Wright, Steven

Mixed Nuts

Writer-director Nora Ephron hit a low point with this disappointingly dreary comedy set in a suicide clinic on Christmas Eve. The joke is supposed to be that all of the crisis counselors are themselves a pack of lovable losers, led by a badly toupeed Steve Martin. But it's a short step from lovable loser to annoying dweeb and most of the people in this movie cross that line very quickly. It's too bad, because the cast includes Madeline Kahn, Robert Klein, Rob Reiner, Garry Shandling, and Adam Sandler. Somehow, Ephron manages to restrain this lineup from doing anything funny. --Marshall Fine

Philip runs a crisis hotline with catherine and mrs munchnik. Thats the easy part now it gets tricky Studio: Sony Pictures Home Ent Release Date: 06/01/2004 Starring: Steve Martin Juliette Lewis Run time: 97 minutes Rating: Pg13 Director: Nore Ephron

The Swan Princess (Special Edition)

This excellent theatrical feature is loosely based on the Swan Lake story. Princess Odette, having been turned into a swan by a sorcerer's spell, is held captive at the enchanted lake with friends Jean-Bob the frog, Speed the turtle, and Puffin the bird. Along comes Prince Derek, who becomes involved in liberating her by taking on the villain. The movie has been criticized for being too similar to Sleeping Beauty, but once you're watching it--with its strong characters, entertaining vocal performances (John Cleese and Steven Wright are particularly funny), fine artwork, and action--such complaints are negligible. --Tom Keogh

The story follows prince derek a valiant young man who must battle the forces of evil to save princess odette. The princess has been turned into a swan and help captive by the ruthless wizard rothbart. Odette seeks the help of three forest friends but the creatures can do nothing about the sorcerers spell. Studio: Sony Pictures Home Ent Release Date: 02/26/2008 Run time: 89 minutes Rating: G

So I Married an Axe Murderer

Mike Myers's first feature role without his Wayne's World wig is a performance at odds with the best interests of the movie. Myers plays a single guy who always manages to find something seriously wrong with each of his girlfriends. His new love (Nancy Travis), a butcher, may be the perfect woman, except for one thing: she might be a "black-widow" killer who prefers dispatching husbands with a sharp instrument. Robbie Fox's original script has a fine shape and strong, black-comedy material within it. But Myers creates unnecessary dissonance by playing a variety of characters (including an irascible Scotsman like the one he often played on Saturday Night Live) and accenting his skills as an improvisational comic (such as impersonating the soothing cadences of a massage therapist). It's not that Myers isn't funny doing all that, but it has nothing to do with the movie. Directed by Thomas Schlamme (Miss Firecracker). --Tom Keogh

When it comes to love charlie mackenzie has always had bad luck. By now he has met harriet michaels. Shes smart sexy and crazy about charlie. Harriet might have a few little idiosyncrasies but so what? after all the horrible women in his past whats the worst she could be? an axe murderer? Studio: Sony Pictures Home Ent Release Date: 12/07/2004 Starring: Mike Myers Nancy Travis Run time: 93 minutes Rating: Pg13 Director: Thomas Schlamme

Steven Wright: When the Leaves Blow Away

Dry, wry and hilariously deadpan, Steven Wright unleashes a torrent of ironic and hysterical thought-provoking one-liners in the quirky stand-up style that has become his trademark. Presented in three segments, When the Leaves Blow Away showcases the work of the Oscar-winning comedian, named #23 on Comedy Central's list of the 100 greatest stand-up performers of all time. The DVD leads off with Wright's May 2006 performance at Toronto's historic Elgin Theater (43 min.), where he keeps an adoring audience in stitches with random observations on everything from baby monitors as a form of wiretapping to his addiction to placebos. Wright's short film One Soldier (1999; 33 min.) follows--a heady, existential tour-de-force which the comedian wrote, directed, produced and stars in. The party continues with archival footage (2 min.) from a 1988 Boston Comedy Club performance.

Desperately Seeking Susan

Its a comedy of errors and mistaken identities when a bored housewife becomes obsessed with an odball woman and thanks to a bump on the head becomes her. Special features: theatrical trailer audio commentary by producer and alternate ending and subtitles in french and spanish. Studio: Tcfhe/mgm Release Date: 09/20/2005 Starring: Rosanna Arquette Madonna Run time: 103 minutes Rating: Pg13

