Netherlands

Zulu Dawn

Cy Endfield co-wrote the epic prequel Zulu Dawn 15 years after his enormously popular Zulu. Set in 1879, this film depicts the catastrophic Battle of Isandhlwana, which remains the worst defeat of the British army by natives, with the British contingent outnumbered 16-to-1 by the Zulu tribesmen. The film's opinion of events is made immediately clear in its title sequence: ebullient African village life presided over by King Cetshwayo is contrasted with aristocratic artifice under the arrogant eye of General Lord Chelmsford (Peter O'Toole). Chelmsford is at the heart of all that goes wrong, initiating the catastrophic battle with an ultimatum made seemingly for the sake of giving his troops something to do. His detached manner leads to one mistake after another, and this is wryly illustrated in a moment when neither he nor his officers can be bothered to pronounce the name of the land they're in. That it's a beautiful land nonetheless is made clear by the superb cinematography, which drinks in the massive open spaces that shrink the British army to a line of red ants. Splendidly stiff-upper-lipped support comes from a heroic Burt Lancaster and a fluffy, yet gruff, Bob Hoskins. Although the story is less focused and inevitably more diffuse than the concentrated events of Rorke's Drift which followed soon after, Zulu Dawn is an unflinchingly honest depiction of British Imperial diplomacy. --Paul Tonks

A prequel to the war epic "Zulu", this dramatic story recounts the breathtaking defeat of British forces at the hands of a 25,000 strong and relentlessly determined Zulu army in 1870. The all-star cast, and extravagant production quality make Zulu Dawn a spectacular film with a guaranteed place in the list of Hollywood Greats.

The Little Vampire

The Little Vampire is excellently acted and great to look at. Stuart Little's Jonathan Lipnicki carries, on his pint-sized shoulders, his every scene as 8-year-old Tony, befriender of vampires, and the Scottish setting lends itself nicely to spookiness. But where this video earns most points is in the plot department. A continent away from his native California, Tony's having a tough time making new friends when a band of vagabond vampires enters his life through his bedroom window. The encounter seems pure coincidence at first, but then the scary truth surfaces: Tony, though he's not a vampire himself, has "sympathy for our kind," as the dad of the bat-linked brood puts it. Visions of vampire happenings from generations past invade the third-grader's consciousness, and they hold the key to the clan's current gypsy-like predicament. Through his clairvoyance and, by extension, the discovery of a long-lost amulet, the mostly benevolent bloodsuckers are able to reclaim their rightful status as proper cave dwellers in their homeland. Clueless-parent predicaments abound and are cleverer than most--Tony's mom and dad smirk at their son's vampire-obsessed imagination until the cape-draped heads of the clan drop by for a visit--and the gang's adventures eluding a bumbling vampire hunter are genuinely chuckleworthy. At-home Twizzler munchers ages 8 and older won't soon tire of this charmer of a Transylvanian transplant. --Tammy La Gorce

Jonathan Lipnicki (Jerry Maguire, Stuart Little) stars as 9-year-old Tony who befriends a young vampire named Rudolph who asks Tony to help him find an ancient amulet that will grant Rudolph and his family their ultimate wish ... to be human again.

DVD Features:
DVD ROM Features:Original theatrical website; Ability to jump from the script to the scene in the movie
Full Screen Version:Widescreen and fullscreen versions of the film
Interactive Menus
Other:Three interactive kid-friendly games; Hilarious vampire and monster jokes; Easy-to-make recipes for spooky snacks; 5.1 Surround Sound and 2.0 Stereo Sound
Scene Access
Screen Saver:Cool flying vampire cow screensaver

Paradise Now

"PARADISE NOW" follows two Palestinian childhood friends who have been recruited for a strike on Tel Aviv and focuses on their last days together. When they are intercepted at the Israeli border and separated from their handlers a young woman who discovers their plan causes them to reconsider their actions.Running Time: 90 min.System Requirements:Running Time 91 Mins.Format: DVD MOVIE Genre: DRAMA Rating: PG-13 UPC: 012569736795 Manufacturer No: 73679

Two men, best friends from childhood, are summoned to fulfill their agreement to be suicide bombers for the Palestinian cause. Khaled and Said (Ali Suliman and Kais Nashef, both making striking film debuts) believe fervently in their cause, but having a bomb strapped to your waist would raise doubts in anyone--and once doubts have arisen, they respond in very different ways. Paradise Now is gripping enough while the men are preparing for their mission, but when the set-up goes awry and Khaled and Said are separated, it becomes almost excruciatingly tense. The movie passes no judgment on these men; impassioned arguments are made for both sides of the conflict. This is a work of remarkable compassion and insight, given the shape and sharpness of a skillful thriller. Its psychological portrait goes beyond the Palestinian/Israeli conflict and resonates with fanaticism and oppression throughout the world, be it related to a religious, nationalist, or tribal cause. A stunning film from writer/director Hany Abu-Assad. --Bret Fetzer

