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Absence of Malice

The ethics of the press are roundly slapped around in an entertaining if not always believable drama from director Sydney Pollack. Sally Field is the Miami reporter who is set up to leak information on a dead-end murder investigation. A sneaky government official (a marvelous, rubber-band-spinning Bob Balaban) provides the information that implies liquor distributor Paul Newman is under investigation. When the story runs, it uncorks a legal quagmire that puts the spotlight on presumably innocent lives. As the lawyers explain, the paper's story is accurate, even though it may be untrue. The details of the story are sharply drawn by first-time screenwriter and former reporter Kurt Luedtke (who later went on to win an Oscar scripting Pollack's Out of Africa); the film could be used in a Media Ethics 101 class. Newman secretly counterattacks in a clever plot to derail the process that quickly encompasses his jittery friend (Oscar nominee Melinda Dillon). Field's continuing ethical gaps--including falling in love with her subject--stretch the film's credibility. Then again, who wouldn't fall for Paul Newman in the Florida sun? --Doug Thomas

Into the Wild

A superb cast and an even-handed treatment of a true story buoy Into the Wild, Sean Penn's screen adaptation of Jon Krakauer's bestselling book. Emile Hirsch stars as Christopher McCandless, scion of a prosperous but troubled family who, after graduating from Atlanta's Emory University in the early 1990s, decides to chuck it all and become a self-styled "aesthetic voyager" in search of "ultimate freedom." He certainly doesn't do it halfway: after donating his substantial savings account to charity and literally torching the rest of his cash, McCandless changes his name (to "Alexander Supertramp"), abandons his family (William Hurt and Marcia Gay Harden as his bickering, clueless parents and Jena Malone as his baffled but loving sister, who relates much of the backstory in voice-over), and hits the road, bound for the Alaskan bush and determined not to be found. For the next two years he lives the life of a vagabond, working a few odd jobs, kayaking through the Grand Canyon into Mexico, landing on L.A.'s Skid Row, and turning his back on everyone who tried to befriends him (including Catherine Keener and Brian Dierker as two kindly, middle-aged hippies and Hal Holbrook in a deeply affecting performance as an old widower who tries to take "Alex" under his wing). Penn, who directed and wrote the screenplay, alternates these interludes with scenes depicting McCandless' Alaskan idyll--which soon turns out be not so idyllic after all. Settling into an abandoned school bus, he manages to sustain himself for a while, shooting small game (and one very large moose), reading, and recording his existential musings on paper. But when the harsh realities of life in the wilderness set in, our boy finds himself well out of his depth, not just ill-prepared for the rigors of day to day survival but realizing the importance of the very thing he wanted to escape--namely, human relationships. It'd be easy to either idealize McCandless as a genuinely free spirit, unencumbered by the societal strictures that tie the rest of us down, or else dismiss him as a hopelessly callow naïf, a fool whose disdain for practical realities ultimately doomed him. Into the Wild does neither, for the most part telling the tale with an admirable lack of cheap sentiment and leaving us to decide for ourselves. --Sam Graham

This is the true story of Christopher McCandless (Emile Hirsch). Freshly graduated from college with a promising future ahead McCandless instead walked out of his privileged life and into the wild in search of adventure. What happened to him on the way transformed this young wanderer into an enduring symbol for countless people -- a fearless risk-taker who wrestled with the precarious balance between man and nature.System Requirements:Running Time: 148 Mins.Format: DVD MOVIE Genre: ACTION/ADVENTURE/COMING OF AGE Rating: R UPC: 097363481249 Manufacturer No: 348124

Exodus

Otto Preminger's 1960 adaptation of Leon Uris's novel is a sprawling 220-minute tale of the founding of modern Israel, starring Paul Newman as a Resistance leader. The film works best as an example of Preminger's estimable skill with all levels of drama and action, but as a reflection upon history it is compromised by stereotypes, unpersuasive relationships, and a certain moral ambivalence about issues related to the subject. There are good and exciting sequences, however, particularly one involving an effort to break through a British blockade and get to the homeland. --Tom Keogh

