bestseller status. This smart, savvy adaptation by Mary Harron (I Shot Andy Warhol) may be able to ride the crest of the notoriety; prior to the film's release, Harron fought a ratings battle (ironically, for depictions of sex rather than violence), but at the time the director stated, "We're rescuing [the book] from its own bad reputation." Harron and co-screenwriter Guinevere Turner (Go Fish) overcome many of the objections of Ellis's novel by keeping the most extreme violence offscreen (sometimes just barely), suggesting the reign of terror of yuppie killer Patrick Bateman (Christian Bale) with splashes of blood and personal souvenirs. Bale is razor sharp as the blank corporate drone, a preening tiger in designer suits whose speaking voice is part salesman, part self-help guru, and completely artificial. Carrying himself with the poised confidence of a male model, he spends his days in a numbing world of status-symbol one-upmanship and soul-sapping small talk, but breaks out at night with smirking explosions of homicide, accomplished with the fastidious care of a hopeless obsessive. The film's approach to this mayhem is simultaneously shocking and discreet; even Bateman's outrageous naked charge with a chainsaw is most notable for the impossibly polished and gleaming instrument of death. Harron's film is a hilarious, cheerfully insidious hall of mirrors all pointed inward, slowly cracking as the portrait becomes increasingly grotesque and insane. --Sean Axmaker

Patrick Bateman (Christian Bale) is a Wall Street yuppie obsessed with success, status and style, with a stunning fiancé (Reese Witherspoon). He is also a psychotic killer who rapes, murders and dismembers both strangers and acquaintances without provocation or purpose. Based on the controversial novel by Bret Easton Ellis, the film offers a sharp satire to the dark side of yuppie culture in the `80s, while setting forth a vision that is both terrifying and chilling.

Chasing Amy - Criterion Collection

Holden thinks Alyssa is the woman of his dreams but she has someone a little different in mind--another woman. They share the kind of relationship they've been looking for all along and discover the confusing ups and downs of love, sex and friendship in the '90s.he '90s.
Genre: Feature Film-Comedy
Rating: R
Release Date: 2-APR-2002
Media Type: DVD

Writer-director Kevin Smith (Clerks) makes a huge leap in sophistication with this strong story about a comic-book artist (Ben Affleck) who falls in love with a lesbian (Joey Lauren Adams) and actually gets his wish that she love him, too. Their relationship is attacked, however, by his business partner (Jason Lee), who pulls a very unsubtle Iago act to cast doubt over the whole affair. The film has the same sense of insiderness as Clerks--this time, Smith takes us within the arcane, funny world of comic-book cultism--but the themes of jealousy, deceit, and the high price of growing up enough to truly care for someone make this a very satisfying movie. --Tom Keogh

The Fluffer (Unrated Special Edition)

(fluff.er, n): One who offers ego reinforcement; one who provides the necessary stimulation for a male porn star to perform.

THE FLUFFER is the first collaboration of directors Wash West and Richard Glatzer-- director of the 1994 hit independent film Grief. After years of research in the porn industry, West wrote the script and worked with Glatzer to bring it to the screen. With its memorable title, suggestive premise, and controversial themes, THE FLUFFER has stunned critics and delighted audiences all over America.

The sex industry provides the backdrop for this story of obsession, submission, money and sexuality. The story is centered around three adult industry staffers: Johnny Rebel--a hot-blooded, narcissistic, "gay for pay" porn star; Sean McGinnis--the young, naïve kid who moves to LA to pursue a career in the movies; and Johnny's long-time stripper girlfriend, Julie Disponzio, whose working name is "Babylon." When Sean accidentally rents a copy of a Johnny Rebel video, he becomes so obsessed with the beefy star that he gets a job as a cameraman at Johnny's production company. It doesn't take long before he steps beyond his job description to a more intimate role as Johnny's fluffer. While Babylon navigates her clients at the strip club and Sean negotiates the inhabitants of the porno underworld, both struggle to keep the man they love from falling into a world of drugs and despair.

The film stars Scott Gurney as Johnny Rebel, Michael Cunio as Sean McGinnis and Roxanne Day as Babylon. THE FLUFFER also features performances by Deborah Harry (lead singer of Blondie), Guinevere Turner (Go Fish, American Psycho), gay porn director Chi Chi LaRue, and adult film legend Ron Jeremy.

