Yiasoumi, George

Pompeii - The Last Day/Colosseum - A Gladiator's Story

Step back in time and visit the "vanished city" on its last day as the mighty volcano Vesuvius explodes in a 24-hour reign of terror. On August 24th AD79 Pompeii's citizens witness day turning into night as 4 billion tons of pumice rock and ash burst forth from Vesuvius. Pompeii: The Last Day uses archaeological evidence including the writings of one survivor to unravel the mystery of those final hours. Lavish special effects reconstruct each stage of Vesuvius's cataclysmic eruption and its impact on soldiers slaves families and lovers as they struggle with the unfolding tragedy. One of the greatest natural disasters - and most fateful days - comes to vivid life in this critically acclaimed dramatization.Format: DVD MOVIE Genre: DOCUMENTARIES/MISC. UPC: 794051218025

Ridley Scott's Gladiator is a great movie, but Colosseum: A Gladiator's Story has the distinct advantage of purely historical accuracy. The Roman gladiator whose story is told here is Verus (played by charismatic British hunk Robert Shannon), one of two victors in the only gladiatorial battle that was ever described in detail (by the Roman poet Martial in 80 A.D.). Using this factual record as its basis, Colosseum follows Verus as he is recruited from slavery, trained in gladiator's school, rises to favor among wealthy Romans, and ultimately battles his best friend, Priscus (Derek Lea), to a crowd-pleasing draw in the inaugural games of glorious, brand-new Colosseum, the construction of which is shown in fascinating detail. Combining authoritative narration with diary-like voiceovers from Verus's perspective, this riveting 50-minute BBC production is simultaneously intimate and epic in scale, employing the latest in digital compositing techniques to achieve its unparalleled (for TV, at least) visual splendor. With well-cast actors speaking authentic Latin, this sumptuous production is both dramatically involving and exacting in every detail.

Just as convincing--and just as impressive in its use of cutting-edge CGI--is the 50-minute bonus program Pompeii: The Final Day, which chronicles the final 24 hours of Pompeii when it was decimated by the ultraviolent eruption of Mount Vesuvius on August 24, 79 A.D. Inspired by the written descriptions of Pliny the Younger (whose detailed observations were later vindicated by geological science), recovered artifacts, and the haunting remains of Pompeii citizens preserved under tons of pumice and ash, Pompeii is first-rate from start to finish, proving yet again that the BBC is now setting the standard in lavishly produced docudrama programming. --Jeff Shannon

The Borrowers

The popular children's books by Mary Norton have been filmed before, but never with as much imagination and ingenuity as you'll find on display in this delightful fantasy film released to critical praise in 1998. The "Borrowers" of the title are a family of tiny people who live in the walls and under the floorboards in the homes of "normal-sized" humans; they earn their by "borrowing" the household items (string, food crumbs, buttons, etc.) needed to furnish their tiny hiding places and provide their meals. The little Clock family lives happily undisturbed in the home of an aged aunt, but when the aunt dies and her will is stolen by an unscrupulous lawyer (John Goodman), the Clocks face eviction and the frightening hazards of the outside world. Under the ingenious direction of Peter Hewitt, this simple, straightforward movie mixes comedy, adventure, and suspense with some of the cleverest special effects you've ever seen, taking full advantage of effects technologies to immerse you in the world of the tiny people. A climactic chase scene in a milk-bottling plant is a visual tour de force, and the movie's smart and dazzling enough to entertain parents and children alike. After its modest success in theaters, The Borrowers stands a good chance of becoming a home-video favorite. --Jeff Shannon

Orlando

Breathtaking and practically nondiscursive, Sally Potter's audacious Orlando overcomes some dodgy performances and a narrative structure that could most generously be described as "loose" to emerge as a haunting, discussion-provoking trans-historical and transsexual drama. Commanded never to age by Queen Elizabeth (played with surprisingly little camp by legendary cross-dresser Quentin Crisp), the title character becomes immortal; we then follow Orlando through 400 years of dreamlike British history. Midway through the film, Orlando changes genders--to Potter's immense credit, the transformation is handled with little fanfare and no explanation. Tilda Swinton, in the lead role, is far more convincing as a woman than as a man, and even during the film's latter half, her impassivity and lack of expression can be annoying. Potter encourages Swinton to play to the camera, and the resulting asides and glances askance can be amusing, but often seem purposeless, or even arch. Nevertheless, the willful idiosyncrasy and understatement of the film never quite capsize the project, and once you give yourself over to the filmmaker's logic, the panoramic sweep of the cinematography (remarkable sets include an aristocratic skating party on the frozen Thames during the Great London Frost of 1603, a stunning tent-caravan in Central Asia, and countless fastidious boudoirs and interiors) will surely keep you enraptured. Orlando is no Merchant-Ivory production, no prissy, forgettable period piece; this film has teeth, and it may bite ferociously when you least expect it to. Based on, but scarcely resembling, the Virginia Woolf modernist classic of the same name. --Miles Bethany