This likeable, feminist screwball comedy about several incidents of mistaken identity is remembered more as the film that made Madonna a movie star. She's flip, hip, and energetic as Susan, the wild tramp with whom bored, suburban New Jersey housewife Roberta Glass (Rosanna Arquette) becomes obsessed after reading of her sexual conquests in the personal ads. Of course, since Madonna essentially played herself, the role's hardly a stretch. Director Susan Seidelmen presents a series of zany incidents too complicated to recount, but the result is that Roberta swaps lifestyles with her fixation to explore New Wave culture on New York's Lower East Side. It's territory Seidelmen knew well as her more offbeat, indie debut, Smithereens, reveled in the same setting. But where Smithereens took a more edgy approach to its characters, Susan is a fairy tale romantic comedy, and eventually becomes as conventional as the suburban characters it mocks by settling conflicts with predictable Hollywood formulae. Still, there's much to be enjoyed. The film's at its funniest when juxtaposing New York hip and New Jersey suburbia, like when Arquette's straight, suit-and-tie husband dances with Madonna in a punk club. The performances, too, are engaging, especially Arquette and Aidan Quinn, playing a romantic film projectionist who becomes her grubby Prince Charming. --Dave McCoy

Babe: Pig in the City

Deservedly acclaimed as one of 1998's best films, this sequel to the beloved 1995 live-action fantasy proved a commercial catastrophe and a source of dismay to parents expecting another bucolic, sweet-natured fable. Every bit as sly and visually stunning as its predecessor, Babe: Pig in the City is otherwise a jolting ride beyond the Hoggetts' farm into a no less vivid but far darker world--the allegorical city of the title, which for the diminutive "sheep pig" proves truly nightmarish. Australian filmmaker George Miller (Mad Max, The Road Warrior), who produced and cowrote the first film, this time takes the director's reins, and he ratchets up the pace and the peril as effectively as he did on his influential trilogy of apocalyptic, outback sci-fi thrillers.

From the opening scene, Babe: Pig in the City means to disrupt the reassuring calm achieved by the conclusion of the previous film. Babe's prior triumph proves short-lived, and within moments Miller has us literally peering into the depths as he sets up a horrific well accident that nearly kills the taciturn but good-hearted Farmer Hoggett (James Cromwell), Babe's beloved "Boss." Journeying with the equally pink, even plumper Mrs. Hoggett (Magda Szubanski), the young pig finds himself in a city where animals are outcasts, staying in the lone hotel that allows pets. When Mrs. Hoggett is detained, Babe must contend with the suspicions and rivalries of the hotel's other four-legged guests. The film's G status doesn't fully telegraph the shock Miller induces: bad things happen to good animals, and Babe's new acquaintances are a far cry from his colleagues on the farm. In particular, he must contend with a cynical family of chimps given wonderful, dead-pan voice characterizations by Steven Wright and Glenne Headly.

Miller's use of effects to transform his animals into "actors" is even more seamlessly integrated than in Babe. The sequel's production design is crucial to the creation of a complete, absorbing world, and purely visual ideas--such as a deluge of blue balloons during the climactic ballroom battle--achieve a splendor and originality that a room full of computer-graphics desktops couldn't muster. Ultimately, though, the film does more than amaze: as Babe's compassion and courage transform those around him, we're moved in ways that purveyors of by-the-numbers family fare can only dream of. --Sam Sutherland

Canadian Bacon

Fresh from the success of Roger and Me, documentary filmmaker Michael Moore made the mistake of trying his hand at fiction film. Hoping to satirize America's leap into the Gulf War (and its abandonment of its industrial base), he wrote and directed this disappointing comedy, which fell flat despite a cast that included Alan Alda, Rip Torn, Rhea Perlman, John Candy, and Kevin Pollak. The premise is that the president (Alda) is so far down in the polls that he has to create a war to bolster his popularity; he picks a fight with Canada, demonizing the bland denizens of the Great White North to the point that a group of Niagara Falls law-enforcement types (led by Candy in one of his final film roles) decides to invade on their own initiative. There are a couple of funny moments (mostly having to do with the propaganda campaign against Canada), but otherwise, a frozen stiff. --Marshall Fine

With the economic conditions of the u.S. Deteriorating faster than normal the president plots to launch a campaign against americas most unlikely enemy canada. Sheriff bud boomer an overly patriotic citizen takes the message a bit too literally and begins his attack plans. Studio: Tcfhe/mgm Release Date: 10/24/2006 Starring: John Candy Alan Alda Run time: 95 minutes Rating: Pg Director: Mike Moore