THE FLUFFER received its world premiere at the 2001 Berlin Film Festival and was enthusiastically received at the 2001 Toronto Film Festival, before having its theatrical premiere at New York's Quad Cinema in November 2001. The film broke the 29-year-old theater's house records for a single-screen opening weekend and for a full week. It went on to play major festivals such as Moscow, Stockholm, Thessaloniki, and Melbourne. Despite the taboo-breaking nature of the subject matter, THE FLUFFER has sold worldwide to countries including Great Britain, Spain, Italy, Germany, and Taiwan.

Go Fish

Go Fish won acclaim in its initial release in 1994, probably because of its irreverence in gazing at the lives of a group of young lesbians in Chicago. The film was directed and cowritten by Rose Troche, who went on to make Bedrooms and Hallways with the help of Guinevere Turner, her then-partner and star of this film. (Turner later appeared in several films and collaborated with director Mary Harron to bring the nearly unadaptable Bret Easton Ellis novel American Psycho to the big screen.)

Go Fish is an audience film in that it needs a crowd to make its in-joke mentality pulse. In fact, it's hard to believe the film transcended its target demographic despite the fact that in its heart of hearts it's an old-fashioned love story. It feels amateurish upon solo home viewing, though retaining an iota of charm for its low-budget clunkiness and funkiness. While it basically tells the story of a young lesbian (played by Turner) looking for Ms. Right, and conforms to a standard scenario in that love is always found where it's least expected, it benefits mostly from Troche's ability to wring some wit out of "dyke drama" and, with her insider's point of view, poke gentle fun at it with a relatively sharp stick. --Paula Nechak

A film-festival favorite, this "groundbreaking picture" (The Hollywood Reporter) is a candidand honest look at women in love that is "visually audacious, full of surprising charm and highly entertaining" (Variety)! In her directorial debut, Rose Troche (Bedrooms & Hallways), along with her co-writer and lead actress Guinevere Turner, delivers a lively, warm-hearted romantic comedy about the quest for Ms. Right that is "original, witty and delightful" (Los AngelesTimes)! Feisty, beautiful Max (Turner) is an outgoing young woman looking for romance. Tired of hearing her whine about the missing "X" factor in her life, Max's roommate sets her up with bashful, olderbut homelyEly (V. S. Brodie). Needless to say, there's no sign of fireworks! But just as Max begins to think that she is destined to be alone forever, she discovers that some oflife's best surprises come in plain, brown paper packages.

American Psycho

The Bret Easton Ellis novel American Psycho, a dark, violent satire of the "me" culture of Ronald Reagan's 1980s, is certainly one of the most controversial books of the '90s, and that notoriety fueled its bestseller status. This smart, savvy adaptation by Mary Harron (I Shot Andy Warhol) may be able to ride the crest of the notoriety; prior to the film's release, Harron fought a ratings battle (ironically, for depictions of sex rather than violence), but at the time the director stated, "We're rescuing [the book] from its own bad reputation." Harron and co-screenwriter Guinevere Turner (Go Fish) overcome many of the objections of Ellis's novel by keeping the most extreme violence offscreen (sometimes just barely), suggesting the reign of terror of yuppie killer Patrick Bateman (Christian Bale) with splashes of blood and personal souvenirs. Bale is razor sharp as the blank corporate drone, a preening tiger in designer suits whose speaking voice is part salesman, part self-help guru, and completely artificial. Carrying himself with the poised confidence of a male model, he spends his days in a numbing world of status-symbol one-upmanship and soul-sapping small talk, but breaks out at night with smirking explosions of homicide, accomplished with the fastidious care of a hopeless obsessive. The film's approach to this mayhem is simultaneously shocking and discreet; even Bateman's outrageous naked charge with a chainsaw is most notable for the impossibly polished and gleaming instrument of death. Harron's film is a hilarious, cheerfully insidious hall of mirrors all pointed inward, slowly cracking as the portrait becomes increasingly grotesque and insane. --Sean Axmaker

The Bret Easton Ellis novel American Psycho, a dark, violent satire of the "me" culture of Ronald Reagan's 1980s, is certainly one of the most controversial books of the '90s, and that notoriety fueled its bestseller status. This smart, savvy adaptation by Mary Harron (I Shot Andy Warhol) may be able to ride the crest of the notoriety; prior to the film's release, Harron fought a ratings battle (ironically, for depictions of sex rather than violence), but at the time the director stated, "We're rescuing [the book] from its own bad reputation." Harron and co-screenwriter Guinevere Turner (Go Fish) overcome many of the objections of Ellis's novel by keeping the most extreme violence offscreen (sometimes just barely), suggesting the reign of terror of yuppie killer Patrick Bateman (Christian Bale) with splashes of blood and personal souvenirs. Bale is razor sharp as the blank corporate drone, a preening tiger in designer suits whose speaking voice is part salesman, part self-help guru, and completely artificial. Carrying himself with the poised confidence of a male model, he spends his days in a numbing world of status-symbol one-upmanship and soul-sapping small talk, but breaks out at night with smirking explosions of homicide, accomplished with the fastidious care of a hopeless obsessive. The film's approach to this mayhem is simultaneously shocking and discreet; even Bateman's outrageous naked charge with a chainsaw is most notable for the impossibly polished and gleaming instrument of death. Harron's film is a hilarious, cheerfully insidious hall of mirrors all pointed inward, slowly cracking as the portrait becomes increasingly grotesque and insane. --Sean Axmaker