Gormenghast

The BBC's lavish, glowingly designed adaptation of Mervyn Peake's eccentrically brilliant novels Titus Groan and Gormenghast is a triumph of casting. Ian Richardson's Lear-like depiction of the mad earl of a remote, vast, ritual-obsessed building is matched by the brutal pragmatism of Celia Imrie as his wife, the synchronized madness of Zoë Wanamaker and Lynsey Baxter as his twin sisters, and the duplicitous charm of Jonathan Rhys-Meyers as Steerpike, the kitchen-boy determined to take over no matter how many deaths it costs. John Sessions is surprisingly touching as Prunesquallor, the family doctor who realizes almost too late what Steerpike intends.

It is always tricky to film a book dear to the hearts of its admirers. Wilson and his design team achieve a look rather more pre-Raphaelite than Peake's own illustrations--shabby velvets, garish sunlight, and dank, stone passages. The score by Richard Rodney Bennett is full of attractive surprises--fanfares and waltzes and apotheoses--and John Tavener's choral additions are plausibly parts of the immemorial ritual of Gormenghast. --Roz Kaveney

A charismatically evil kitchen boy threatens the power of a thousand-year-old dynasty in this fantastic presentation of the classic novels by Mervyn Peake.Format: DVD MOVIE Genre: DRAMA UPC: 794051267528 Manufacturer No: E2675

Yes

Passion has no boundaries. A woman (Joan Allen) feeling betrayed by her husband (Sam Neill) turns to a man from a world away (Simon Abkarian) to fulfill her deepest desires. Their sensuous affair takes them on a tumultuous journey across continents and cultures that is seen through the eyes of her maid (Shirley Henderson). YES a lyrical love story directed by Sally Potter (The Man Who Cried The Tango Lesson Orlando) will arouse your emotions and capture your heart long after the last frame fades.System Requirements: Running Time 99 MinFormat: DVD MOVIE Genre: DRAMA Rating: R UPC: 043396109063 Manufacturer No: 10906

It's unsurprising that a movie written in rhyming verse would have stilted or self-conscious moments--but the sumptuous beauty, sinuous rhythms, and cinematic intricacies of Yes may astonish viewers who expect something stuffy or antiquarian. The plot is little more than an affair between an unnamed Irish-American biologist (Joan Allen, once the queen of repression in The Ice Storm, now becoming an art-house sexpot in this and Off the Map) and an unnamed Middle-Eastern chef (Simon Abkarian, Ararat), yet the movie explores just about everything: Marriage, religion, international politics, motherhood, and the nature of zero, while travelling from London to Belfast to Beirut to Havana. Writer/director Sally Potter (Orlando, The Tango Lesson) has enormous ambitions; Yes abounds with complex ideas and daring flourishes, both verbal and visual, juxtaposing the austere and the erotic, intellect and grief. If not everything succeeds, what doesn't is more than made up for by what does. Also featuring Sam Neill (The Piano, Jurassic Park) as Allen's aloof husband and Shirley Henderson (Topsy-Turvy) as a housecleaner with a philosophical perspective on dirt. --Bret Fetzer

Swept Away

Madonna gives her most believable performance as Amber, a rich woman on a sea cruise who expects the world to obey her every whim. She and a high-spirited crew member (Adriano Giannini) are marooned on a small deserted island; the feud that sprang up between the two on the ship becomes an all-out war, then transforms into lustful desire as Amber finds that losing status opens up a new side to herself. Some people will want to see Swept Away for the simple pleasure of seeing Madonna be slapped; more demanding filmgoers will, sadly, be left wanting. Though the movie purports to be a satirical examination of capitalism (as was the original 1974 version), its vague discussion of money and power adds up to very little. The love story is surprisingly sincere, making Swept Away a standard romantic potboiler with gorgeous tropical backdrops. --Bret Fetzer

