Vartan, Michael

To Wong Foo Thanks for Everything Julie Newmar

This clunky road movie about three drag queens (Patrick Swayze, Wesley Snipes, and John Leguziamo) who get stranded in a sleepy Nebraska town on their way to a beauty contest, is too uplifting for its own good. Released during drag's mid-'90s heyday when RuPaul and the Wigstock documentary were all the rage, To Wong Foo aimed straight for the mainstream with its inoffensive camp and "can't we all get along" moralism. While gay-activist groups howled about straights getting the lead roles in To Wong Foo, in the end the filmmakers really couldn't have done better than this trio of actors. John Leguziamo provides real sass and bite as a Latino (or should we saw Latina?) drag queen, and Wesley Snipes is surprisingly fierce as the imposing leader of the pack. Saddled with a cloying Southern accent and off-kilter wig, Patrick Swayze barely holds his own with his costars, though. To Wong Foo is best viewed as a cultural artifact of a time when it seemed as though drag could rule all tomorrow's parties. --Ethan Brown

The Mists of Avalon

This adaptation of Marion Zimmer Bradley's sprawling and perennially popular book, whose retelling of the Arthurian legends focused on the role of powerful females, compresses a wealth of mysticism, family intrigue, and bloody swordplay into three hours. While the plot can meander slowly and can sometimes seem, well, mystifying, the work of three notable actresses holds the production together, and the numerous complications do eventually get resolved. As Viviane, the Lady of the Lake, Anjelica Huston endeavors to perpetuate the old religion as pagan Britain comes into contact with Christianity. The scheming Morgause, played to evil perfection by Joan Allen, conspires to her own ends. And Avalon priestess Morgaine, played by Julianna Margulies, travels the heroine's journey, overcoming tragedies, injustice, and all manner of obstacles in her duty to both "the goddess" and her younger brother, King Arthur. Although the action lags at times, the production is quite lavish for a made-for-television feature and the film is ultimately entertaining. --Robert J. McNamara

The King is dead, long live the King, but who will it be? The answer is found on the battlefields and in the mystical and powerful manipulations of fate emanating from the women of the legendary isle of Avalon in this intrigue-filled retelling of the King Arthur/Camelot legend. Starring Julianna Margulies, Anjelica Huston, Joan Allen, Caroline Goodall, Edward Atterton, and Samantha Mathis.

Monster-in-Law (New Line Platinum Series)

As an esteemed television journalist put out to pasture by the networks and faced with the engagement of her son, Jane Fonda is fierce, funny, and ready to rumble as the title character in Monster-in-Law in a way that the rest of the film itself never really is. Jennifer Lopez, the film's other above-the-title star, is set to marry handsome, wealthy Michael Vartan but has one helluva time dealing with his insanely possessive mother. The result is pretty much what you'd expect--lots of snarls and slapstick and an easy, kisses-all-around conclusion, though it is surprising (and maybe a little disheartening) to watch Fonda throw herself into such disposable comedy with such gusto. Director Robert Luketic, who slept while Reese Witherspoon tottered off with his Legally Blonde, once again relies solely on the assembled talent: He leaves a high-wattage Lopez playing things a little too cute, a reedy Vartan looking visibly disinterested, and canny comedian Wanda Sykes making what she can--which, luckily, is a lot--of her role as Fonda's wisecracking personal assistant (the type of black sidekick role that's an indication of how creakily formulaic the film is). See it for Fonda, if you feel like it, then wish her a better engagement in the future. --Steve Wiecking

After years of incredibly bad dates, Charlie (Jennifer Lopez) thinks she's met the perfect man...until she meets his possessive and merciless mother! Jane Fonda returns to Hollywood to play the worst mother-in-law ever who will do everything she can to break up the happy couple!

DVD Features:
Audio Commentary
Deleted Scenes
Featurette

Never Been Kissed

Let's get this straight: Drew Barrymore started a production company to develop original scripts outside of Hollywood and the first project she chose to produce was this, a romantic comedy written by USC grads Abby Kohn and Mark Silverstein about a nerdy, virginal woman who returns to high school as an undercover reporter, finally gets to be popular, and falls in love. And Barrymore decided, as producer, that the perfect actress to play this virtuous, clean-cut, and downright annoying geek would be... Drew Barrymore? It's hard to believe that after The Wedding Singer Barrymore's not getting enough dopey, formulaic, predictable romantic comedies coming across her desk. The complete inability to buy Barrymore as unattractive, awkward, and unpopular ruins Never Been Kissed from the start, but it's doubtful a better actress could have saved it. The jokes fall flat, the romance between Barrymore and her English teacher (played by Michael Vartan) lacks chemistry, and the portrayals of high school and the newspaper newsroom is clichéd and uninspired (big surprise here: the director, Raja Gosnell, previously made Home Alone 3). Gosnell can't even give the gifted character actor, John C. Reilly, anything to do. Only David Arquette, who plays Barrymore's out-of-control brother, brings any energy to the film. --Dave McCoy