Inspired by Leon Uris' international bestseller, this "extraordinarily moving" (The New Republic) chronicle of the rebirth of a people and the establishment of a nation is the ultimate experience in human drama. Nominated* for three Academy Awards® and winner* for Best Score, Exodus is an "exciting, dramatic, scenic, panoramic and deeply moving" (New York Daily News) masterpiece. Ari Ben Canaan (Paul Newman), a commander of the Israeli underground, manages to lead 600 Jews from the detention camps of Cyprus onto a large freighter bound for Palestine. But British forces soon learn of his plan and insist that he turn back. Undaunted, Ari and his passengers refuse to give up, risking their lives for the greater cause of Israeli independence.

Salo, or the 120 Days of Sodom - Criterion Collection

Pier Paolo Pasolini s notorious final film, Salò, or the 120 Days of Sodom, has been called nauseating, shocking, depraved, pornographic . . . it s also a masterpiece. The controversial poet, novelist, and filmmaker s transposition of the Marquis de Sade s 18th-century opus of torture and degradation to 1944 Fascist Italy remains one of the most passionately debated films of all time, a thought-provoking inquiry into the political, social, and sexual dynamics that define the world we live in.

SPECIAL EDITION DOUBLE-DISC SET FEATURES:
New, restored high-definition digital transfer
The End of Salò, a 40-minute documentary about the film s final scene
Salò: Yesterday and Today, a 35-minute documentary featuring interviews with Pier Paolo Pasolini, actor-filmmaker Jean-Claude Biette, and Pasolini s friend Nineto Davoli
Fade to Black, a new short documentary about Salò, featuring interviews with filmmakers Bernardo Bertolucci, Catherine Breillat, and John Maybury
New interviews with set designer Dante Ferretti and filmmaker/film scholar Jean-Pierre Gorin
Optional English-dubbed soundtrack
Theatrical trailer
Optional English subtitles
PLUS: A booklet featuring new essays by Neil Bartlett, Roberto Chiesi, Naomi Greene, Gary Indiana, and Sam Rohdie, and excerpts from Gideon Bachman s on-set diary

The NeverEnding Story

Wolfgang Petersen (In the Line of Fire) made his first English-language film with this 1984 fantasy about a boy (Barret Oliver) visualizing the stories of a book he's reading. The imagined tale involves another boy, a warrior (Noah Hathaway), and his efforts to save the empire of Fantasia from a nemesis called the Nothing. Whether or not the scenario sticks in the memory, what does linger are the unique effects, which are not quite like anything else. Plenty of good fairy-tale characters and memorable scenes, and the film even encourages kids to read. --Tom Keogh

A young boy named Bastian borrows a mysterious ornately-bound book that takes him into the fantastic world of Fantasia.
Genre: Feature Film Family
Rating: PG
Release Date: 3-FEB-2004
Media Type: DVD

The Paul Newman Collection (Harper / The Drowning Pool / The Left-Handed Gun / The Mackintosh Man / Pocket Money / Somebody Up There Likes Me / The Young Philadelphians)

Paul Newman's career slipped onto an unstoppable track with Somebody Up There Likes Me, his 1956 biopic about boxer Rocky Graziano. Of course that was his second picture, the first being the oft-joked-about bungle The Silver Chalice. Newman's Method-y intensity and dazzling good looks brought him stardom, and his intelligence and uncommon seriousness as an actor kept his movies interesting, especially as he tackled some of the best roles of the "antihero" era--an era he helped create.

Somebody Up There Likes Me is included in The Paul Newman Collection, a bulging seven-DVD package that shakes out thusly: three late-1950s titles from the beginning of his career, one mid-sixties hit, and three lesser films of the early 1970s. It's by no means a "best of" compilation, being limited to Warners and MGM titles, but it gives a flavor of Newman in his prime time. He got the Graziano role after James Dean died, and his performance is a very busy, post-Brando jumble of tics and mumbles. The movie holds up nicely as a boxing picture, and the location NYC shooting won an Oscar for cinematographer Joseph Ruttenberg (you can see why director Robert Wise got hired to do West Side Story after this). Sal Mineo and Steve McQueen are in the cast as Newman's fellow j.d.s.