Poirot - Death on the Nile

For almost the first half of Death on the Nile, any viewer who hasn't read Agatha Christie's intricate mystery won't be wondering who-done-it--instead, it's who's-it-going-to-be. The movie, from the television series Agatha Christie's Poirot, swiftly lays out a panoply of enjoyably odious personalities, from the American heiress who stole her best friend's fiance to the snotty, unkempt radical thinker to the boozing gargoyle of a pulp novelist named Salome Otterbourne, any of whom could be a suitable victim. Puttering amongst this mix of fops and harridans is Christie's most popular creation, the fastidious Belgian detective, Hercule Poirot, played with exquisite precision by David Suchet (The Way We Live Now). Once the murder occurs, Poirot sets to work sifting through red herrings and petty deceits to unravel the truth. The crisp script and vigorous editing of this adaptation of Death on the Nile (a previous star-studded version from 1978 starred Peter Ustinov as Poirot) are at their best in the first half, zipping from catty remarks to petty bickering to fussy grumbles, deftly planting clues with the skill of a magician's misdirection. Once the interrogations and searches begin, the movie feels hemmed in. But through it all Suchet, with his beady eyes glittering from under his heavy lids, drives the mystery forward with his magnetic portrayal. --Bret Fetzer

Tony Award nominee David Suchet returns to his celebrated role as Hercule Poirot in a lavish A&E adaptation of the Agatha Christie classic--DEATH ON THE NILE. When Linnet Doyle, the richest woman in London, steals and marries her best friend's fiancé, the

Colosseum - A Gladiator's Story/Pompeii - The Last Day

Ridley Scott's Gladiator is a great movie, but Colosseum: A Gladiator's Story has the distinct advantage of purely historical accuracy. The Roman gladiator whose story is told here is Verus (played by charismatic British hunk Robert Shannon), one of two victors in the only gladiatorial battle that was ever described in detail (by the Roman poet Martial in 80 A.D.). Using this factual record as its basis, Colosseum follows Verus as he is recruited from slavery, trained in gladiator's school, rises to favor among wealthy Romans, and ultimately battles his best friend, Priscus (Derek Lea), to a crowd-pleasing draw in the inaugural games of glorious, brand-new Colosseum, the construction of which is shown in fascinating detail. Combining authoritative narration with diary-like voiceovers from Verus's perspective, this riveting 50-minute BBC production is simultaneously intimate and epic in scale, employing the latest in digital compositing techniques to achieve its unparalleled (for TV, at least) visual splendor. With well-cast actors speaking authentic Latin, this sumptuous production is both dramatically involving and exacting in every detail.

Just as convincing--and just as impressive in its use of cutting-edge CGI--is the 50-minute bonus program Pompeii: The Final Day, which chronicles the final 24 hours of Pompeii when it was decimated by the ultraviolent eruption of Mount Vesuvius on August 24, 79 A.D. Inspired by the written descriptions of Pliny the Younger (whose detailed observations were later vindicated by geological science), recovered artifacts, and the haunting remains of Pompeii citizens preserved under tons of pumice and ash, Pompeii is first-rate from start to finish, proving yet again that the BBC is now setting the standard in lavishly produced docudrama programming. --Jeff Shannon

Travel back in time to the glamour and bloodshed of ancient Rome's gladiatorial world, where men fought for their lives to satisfy the whims of emperors and a bloodthirsty populace. Combining compelling narrative with state-of-the-art computer graphics and high-quality drama reconstruction, this production throws new light on the way gladiators really fought and trained, and reveals that many of them were the superstars of their age. Colosseum: A Gladiator's Story revolves around the true story of Verus, who rises from slave to star gladiator, but who faces the ultimate challenge in one of the very few gladiatorial fights that was recorded and described by contemporary writers. Discover Verus' story, live his journey and experience his quest for freedom.

The Borrowers

The popular children's books by Mary Norton have been filmed before, but never with as much imagination and ingenuity as you'll find on display in this delightful fantasy film released to critical praise in 1998. The "Borrowers" of the title are a family of tiny people who live in the walls and under the floorboards in the homes of "normal-sized" humans; they earn their by "borrowing" the household items (string, food crumbs, buttons, etc.) needed to furnish their tiny hiding places and provide their meals. The little Clock family lives happily undisturbed in the home of an aged aunt, but when the aunt dies and her will is stolen by an unscrupulous lawyer (John Goodman), the Clocks face eviction and the frightening hazards of the outside world. Under the ingenious direction of Peter Hewitt, this simple, straightforward movie mixes comedy, adventure, and suspense with some of the cleverest special effects you've ever seen, taking full advantage of effects technologies to immerse you in the world of the tiny people. A climactic chase scene in a milk-bottling plant is a visual tour de force, and the movie's smart and dazzling enough to entertain parents and children alike. After its modest success in theaters, The Borrowers stands a good chance of becoming a home-video favorite. --Jeff Shannon

King Kong Lives