In this hilarious, heartwarming comedy, Drew Barrymore shines as a budding journalist who's determined to go from 'geek' to 'chic' when she is sent back to high school on her first undercover assignment to lern about today's teens. At first, Josie is thrilled with the opportunity until she remembers her nickname from years ago: "Josie Grossie!" Can a former clueless nerd navigate the hallways of high school without trippin over her own feet?

Alias - The Complete First Season

Sydney Bristow (Jennifer Garner) is a super (and super sexy) spy, fighting nefarious villains and working for the good guys--or so she thinks. Recruited as a college freshman for espionage work, Sydney found her true calling with SD-6, a secret division of the CIA. When her hunky doctor-boyfriend proposes to her, she decides to let him in on the truth she's not supposed to tell anyone: she's not a grad student with a demanding job for an international bank, but a secret agent who constantly puts her life on the line for the free world. But when SD-6 discovers her security breach, her fiancé is brutally assassinated, and Sydney suddenly finds herself face-to-face with the truth: she's been working for the bad guys. Deciding to become a double agent for the CIA and bring down the evildoers, Sydney gets one more surprise--her estranged father (Victor Garber) is also working for SD-6, and the CIA as well. Welcome to the family, Syd!

Confusing? This is all just in the first episode of Alias, the brainchild of Felicity creator J.J. Abrams that plays like a cross between Buffy the Vampire Slayer and James Bond. With its double-edged tension (how long can Syd play double agent?) and one heck of a MacGuffin (the dreaded Rambaldi device, the mythic creation of a Renaissance genius), the show leads its viewers from episode to episode with visceral, compelling action, not to mention the nascent romance between Syd and her CIA handler, Vaughn (Michael Vartan), and her clashes with her heretofore distant father. Sharp, smart, and always suspenseful, Alias' center was held by the gorgeous Garner, a stellar action heroine and an even better actress who could pull off Sydney's exotic undercover missions and conflicted emotions with equal dexterity. By the end of this first season, which concludes with a breathtaking cliffhanger, you'll be seduced into Alias' world with, happily, no desire to escape. --Mark Englehart

Golden Globe Award-winning actress Jennifer Garner (Best Actress In A Television Series, 2002) is Sydney Bristow. Syd's not exactly your average grad student. Her life might appear normal, but she's hiding a secret life working as a spy for the CIA. Sydney's world is turned upside down when she learns she may work for the very enemy she thought she was fighting. Now she's entangled in a covert lifestyle where she is forced to question the allegiances of everyone, including those closest to her. Entertainment Weekly says ALIAS is "a spy-fi roller coaster of killer gadgets, double roundkicks, triple crosses, poignant confessionals, cliff-hangers, sliced-off fingers, conspiracies, outrageous outfits, exotic locales, flirtations, mythologies -- and that's just before the first commercial break." Now see the 22 mesmerizing episodes that launched it all in this 6-disc set. You'll also experience never-before-seen extras that give you special access inside the world of ALIAS. See the show everyone has been talking about that has redefined series television. This edge-of-your-seat collection with its heart-pounding action of unpredictable plot twists will have you gasping for air and begging for Season 2!

It Had to Be You

One Hour Photo (Widescreen Edition)

One Hour Photo may be more civilized than Taxi Driver, but it's just as effectively creepy. Like Martin Scorsese's classic, this riveting character study is so compassionately detailed that we sympathize with poor Sy Parrish (Robin Williams) even as he grows increasingly unhinged. Sy is a meticulously dedicated one-hour-photo technician, but the pictures he processes--particularly those belonging to the successful, seemingly happy family of Nina and Will Yorkin (Connie Nielsen, Michael Vartan)--turn into the unhealthiest kind of obsession. The Yorkins' snapshots portray a joyful life that the lonely and traumatized Sy could never hope to achieve, and he sinks deeper and deeper into the solace they bring... until evidence of infidelity turns him into a seething crucible of righteous indignation. Propelled by Williams's flawless escape from the feel-good schmaltz of earlier roles, One Hour Photo is a simmering tour de force, tempered by writer-director Mark Romanek for maximum psychological impact. --Jeff Shannon

Robin Williams delivers his "finest hour" (USA Today) in "one of the eeriest, most absorbing, effective thrillers in years" (NBC-TV). Sy "the photo guy" Parrish (Williams) has lovingly, painstakingly developed photographs for the Yorkin family since their son was a baby. But as Yorkins' lives become fuller, Sy's only seems lonelier, until he eventually convinces himself he's part of their family. When "Uncle Sy's" picture-perfect fantasy collides with an ugly dose of reality, what happens next "has the spine-tingling elements of the best psychological crime thrillers!" (The New York Observer)

Fiorile

"Master storytellers of Italian cinema" Paolo and Vittorio Taviani (Padre Padrone) present "an engrossing epic that seamlessly takes the viewer into the past and the present" (The Austin Chronicle).