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

Breaking the Waves

Set in an unmercifully rugged, coastal village in Scotland in the 1970s, this extraordinary film by Lars von Trier stars British actress Emily Watson as a barely contained naive named Bess, who holds regular conversations with God and whose pure and intensely personal faith is hardly tolerated by the gruesome Calvinist elders of her church. Bess marries an oil-rig worker (Stellan Skarsgard) and comes to believe that erotic discovery is a part of God's grand plan. But after her spouse is hurt in an accident, she decides that divine instruction is leading her toward the life of a prostitute--with disastrous but somehow beautiful results. Von Trier (The Kingdom) has made a wonderful, entirely unexpected, and rigorous work of discovery in this film, with a formal visual design that recalls classic films by Carl Theodor Dreyer and Robert Bresson. Watson is a phenomenon, her wide-eyed wonder at the world as God's handiwork a breathtaking portrayal of conviction. --Tom Keogh

When Bess, a naive young woman, marries Jan, a handsome oil-rig worker, she experiences passion and physical pleasure that she never imagined. Their bliss is cut short when an accident on the rig leaves Jan paralyzed. Believing he will never make love to Bess again, he tells her to take other lovers, convincing her that this will help his recovery. Bess is sent spiraling into a world of dark emotions she cannot understand

The Pillow Book

Peter Greenaway (The Cook, the Thief, His Wife and Her Lover, Drowning by Numbers) continues to delight and disturb us with his talent for combining storytelling with optic artistry. The Pillow Book is divided into 10 chapters (consistent with Greenaway's love of numbers and lists) and is shot to be viewed like a book, complete with tantalizing illustrations and footnotes (subtitles) and using television's "screen-in-screen" technology. As a child in Japan, Nagiko's father celebrates her birthday retelling the Japanese creation myth and writing on her flesh in beautiful calligraphy, while her aunt reads a list of "beautiful things" from a 10th-century pillow book. As she gets older, Nagiko (Vivian Wu) looks for a lover with calligraphy skills to continue the annual ritual. She is initially thrilled when she encounters Jerome (Ewan McGregor), a bisexual translator who can speak and write several languages, but soon realizes that although he is a magnificent lover, his penmanship is less than acceptable. When Nagiko dismisses the enamored Jerome, he suggests she use his flesh as the pages which to present her own pillow book. The film, complete with a musical score as international as the languages used in the narration, is visually hypnotic and truly an immense "work of art." --Michele Goodson

Rosenstrasse

An American Werewolf in Paris

On the strength of his Hitchcockian-thriller debut, Mute Witness, writer-director Anthony Waller was hired to direct this belated sequel to the 1981 horror comedy An American Werewolf in London, but lycanthropy in the City of Light just ain't what it used to be. The movie offers plenty of gruesome makeup and special wolf-transformation effects, and there are some effectively spooky moments in the plot involving an underground population of hungry Parisian werewolves. One of them is seductively played by Julie Delpy, who is rescued from attempted suicide by an American tourist (Tom Everett Scott, from That Thing You Do!) but ultimately can't hide her dual identity when darkness falls and the full moon shines. The movie begins well, but gradually succumbs to nonsense and mayhem, prompting critic Roger Ebert to observe that "here are people we don't care about, doing things they don't understand, in a movie without any rules." In other words, you'd have to be a die-hard horror buff to give this one the benefit of the doubt. --Jeff Shannon

This hip, edgy thriller -- in the electrifying tradition of SCREAM, SCREAM 2, and FROM DUSK TILL DAWN -- delivers a howling good time with a hot young cast of stars! On the loose in Europe, three wild college grads from America bring their "Daredevil Tour" to Paris in search of some serious fun. There, Andy (Tom Everett Scott -- THAT THING YOU DO!) falls for the beautiful and mysterious woman of his dreams (Julie Delpy -- THE THREE MUSKETEERS). The only problem is ... when the moon is full, Andy's dream girl turns into a total nightmare! Rocking with a cool soundtrack featuring today's hottest cutting-edge recording artists, AN AMERICAN WEREWOLF IN PARIS is an outrageously thrilling adventure you don't want to miss!

Antonia's Line

To a small Dutch town filled with characters known by such names as Crooked Finger, Loony Lips, and the Mad Madonna, Antonia returns with her daughter Danielle after 20 years away. Covering the next 40 years, Antonia's Line looks at the matriarch and her offspring, stretching out to her great-granddaughter, Sarah. A whimsical story with fairy-tale conventions, this movie deals with the cyclical nature of time as well as the strength of women. While this is not just a "woman's movie," men are regulated to the background in a story that tells of women breaking free of traditional roles. Surprisingly, this movie achieves a light-hearted tone while tackling serious subjects: small-town prejudices, rape, and suicide. Yet the drama's comedic heart shines through as Antonia collects a rather odd assortment of people, outsiders who become part of her extended family. Winner of the Academy Award for Best Foreign Film, Antonia's Line is moving and beautiful, imparting a sense of hope and joy to the viewer. --Jenny Brown

Valentin

VALENTIN has won the coveted Audience Award at the Newport International Film Festival (2003), the Golden Calf Award at the Netherlands Film Festival (2002), and seven Argentinean Film Critics Association Awards (2004) including Best Film, Best Director and Best Screenplay. In VALENTIN, a precocious and imaginative 8-year-old boy named Valentin is raised by his grandmother. He dreams of becoming an astronaut and spends his time developing space suits made from whatever materials he can find. He also dreams of having a normal family and misses his mother, who abandoned him. During a visit from his father, he finds out about his father's current girlfriend, Leticia. Valentin asks to meet her with the hope that she will become his mother. This encounter between Valentin and Leticia opens up old secrets but also creates an opportunity that Valentin just can't pass up.