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The Shining (Two-Disc Special Edition)

Stanley Kubrick's The Shining is less an adaptation of Stephen King's bestselling horror novel than a complete reimagining of it from the inside out. In King's book, the Overlook Hotel is a haunted place that takes possession of its off-season caretaker and provokes him to murderous rage against his wife and young son. Kubrick's movie is an existential Road Runner cartoon (his steadicam scurrying through the hotel's labyrinthine hallways), in which the cavernously empty spaces inside the Overlook mirror the emptiness in the soul of the blocked writer, who's settled in for a long winter's hibernation. As many have pointed out, King's protagonist goes mad, but Kubrick's Jack Torrance (Jack Nicholson) is Looney Tunes from the moment we meet him--all arching eyebrows and mischievous grin. (Both Nicholson and Shelley Duvall reach new levels of hysteria in their performances, driven to extremes by the director's fanatical demands for take after take after take.) The Shining is terrifying--but not in the way fans of the novel might expect. When it was redone as a TV miniseries (reportedly because of King's dissatisfaction with the Kubrick film), the famous topiary-animal attack (which was deemed impossible to film in 1980) was there--but the deeper horror was lost. Kubrick's The Shining gets under your skin and chills your bones; it stays with you, inhabits you, haunts you. And there's no place to hide... --Jim Emerson

Stanley Kubrick's The Shining is less an adaptation of Stephen King's bestselling horror novel than a complete reimagining of it from the inside out. In King's book, the Overlook Hotel is a haunted place that takes possession of its off-season caretaker and provokes him to murderous rage against his wife and young son. Kubrick's movie is an existential Road Runner cartoon (his steadicam scurrying through the hotel's labyrinthine hallways), in which the cavernously empty spaces inside the Overlook mirror the emptiness in the soul of the blocked writer, who's settled in for a long winter's hibernation. As many have pointed out, King's protagonist goes mad, but Kubrick's Jack Torrance (Jack Nicholson) is Looney Tunes from the moment we meet him--all arching eyebrows and mischievous grin. (Both Nicholson and Shelley Duvall reach new levels of hysteria in their performances, driven to extremes by the director's fanatical demands for take after take after take.) The Shining is terrifying--but not in the way fans of the novel might expect. When it was redone as a TV miniseries (reportedly because of King's dissatisfaction with the Kubrick film), the famous topiary-animal attack (which was deemed impossible to film in 1980) was there--but the deeper horror was lost. Kubrick's The Shining gets under your skin and chills your bones; it stays with you, inhabits you, haunts you. And there's no place to hide... --Jim Emerson

?Heeeeere?s Johnny!? In a macabre masterpiece adapted from Stephen King?s novel, Jack Nicholson falls prey to forces haunting a snowbound mountain resort with a macabre history.

Get Smart - Season 1 (The Original TV Series)

The feature film may have missed it by that much, but Get Smart, the TV series, still hits the target with deadly funny accuracy. The right show at the right time, Get Smart brilliantly spoofed the spy genre that was all the rage in 1965, with James Bond on the big screen, and such series as Danger Man, The Avengers, The Saint, < I>The Man from U.N.C.L.E., and I Spy more or less playing it straight on the small screen. Get Smart, on the other hand, had a license to kill…with laughter. Mel Brooks and Buck Henry created one of TV's all-time greatest characters, Maxwell Smart, Agent 86 of CONTROL, the super-secret agency vigilantly on alert against the forces of KAOS. Smart (Don Adams in his iconic, Emmy-winning role), an American Clouseau, was not stupid. Though all evidence to the contrary, he was, in his own mind, a suave and sophisticated spy, albeit one who would inadvertently lean against a freshly painted wall while shadowing an enemy agent. Get Smart hilariously deglamorized the business of espionage. Agents punch a time clock and dispute vacation time. Cool spy gadgets, such as the infamous Cone of Silence, are prone to malfunction. One running joke throughout the first season finds Agent 44 (Victor French) perched in a variety of unlikely and uncomfortable hiding places, among them a grandfather clock. Although the series would only get smarter and funnier in subsequent seasons (Bernie Kopell's KAOS mastermind Siegfried would be introduced in season two), the first season contains several essential episodes, including the Emmy-winning two-parter, "Ship of Spies," "Aboard the Orient Express," featuring a cameo by Johnny Carson as an unflappable conductor, "Diplomat's Daughter" with the arch --and decidedly non-PC-- villain, the Craw, and "Back to the Drawing Board," featuring Dick Gautier as Hymie the robot. From "Sorry about that" to "Would you believe," no show before Get Smart introduced so many catchphrases into the national language, while Smart and his partner, Agent 99 (the ravishing Barbara Feldon), were perhaps TV's first "will they or won't they" couple. Brooks and Henry contribute separate commentaries for the black and white pilot episode, while Feldon provides commentary for another, and purrs introductions to each episode (beware plot spoilers). With Get Smart, you will be witness to some of TV's funniest moments, sharpest writing, and expertly-executed physical comedy. And… loving it. --Donald Liebenson