The Left-Handed Gun (1958), based on a teleplay by Gore Vidal, is a truly weird, compulsively watchable artifact from the psychological-Western genre. Newman plays Billy the Kid, glowering and grimacing like a rebel without a cause. It's one of those films that has much more to do with the time it was made than the time it is set; also notable as the big-screen debut for stage and TV director Arthur Penn. The Young Philadelphians (1959) is more conventional, an entertaining soap opera about a young lawyer (Newman) with an old-money Philly name but no money, who gets burned by love and decides to connive his way to the top. Young Robert Vaughn snagged an Oscar nomination for a showy turn as an alcoholic society lad.

Harper (1966) is chockfull of kooky mid-Sixties design and Rat Pack patter (courtesy screenwriter William Goldman). But it must be said that Newman is miscast as the melancholic private eye of Ross Macdonald's literary world, here re-imagined as a wisecracking hepcat who mugs his way through a missing-persons investigation. The supporting cast is a weird over-the-hill gang including Lauren Bacall, Janet Leigh, and Shelley Winters. That film's hero, Lew Harper (renamed from Macdonald's "Archer"), returned in 1976's The Drowning Pool, a more bearable if somewhat humdrum whodunit set in New Orleans. Newman's wife, Joanne Woodward, has a supporting part, but the picture is most notable for an early Melanie Griffith nymphet role.

Pocket Money (1972) is one of those only-in-the-seventies movies that pairs Newman with Lee Marvin in a drowsy, nearly plotless comedy. Both actors give elaborate performances: Newman plays a numbskull two-bit cattle broker who takes absolutely everything literally, and Marvin is his buddy in Mexico who signs on for an ill-considered cattle-buying job. One of the credited screenwriters is Terrence Malick, and the movie has a highly eccentric feel for language. Finally, The Mackintosh Man (1973) is one of the periodic duds that director John Huston would crank out in his otherwise starry career, with Newman as a spy on an incomprehensible case in England. The first half is a red herring, and Dominique Sanda (more recently of The Conformist) is out of depth with the English language. It's a bleak film with a kind of grinding fascination, and the Maurice Jarre score is catchy but fatally overused. --Robert Horton

With a career approaching nearly six decades Paul Newman has shown himself to be one of Hollywood's most enduring superstars. Now available on DVD are 7 of this Hollywood living legend's films in The Paul Newman Collection. Bonuses include new and vintage featurettes.Set Includes:HARPER (1966)SOMEBODY UP THERE LIKES ME (1956)THE LEFT HANDED GUN (1958)THE YOUNG PHILADELPHIANS (1959)POCKET MONEY (1972)THE MACKINTOSH MAN (1973)THE DROWNING POOL (1975)Format: DVD MOVIE Genre: DRAMA UPC: 012569816763 Manufacturer No: 81676

Tammy And The Bachelor / Tammy Tell Me True / Tammy And The Doctor (Triple Feature)

The Sopranos - Season 6, Part 2

Completing the run of one of the most acclaimed television shows in broadcast history, season 6, part II of The Sopranos will be remembered mostly not for what happened during the season, but for what didn't happen at the very end. Creator David Chase pulled off a series ending that was as controversial as it was surprising and unforgettable, leaving countless fans to look away from the show and to blogs and articles for answers to the biggest mystery since "who shot J.R.?": what happened to Tony Soprano? But before we get to that point, there are nine episodes to digest, and they are some of the best in the run of the show since season 3. As Tony's (James Gandolfini) paranoia and suspicions grow, his family makes choices that are threatening to bring big changes to his personal life, and his other "family" is crashing headlong towards an inevitable showdown with Phil Leotardo and the New York crew. Episode 1, "Soprano Home Movies," starts off peacefully enough with Tony and Carmela (Edie Falco) enjoying a relaxing summer weekend at Bobby and Janice's (Steve Schirripa and Aida Turturro) bucolic lake house, and by the end of the episode Tony has effectively taken Bobby's soul, proving Tony's ruthlessness and ending any doubt about his will to maintain dominance over those around him. In "Kennedy and Heidi," one of the season's signature episodes, Christopher's (Michael Imperioli) drug use continues to spiral out of control, forcing Tony to take matters into his own hands and resolve things with his nephew once and for all.