The Safety of Objects

(Quote): As provocative as it is touching. The Philadelphia InquirerAn incredible all-star cast delivers unforgettable performances in this penetrating (Time Out New York) can t-take-your-eyes-off-the-screen drama (Marie Claire) about a group of suburban families whose lives are mysteriously intertwined. As Esther (Glenn Close) struggles to remain the perfect mother in the wake of a tragedy Annette (Patricia Clarkson) copes with toxic fallout from a nasty divorce. Meanwhile Jim (Dermot Mulroney) goes off the deep end when he s passed over for a promotion at work. But these very different people are bound together by more than their cookie-cutter homes and manicured lawns. In fact an event from their past threatens to shatter their fragile lives unless they can find the strength to face it and each other head on.Format: DVD MOVIE Genre: DRAMA UPC: 027616896520 Manufacturer No: 1005331

A gorgeous collage of human details, The Safety of Objects intertwines the stories of four families living as neighbors in a pleasant suburb, all of them grappling in various ways with the aftermath of a car accident that left a teenager in a coma. That may sound histrionic, but the movie is carefully composed of little things, some ordinary--a lawyer uproots his wife's flowers because he mistakes them for weeds--and some absurd--a boy fantasizes about having a relationship with his sister's doll. But all of it, absurd or not, has some core of emotion. As the title suggests, the characters seek solace in the inanimate, things that can't betray, abandon, or truly need them. The outstanding ensemble cast includes Glenn Close, Dermot Mulroney, Patricia Clarkson, Mary Kay Place, Jessica Campbell (Election), and Kristen Stewart (Panic Room), among others; all fit together into a deeply felt whole. --Bret Fetzer

Fabulous! The Story of Queer Cinema

The superstars of gay and lesbian cinema shine in this amazing overview of LGBT film history. Fabulous! The Story of Queer Cinema is packed with smart interviews and a tremendous array of film clips from the greatest movies of the genre celebrating more than half a century of queer independent filmmaking from Kenneth Anger s pioneering Fireworks (1947) to the smash hit blockbuster Brokeback Mountain. Starring John Waters Wilson Cruz Guinevere Turner Peter Paige B. Ruby Rich Gus Van Sant Alan Cumming the list goes on System Requirements:Running Time: 82 MinutesFormat: DVD MOVIE Genre: DOCUMENTARIES/MISC. Rating: NR UPC: 754703762696 Manufacturer No: WOL4314D

Fabulous! The Story of Queer Cinema is constructed with interview snippets featuring a wide array of actors, directors, and festival organizers, to portray our last century's history of same-sex films. Dealing mostly with American film, minus acknowledgment of a couple European directors such as Chantal Ackerman, Fabulous! tells the story, by citing filmic examples from each decade, of post-war repression in the '40s and '50s, the gay civil rights struggle of the '60s and '70s, AIDS in the '80s and '90s, and the blossoming of new gender genres in a contemporary setting. With timelines to contextualize conversation, Fabulous! leads the viewer through discussions of Kenneth Anger's seminal 1947 work, Fireworks, to Warhol, through Derek Jarman, John Waters, and the Rocky Horror Picture Show, all the way into Brokeback Mountain's current success. Interviews with independent film icons such as Todd Haynes, Gus Van Sant, John Waters, critic B. Ruby Rich, and Outfest's Stephen Gutwillig, make this an enjoyable journey through the minds of Hollywood's auteurs. More actual film footage of some difficult-to-see underground pieces would be nice, but clearly this documentary is an introduction to the history of transgressive cinema, meant to urge people to investigate further. --Trinie Dalton

American Psycho (Unrated Version)