A Clockwork Orange (Two-Disc Special Edition)

Stanley Kubrick's striking visual interpretation of Anthony Burgess's famous novel is a masterpiece. Malcolm McDowell delivers a clever, tongue-in-cheek performance as Alex, the leader of a quartet of droogs, a vicious group of young hoodlums who spend their nights stealing cars, fighting rival gangs, breaking into people's homes, and raping women. While other directors would simply exploit the violent elements of such a film without subtext, Kubrick maintains Burgess's dark, satirical social commentary. We watch Alex transform from a free-roaming miscreant into a convict used in a government experiment that attempts to reform criminals through an unorthodox new medical treatment. The catch, of course, is that this therapy may be nothing better than a quick cure-all for a society plagued by rampant crime. A Clockwork Orange works on many levels--visual, social, political, and sexual--and is one of the few films that hold up under repeated viewings. Kubrick not only presents colorfully arresting images, he also stylizes the film by utilizing classical music (and Wendy Carlos's electronic classical work) to underscore the violent scenes, which even today are disturbing in their display of sheer nihilism. Ironically, many fans of the film have missed that point, sadly being entertained by its brutality rather than being repulsed by it. --Bryan Reesman

Stanley Kubrick's striking visual interpretation of Anthony Burgess's famous novel is a masterpiece. Malcolm McDowell delivers a clever, tongue-in-cheek performance as Alex, the leader of a quartet of droogs, a vicious group of young hoodlums who spend their nights stealing cars, fighting rival gangs, breaking into people's homes, and raping women. While other directors would simply exploit the violent elements of such a film without subtext, Kubrick maintains Burgess's dark, satirical social commentary. We watch Alex transform from a free-roaming miscreant into a convict used in a government experiment that attempts to reform criminals through an unorthodox new medical treatment. The catch, of course, is that this therapy may be nothing better than a quick cure-all for a society plagued by rampant crime. A Clockwork Orange works on many levels--visual, social, political, and sexual--and is one of the few films that hold up under repeated viewings. Kubrick not only presents colorfully arresting images, he also stylizes the film by utilizing classical music (and Wendy Carlos's electronic classical work) to underscore the violent scenes, which even today are disturbing in their display of sheer nihilism. Ironically, many fans of the film have missed that point, sadly being entertained by its brutality rather than being repulsed by it. --Bryan Reesman

A jolting tale of crime and punishment stars Malcolm McDowell as a young neo-punk who becomes the guinea pig for a state-sanctioned cure of his tendency toward ?the old ultraviolence.

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

Fox Western Classics (Rawhide / The Gunfighter / Garden of Evil)

IncludesDisc 1: Garden of Evil (1954) Feature FilmDisc 2: The Gunfighter (1951) Feature FilmDisc 3: Rawhide (1951) Feature FilmFormat: DVD MOVIE Genre: WAR/CLASSICS UPC: 024543512585 Manufacturer No: 2251258