The Benedetti family has been haunted by a curse for generations. On a long drive to visit their reclusive grandfather, Luigi Benedetti (Lino Capolicchio) tells his children the mysterious story of their ancestors - a tragic tale filled with forbidden love, passion, vengeance and betrayal.

DVD EXTRA: 55-minute featurette "The Boys from San Miniato: Meeting with Paolo and Vittorio Taviani" (directed by Luciano Odorisio).

Also includes an 8-page booklet with Fiorile essay by Italian cinema expert Peter Bondanella.

The Next Best Thing

You'd be hard-pressed to find a modern-day couple as impossibly glamorous as Rupert Everett and Madonna; their casting as common folk in the gay-parenting drama The Next Best Thing is just one of the film's myriad problems. (One thing we never needed to see was these two pushing grocery carts in a supermarket. It's just unnatural.) Best friends in sun-dappled L.A. (he's a landscaper, she's a yoga instructor), Abbie (Madonna) and Robert (Everett) fall into an amorous embrace on a fateful Fourth of July after a few too many martinis. Robert's gay, which complicates things; even more complicating is Abbie's confession a few weeks later that she's with child. Six years later, Robert, Abbie, and their son Sam are all living together peacefully and happily--that is, until a hunky investment banker (Benjamin Bratt) starts making eyes at Abbie, throwing their carefully constructed dynamic into disarray.

Lazily directed by Oscar-winner John Schlesinger (Midnight Cowboy) with an eye towards his actors' muscle tone rather than characterizations (even the kid does yoga), the faults in The Next Best Thing aren't solely on the shoulders of its miscast stars, but rather the painfully inept screenplay by Tom Ropelewski. With cardboard dialogue that sounds like bad first-draft material--including wailing by Madonna about how she can't find a man (ha!) and a gym-buffed Everett complaining about gay male body image (double ha!)--the movie stumbles from domestic comedy to custody-suit tragedy when it takes a bizarre left turn in the third act. Any statements about new definitions of family are buried underneath these dubious events, which (of course) provide teary courtroom outbursts for both leads. Everett has a quick way with a one-liner, and Madonna is more relaxed than she's ever been in a film, but Schlesinger just tosses them in front of the camera with no help whatsoever; the supporting cast, including Lynn Redgrave, Neil Patrick Harris, and Illeana Douglas, is also left to flounder inexplicably. There's a thoughtful and provocative movie to be made about gay parents, but The Next Best Thing certainly isn't it. --Mark Englehart

One Hour Photo (Full Screen Edition)

One Hour Photo may be more civilized than Taxi Driver, but it's just as effectively creepy. Like Martin Scorsese's classic, this riveting character study is so compassionately detailed that we sympathize with poor Sy Parrish (Robin Williams) even as he grows increasingly unhinged. Sy is a meticulously dedicated one-hour-photo technician, but the pictures he processes--particularly those belonging to the successful, seemingly happy family of Nina and Will Yorkin (Connie Nielsen, Michael Vartan)--turn into the unhealthiest kind of obsession. The Yorkins' snapshots portray a joyful life that the lonely and traumatized Sy could never hope to achieve, and he sinks deeper and deeper into the solace they bring... until evidence of infidelity turns him into a seething crucible of righteous indignation. Propelled by Williams's flawless escape from the feel-good schmaltz of earlier roles, One Hour Photo is a simmering tour de force, tempered by writer-director Mark Romanek for maximum psychological impact. --Jeff Shannon

Robin Williams delivers his "finest hour" (USA Today) in "one of the eeriest, most absorbing, effective thrillers in years" (NBC-TV). Sy "the photo guy" Parrish (Williams) has lovingly, painstakingly developed photographs for the Yorkin family since their son was a baby. But as Yorkins' lives become fuller, Sy's only seems lonelier, until he eventually convinces himself he's part of their family. When "Uncle Sy's" picture-perfect fantasy collides with an ugly dose of reality, what happens next "has the spine-tingling elements of the best psychological crime thrillers!" (The New York Observer)