Inevitably it's all leading up to that big finale, and it's deftly handled over the last two episodes, "The Blue Comet" and "Made in America" (an episode replete with subtle references to The Godfather). Things finally start to get resolved with Phil's crew, Dr. Melfi (Lorraine Bracco), Uncle Junior (Dominic Chianese), A.J. (Robert Iler), and Meadow (Jamie-Lynn Sigler), and as for Tony… Cut to black. To quote from another hit HBO show of the same era, "everything ends," even The Sopranos, and while the way Chase chose to end The Sopranos may not be to the liking of fans hoping for a definitive resolution, give the man credit for not stooping to clichés or tired old scenarios. As A.J. says in one of the last lines of the entire series, quoting his father, "Try to remember the times that were good." That's good advice. --Daniel Vancini

Last year, Tony Soprano cheated death when he was shot by his now institutionalized Uncle Junior. While Tony continues to muse about his second chance at life, he faces a myriad of immediate, stress-inducing crises at home, at work and from the law. Tony's wife Carmela plans for a future she's not sure will arrive, and son AJ and daughter Meadow find that adulthood holds its own surprises. Meanwhile, at work, Tony comes to doubt the allegiances of many of those closest to him ¿ no one, not Paulie, Bobby, Silvio or even Christopher is above suspicion. The clock is ticking. Time is running out. But on who?

The Way We Were (Special Edition)

Robert Redford and Barbra Streisand star as sociopolitical opposites--he's a WASP novelist, she's an activist--who nevertheless strike up a romance in the 1930s, and have a rocky relationship through the next two decades that reflects much of America's history. An essential part of the movie--the Hollywood blacklist and the McCarthy witch- hunt years--comes across as a botch, due to some excessive cutting before the film was released. But except for that hole in the heart of the story, director Sydney Pollack (Out of Africa) has crafted a strong and moving drama about two interesting characters. Redford (always good with Pollack) is at the height of his powers, and Streisand is persuasive. --Tom Keogh

Sensitive and moving tale of the romance of two individuals whose political and religious ideologies are exact opposites. Streisand plays a Jewish student radical in love with a conservative young Protestant writer.
Genre: Feature Film-Drama
Rating: PG
Release Date: 3-JUL-2007
Media Type: DVD

Out of Africa

Sydney Pollack's 1985 multiple-Oscar winner is a sumptuous and emotionally satisfying film about the life of Danish writer Karen Blixen (Meryl Streep), better known as Isak Dinesen, who travels to Kenya to be with her German husband (Klaus Maria Brandauer) but falls for an English adventurer (Robert Redford). The film is slow in developing the relationship, but it is rich in beautiful images of Africa and in the romantic tone surrounding Blixen's gradual discovery of her life and voice. One downside: while we may all love Redford, he is as convincingly British as Kevin Costner is in Robin Hood: Prince of Thieves. --Tom Keogh

The most acclaimed motion picture of 1985 stars Robert Redford and Meryl Streep in one of the screen's great epic romances. Directed by Oscar winner Sydney Pollack, Out of Africa is the fascinating true story of Karen Blixen, a strong-willed woman who, with her philandering husband (Klaus Maria Brandauer), runs a coffee plantation in Kenya, circa 1914. To her astonishment, she soon discovers herself falling in love with the land, its people and a mysterious white hunter (Redford). The masterfully crafted, breathtakingly produced story of love and loss earned Oscars for Best Picture, Director, Screenplay (based on material from another medium), Cinematography, Original Score, Art Direction (Set Decoration) and Sound.