Babe Family Double Feature

Studio: Uni Dist Corp. (mca) Release Date: 02/01/2005

Reservoir Dogs

Quentin Tarantino came out of nowhere (i.e., a video store in Manhattan Beach, California) and turned Hollywood on its ear in 1992 with his explosive first feature, Reservoir Dogs. Like Tarantino's mainstream breakthrough Pulp Fiction, Reservoir Dogs has an unconventional structure, cleverly shuffling back and forth in time to reveal details about the characters, experienced criminals who know next to nothing about each other. Joe (Lawrence Tierney) has assembled them to pull off a simple heist, and has gruffly assigned them color-coded aliases (Mr. Orange, Mr. Pink, Mr. White) to conceal their identities from being known even to each other. But something has gone wrong, and the plan has blown up in their faces. One by one, the surviving robbers find their way back to their prearranged warehouse hideout. There, they try to piece together the chronology of this bloody fiasco--and to identify the traitor among them who tipped off the police. Pressure mounts, blood flows, accusations and bullets fly. In the combustible atmosphere these men are forced to confront life-and-death questions of trust, loyalty, professionalism, deception, and betrayal. As many critics have observed, it is a movie about "honor among thieves" (just as Pulp Fiction is about redemption, and Jackie Brown is about survival). Along with everything else, the movie provides a showcase for a terrific ensemble of actors: Harvey Keitel, Tim Roth, Steve Buscemi, Michael Madsen, Christopher Penn, and Tarantino himself, offering a fervent dissection of Madonna's "Like a Virgin" over breakfast. Reservoir Dogs is violent (though the violence is implied rather than explicit), clever, gabby, harrowing, funny, suspenseful, and even--in the end--unexpectedly moving. (Don't forget that "Super Sounds of the Seventies" soundtrack, either.) Reservoir Dogs deserves just as much acclaim and attention as its follow-up, Pulp Fiction, would receive two years later. --Jim Emerson

Quentin Tarantino came out of nowhere (i.e., a video store in Manhattan Beach, California) and turned Hollywood on its ear in 1992 with his explosive first feature, Reservoir Dogs. Like Tarantino's mainstream breakthrough Pulp Fiction, Reservoir Dogs has an unconventional structure, cleverly shuffling back and forth in time to reveal details about the characters, experienced criminals who know next to nothing about each other. Joe (Lawrence Tierney) has assembled them to pull off a simple heist, and has gruffly assigned them color-coded aliases (Mr. Orange, Mr. Pink, Mr. White) to conceal their identities from being known even to each other. But something has gone wrong, and the plan has blown up in their faces. One by one, the surviving robbers find their way back to their prearranged warehouse hideout. There, they try to piece together the chronology of this bloody fiasco--and to identify the traitor among them who tipped off the police. Pressure mounts, blood flows, accusations and bullets fly. In the combustible atmosphere these men are forced to confront life-and-death questions of trust, loyalty, professionalism, deception, and betrayal. As many critics have observed, it is a movie about "honor among thieves" (just as Pulp Fiction is about redemption, and Jackie Brown is about survival). Along with everything else, the movie provides a showcase for a terrific ensemble of actors: Harvey Keitel, Tim Roth, Steve Buscemi, Michael Madsen, Christopher Penn, and Tarantino himself, offering a fervent dissection of Madonna's "Like a Virgin" over breakfast. Reservoir Dogs is violent (though the violence is implied rather than explicit), clever, gabby, harrowing, funny, suspenseful, and even--in the end--unexpectedly moving. (Don't forget that "Super Sounds of the Seventies" soundtrack, either.) Reservoir Dogs deserves just as much acclaim and attention as its follow-up, Pulp Fiction, would receive two years later. --Jim Emerson

They were perfect strangers assembled to pull off the perfect crime. Then there simple crime explodes into a bloody ambush and the ruthless killers realize one of them is a police informer but which one. Studio: Lions Gate Home Ent. Release Date: 02/01/2005 Starring: Harvey Keitel Tim Roth Run time: 100 minutes Rating: R Director: Quentin Tarantino

Coffee and Cigarettes

Now here is a movie that's practically perfect for DVD. Shot over many years with eccentric actors, Jim Jarmusch's collection of black-and-white vignettes is as uneven as a collection of music videos (without songs). Even with the dull spots and the drop-dead-hip ambiance, there's something touching about this parade of frazzled people holding on to their coffee and cigarettes like life rafts--especially in the final sequence with Taylor Mead. There are some severely misconceived pieces, but the best are a treat: Alfred Molina and Steve Coogan in a hilarious Hollywood encounter, Tom Waits and Iggy Pop getting off on the wrong foot in a funky diner, and Cate Blanchett doing a dual role as herself and a jealous cousin. Bill Murray can't save one underwritten piece, but Jack and Meg White are amusing in an absurdist blackout. Use the Scene Selection menu, and revel in the fetishizing of java and butts. --Robert Horton

Celebrated writer-director Jim Jarmusch (Mystery Train) serves up this witty and intoxicating brew that s as addictive as caffeine (Richard Roeper Ebert & Roeper and the Movies ) and as buzzy and ephemeral as well coffee and cigarettes (LA Weekly)! Sneakily delirious [and] way cool (Time) this funny cluster of eleven stories (Rolling Stone) delivers inspired eccentric match-ups (The Hollywood Reporter) from an incredible all-star cast making Coffee and Cigarettes an absolute must for fans of film fun and fantastic wit!Special Features:Theatrical Trailer Tabletops Bill Murray OuttakeTaylor Mead InterviewSystem Requirements: Running Time 97 MinFormat: DVD MOVIE Genre: COMEDY Rating: R UPC: 027616911711 Manufacturer No: 1007030