One of these three new-to-DVD Westerns is a universally esteemed classic, well worth the price of the set. But in happy fact, the whole package delivers the goods: sturdy genre entertainment from the Western's peak decade, the 1950s; solid Fox studio craftsmanship in every department; and breathtakingly crisp restorations that make you feel you've been time-warped back to a loge seat in your Bijou of choice on opening day. Henry King's The Gunfighter (1950) is the crown jewel--the film that deserves the credit (often awarded to High Noon) for ushering in the "adult Western," the '50s subgenre that emphasized psychological intensity over action and spectacle. Gregory Peck (topping his acclaimed performance in King's WWII drama Twelve O'Clock High) is excellent as Jimmy Ringo, a notorious shootist grown middle-aged and mortally weary of having to defend his legend. His trail takes him to a frontier town where an old comrade (the great Millard Mitchell) now serves as marshal, and where Ringo's estranged wife and the son he has never seen also reside, under an assumed name. Over one night and one day, Ringo dares to dream of a normal life. But there are avengers not far behind, and other threats yet to be counted. Although hailed by critics, The Gunfighter lost money for Fox; studio head Darryl F. Zanuck blamed the soup-strainer mustache--a stroke of period realism--director King ordered Peck to grow for the role. Well, a little red ink is a small price to pay for a masterpiece. Incidentally, the impeccable black-and-white cinematography is by three-time Oscar-winner Arthur Miller, capping a career that reached back to The Perils of Pauline.

The 1951 Rawhide (no relation to the later TV series) is a trim, satisfying Henry Hathaway picture that blends the leathery trappings of the Western with the claustrophobic atmosphere and intensity of a noir suspense film. At a remote swing station for the transcontinental stagecoach, several no-goods aim to help themselves to a gold shipment. But the next coach isn't carrying gold, so the intruders hold the stationmasters (Tyrone Power and Edgar Buchanan) and some stranded passengers captive while they wait. Power and Susan Hayward handle the heroics without larger-than-life posturing; Dean Jagger, Hugh Marlowe, and George Tobias relish the rare opportunity to play villainous or ambiguous types; and Jack Elam is, well, Jack Elam, reliably oozing viciousness from every pore. Screenwriter Dudley Nichols knew the territory, having scripted John Ford's Stagecoach thirteen years earlier. Hathaway also directed Garden of Evil (1954), Fox's first Western in the new CinemaScope process. (Very wiiiiide CinemaScope--the DVD preserves the 2.55:1 format, which was later modified to 2.35:1.) The story involves several fortune-seeking Americanos accidentally thrown together in Mexico and enlisted to help rescue a fellow countryman injured at his remote gold mine. Much of the film unreels as a journey Western exploring tensions among the strangers, especially those inspired by dreaming of gold and the man's redheaded wife (Susan Hayward). The dialogue reaches for profundity and comes up short, but Richard Widmark as a self-designated "poet" and Gary Cooper as a retired lawman give satisfaction as they one-up each other. The movie's distinction lies in Hathaway's no-sweat adaptation to the widescreen format, the awe-inspiring Mexican settings--a deserted village, a valley of black sand, a mountain town buried under volcanic ash--and the only music score ever composed for a feature Western by Bernard Herrmann.

Herrmann is just about the only thing the four commentators on Garden of Evil talk about (there's also a separate "making of" featurette). Nobody does commentary on The Gunfighter or Rawhide, but the disc for the former includes a featurette on master cameraman Arthur Miller, while a Rawhide addendum highlights the oft-used movie location of Lone Pine, Calif., and another pays tribute to gutsy leading lady Susan Hayward. Talking heads include some half-dozen film historians (e.g., David Biographical Dictionary of Film Thomson) plus Henry Hathaway's son and Gary Cooper's daughter. --Richard T. Jameson

Dr. Quinn Medicine Woman - The Complete Season Two

In an age when women are expected to be seen but not heard, Dr. Michaela "Mike" Quinn is a renegade, an independent spirit who forsakes her home in genteel Boston for the rough-and-tumble life of the frontier. But the prejudice she encountered back east pales in comparison to the challenges awaiting in Colorado Springs...

Dr. Quinn, Medicine Woman breathed new life into a tired genre and brought families together around the TV for six seasons with its refreshing take on the Western, blending a distinctly modern sensibility with painstaking historical authenticity and tales of courage, conviction and romance.

This collection features all 25 episodes from the third season of the five-time Emmy Award winner starring Jane Seymour and Joe Lando, available on DVD for the first time.