The Bret Easton Ellis novel American Psycho, a dark, violent satire of the "me" culture of Ronald Reagan's 1980s, is certainly one of the most controversial books of the '90s, and that notoriety fueled its bestseller status. This smart, savvy adaptation by Mary Harron (I Shot Andy Warhol) may be able to ride the crest of the notoriety; prior to the film's release, Harron fought a ratings battle (ironically, for depictions of sex rather than violence), but at the time the director stated, "We're rescuing [the book] from its own bad reputation." Harron and co-screenwriter Guinevere Turner (Go Fish) overcome many of the objections of Ellis's novel by keeping the most extreme violence offscreen (sometimes just barely), suggesting the reign of terror of yuppie killer Patrick Bateman (Christian Bale) with splashes of blood and personal souvenirs. Bale is razor sharp as the blank corporate drone, a preening tiger in designer suits whose speaking voice is part salesman, part self-help guru, and completely artificial. Carrying himself with the poised confidence of a male model, he spends his days in a numbing world of status-symbol one-upmanship and soul-sapping small talk, but breaks out at night with smirking explosions of homicide, accomplished with the fastidious care of a hopeless obsessive. The film's approach to this mayhem is simultaneously shocking and discreet; even Bateman's outrageous naked charge with a chainsaw is most notable for the impossibly polished and gleaming instrument of death. Harron's film is a hilarious, cheerfully insidious hall of mirrors all pointed inward, slowly cracking as the portrait becomes increasingly grotesque and insane. --Sean Axmaker

The Bret Easton Ellis novel American Psycho, a dark, violent satire of the "me" culture of Ronald Reagan's 1980s, is certainly one of the most controversial books of the '90s, and that notoriety fueled its bestseller status. This smart, savvy adaptation by Mary Harron (I Shot Andy Warhol) may be able to ride the crest of the notoriety; prior to the film's release, Harron fought a ratings battle (ironically, for depictions of sex rather than violence), but at the time the director stated, "We're rescuing [the book] from its own bad reputation." Harron and co-screenwriter Guinevere Turner (Go Fish) overcome many of the objections of Ellis's novel by keeping the most extreme violence offscreen (sometimes just barely), suggesting the reign of terror of yuppie killer Patrick Bateman (Christian Bale) with splashes of blood and personal souvenirs. Bale is razor sharp as the blank corporate drone, a preening tiger in designer suits whose speaking voice is part salesman, part self-help guru, and completely artificial. Carrying himself with the poised confidence of a male model, he spends his days in a numbing world of status-symbol one-upmanship and soul-sapping small talk, but breaks out at night with smirking explosions of homicide, accomplished with the fastidious care of a hopeless obsessive. The film's approach to this mayhem is simultaneously shocking and discreet; even Bateman's outrageous naked charge with a chainsaw is most notable for the impossibly polished and gleaming instrument of death. Harron's film is a hilarious, cheerfully insidious hall of mirrors all pointed inward, slowly cracking as the portrait becomes increasingly grotesque and insane. --Sean Axmaker

Stray Dogs

This backwoods thriller starts slow but builds to a taut and harrowing conclusion. Guinevere Turner (Go Fish, American Psycho) stars as Darla, the mother of two boys by her boozing husband Myers (Bill Sage, Simple Men, High Art). One boy is bookish and fervently religious, the other reckless and wild. When Darla finally resolves to leave their mountain shack and return to South Carolina, Myers comes home determined to keep them there--only to find that his sister Jolene (Dot-Marie Jones) may not be on his side. Stray Dogs is a lean movie, taking place mostly in the shack and the surrounding yard, but the characters are so fully realized and their relationships are so multifaceted that the movie will hold you through sheer narrative craft. The performances are solid all around, with Sage in particular giving the movie a genuine jolt of menace. --Bret Fetzer

Pipe Dream

David Kulovic (Martin Donovan) seems an affable sort, a New York City plumber with a steady business. Yet one more time he overhears a potential girlfriend mentioning how the relationship can't work because he's just a plumber, like some other--lower--class of individual. One day Jimmy bursts in on a casting session because his friend, the casting director (Kevin Carroll), owes him money. The young actresses immediately think he is someone important, a producer or director. So the idea hatches: fake casting sessions to meet girls. Director John Walsh's film (co-written with Cynthia Kaplan) is never as shallow as the set-up might seem, and to mention more of the plot would spoil the surprises of this gem for romantic-comedy enthusiasts. It's a superb role for Donovan, a staple of filmmaker Hal Hartley's (Trust) who had his biggest brush with mainstream fame as Al Pacino's partner in Insomnia (released the same year, 2002). Mary-Louise Parker turns in another delightful performance as a neighbor of David's who holds the key to his scheme that quickly snowballs, and Rebecca Gayheart gives her best performance as the object of David's affection. The film has a false note or two, but certainly makes beautiful music. --Doug Thomas