Dr. Quinn Medicine Woman - The Complete Season Three

In an age when women are expected to be seen but not heard Dr. Michaela "Mike" Quinn is a renegade an independent spirit who forsakes her home in genteel Boston for the rough-and-tumble life of the frontier. But the prejudice she encountered back east pales in comparison to the challenges awaiting in Colorado SpringsDr. Quinn Medicine Woman breathed new life into a tired genre and brought families together around the TV for six seasons with its refreshing take on the Western blending a distinctly modern sensibility with painstaking historical authenticity and tales of courage conviction and romance. This collection features all 25 episodes from the third season of the five-time Emmy Award winner starring Jane Seymour and Joe Lando available on DVD for the first time.System Requirements: Running Time 1363 MinFormat: DVD MOVIE Genre: TELEVISION/SERIES & SEQUELS Rating: NR UPC: 733961711264 Manufacturer No: AAE71126

Harvey

It's always a small surprise to revisit this movie and realize what a subtly dark performance James Stewart gives as an alcoholic who claims he keeps company with a six-foot-tall, invisible rabbit. As Elwood P. Dowd, the actor emits a faint whiff of decay and spirits, yet Stewart also embraces Dowd's romanticism and grace with splendid ease. Based on a hit play and directed by Henry Koster, the film is terribly funny at times, especially whenever Elwood decides it's only polite to introduce Harvey to complete strangers. The supporting cast can't be beat. --Tom Keogh

James Stewart stars as Elwood P. Dowd, a wealthy alcoholic whose sunny disposition and drunken antics are tolerated by most of the citizens of his community. That is, until Elwood begins to claim that he has a friend named Harvey who is an invisisble six foot rabbit. Elwood's snooty socialite sister, Veta, determined to marry off her daughter Myrtle to a respectable man, begins to plot to keep Elwood's lunacy from interfering.

Troop Beverly Hills

As Phyllis a Beverly Hills housewife is in the middle of a divorce she tries to find focus in her life by taking over her daughter's (Hannah) Wilderness Girl troop. Among the girls are Tiffany (who her father has to bribe to attend meetings Emily (the daughter of an out of work actor whose financial difficulties hinders her wanting to participate in certain activities) the neurotic Tessa (whose parents divorce has forced her into therapy twice a week) the hostile Chica (whose parents are too busy with their own lives to even remember her birthday) and Claire (the child star who see the wilderness girls as her chance to lead a "normal" life). Phyllis then begins to take the girls camping at a Beverly Hills hotel and earn patches relating to material things. The district leader Velda feels the troop should be disbanded. However the head of the Wilderness girls organization believes that as long as Phyllis has taken an active interest in the girls that is the only thing that's important. Then Velda begins to sabotage the girls endlessly.System Requirements:Run Time: 105 minutesFormat: DVD MOVIE Genre: COMEDY Rating: PG UPC: 043396078918 Manufacturer No: 07891

The Big Chill

Spend some time with a few good friends... as they reunite for the funeral of a college pal. During the weekend that follows these friends compare their 60s ideals with the harsh reality of their lives in the 80s and discover that in a cold world you need your friends to keep you warm. System Requirements:Starring: Kevin Kline William Hurt Glenn Close Tom Berenger Jeff GoldblumMary Kay Place JoBeth Williams Meg Tilly Director: Lawrence Kasdan Copyright: 1983 Columbia/Tristar Produced by Michael Shamberg; written by B. Benedek L. Kasdan; DVD released on 01/26/1999; running time of 105 minutes. Widescreen 1.85:1 aspect ratio enhanced for 16X9 TVs Closed captioned 56-minute documentary featuring new interviews with the cast and director behind-the-scenes footage and deleted scenesFormat: DVD MOVIE Genre: DRAMA Rating: R UPC: 043396026322 Manufacturer No: 02632

Lawrence Kasdan's 1983 big-budget variation on John Sayles's The Return of the Secaucus Seven finds a cluster of old college radicals--who have since gone on to sundry professions and various degrees of materialism--reuniting over the death of a friend. Both playful and thoughtful, the film represents Kasdan (Body Heat) at his most astute. The attractive cast meshes perfectly into a group of characters for which a former closeness is out of synch with their current lives, yet their warmth is enviable and inviting. The script may be a bit too glib, with many one-liners, but it is still a perfectly designed story with telling irony and no little passion. --Tom Keogh