The Pursuit of Happyness (Widescreen Edition)
by Gabriele Muccino
from Sony Pictures
A real-life tale of survival over life's toughest challenges. After a chain of circumstances left Gardner jobless and homeless at age 30 he found himself and his baby son living in a bathroom at a San Francisco train station. Despite the negative situation Gardner continued to fight toward his goal of becoming a broker eventually landing a job as a trainee and rising through the ranks at such companies as Dean Witter and Bear Stearns to his current standing -- partner and owner of the Chicago-based minority brokerage firm Gardner Rich & Co. and self-made millionaire.Features:Documentaries (Making-of documentary)Featurette (Father and Son: On Screen and Off)Interview(s) (The Man Behind the Movie: A Conversation with Chris Gardner)Audio commentary (with director Gabriel Muccino)System Requirements:Runtime: 117 minsFormat: DVD MOVIE Genre: DRAMA Rating: PG - 13 UPC: 043396150850 Manufacturer No: 15085
A heartwarming film that demonstrates how good, hard-working people can become homeless almost overnight, Pursuit of Happyness is a tour-de-force showcase for Will Smith, who convincingly portrays a down-and-out dad trying to better his family's life. Smith, who usually is cast in effortlessly boyish roles (Men in Black, Independence Day), is wonderful in the film--even in the scenes that shamelessly tug at viewers' heartstrings. Based on the true-life story of Chris Gardner, a San Francisco salesman forced at times to shelter his young son (played by Smith's adorable look-alike offspring Jaden Smith) in a men's room, there is little suspense to the film in terms of Chris' outcome. (His story and eventual success a successful and wealthy Chicago businessman was well-publicized on the newsmagazine show 20/20.) And let's face it, Hollywood's not too keen on making feel-good movies with unhappy endings. The beauty (and suspense, to a certain extent) of this film is in the way the story is told. Though he is constantly rushing around to get to appointments and pick up his child, things do not happen quickly for Chris. When he accepts an internship with a prestigious stock brokerage firm, there's a catch: The position is unpaid, suitable more for trust-fund children than single parents with no other source of income. In many scenes, the viewer panics along with Chris, wondering how he's going to feed his child. While Smith and his son, Jaden, share many tender moments together, Thandie Newton has the thankless role of playing Chris' shrill wife, who deserts her family early in the film. It's not a particularly challenging part for the talented actress, and her departure doesn't impact the storyline much at all. As for the movie's misspelled title, it's inspired from a scene in the film. (Seeing a mural drawn by the children at a daycare center, Chris points out to the proprietor that "happiness" is spelled incorrectly. She notes that it doesn't matter how the word is written--just that the kids have it.) With Pursuit of Happyness, Smith has come out of his safety zone and, in turn, ends up playing his most heroic role to date. --Jae-Ha Kim
Extras from The Pursuit of Happyness
 Behind the scenes footage of The Pursuit of Happyness high bandwidth |  Chris Gardner: "On Being Studied By Will Smith" high bandwidth |  Will Smith And Jaden Smith: "On Will Always Being In Character" high bandwidth |
 More Films Starring Will Smith |  More Films About Fathers & Sons |  The Book |
Stills from The Pursuit of Happyness (click for larger image)
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American History X
by Tony Kaye
from New Line Home Video
Edward Norton's Academy Award nominated role as a White Supremist who sees the error of his ways while jailed for murder. Unfortunately, he leaves prison to find his brother (Edward Furlong) heading down the same path.
Perhaps the highest compliment you can pay to Edward Norton is that his Oscar-nominated performance in American History X nearly convinces you that there is a shred of logic in the tenets of white supremacy. If that statement doesn't horrify you, it should; Norton is so fully immersed in his role as a neo-Nazi skinhead that his character's eloquent defense of racism is disturbingly persuasive--at least on the surface. Looking lean and mean with a swastika tattoo and a mind full of hate, Derek Vinyard (Norton) has inherited racism from his father, and that learning has been intensified through his service to Cameron (Stacy Keach), a grown-up thug playing tyrant and teacher to a growing band of disenfranchised teens from Venice Beach, California, all hungry for an ideology that fuels their brooding alienation.
The film's basic message--that hate is learned and can be unlearned--is expressed through Derek's kid brother, Danny (Edward Furlong), whose sibling hero-worship increases after Derek is imprisoned (or, in Danny's mind, martyred) for the killing of two black men. Lacking Derek's gift of rebel rhetoric, Danny is easily swayed into the violent, hateful lifestyle that Derek disowns during his thoughtful time in prison. Once released, Derek struggles to save his brother from a violent fate, and American History X partially suffers from a mix of intense emotions, awkward sentiment, and predictably inevitable plotting. And yet British director Tony Kaye (who would later protest against Norton's creative intervention during post-production) manages to juggle these qualities--and a compelling clash of visual styles--to considerable effect. No matter how strained their collaboration may have been, both Kaye and Norton can be proud to have created a film that addresses the issue of racism with dramatically forceful impact. --Jeff Shannon
A Bronx Tale
from Hbo Home Video
Chazz Palminteri wrote the script for this excellent story of an Italian American boy (Lillo Brancato) who grows up in the 1960s caught between the strong influences of his blue-collar, straight- arrow father (Robert De Niro) and a Mafia chieftain (Palminteri) who is his all-purpose mentor. De Niro makes his directorial debut with this production and, except for a little stiffness, does very well by the characters and their world. The story does not go precisely where one might expect it to go: Palminteri knows better than to force the central figure to choose between the two most important men in his life, and he doesn't fill time with stock drama about crime or family conflict. Joe Pesci makes an extremely effective and uncredited appearance at the end as a man who doesn't have to do more than speak softly to communicate how dangerous he is. --Tom Keogh
Stand and Deliver
by Ramón Menéndez
from Warner Home Video
Based on a true story, this inspiring American Playhouse production stars Edward James Olmos as a high school teacher who motivated a class full of East L.A. barrio kids to care enough about mathematics to pass an Advanced Placement Calculus Test. Not exactly a variation of To Sir, With Love, the film concerns itself with assumptions and biases held by mainstream authorities about disadvantaged kids, and Olmos's efforts to keep his students coolheaded enough to prove them wrong. Olmos, virtually unrecognizable as the pudgy, balding instructor, gives a career performance in this fine piece directed by Ramón Menéndez, and written by the director and Tom Musca. --Tom Keogh
Edward James Olmos's Oscar-nominated performance energizes this true-life story of a Los Angeles high school teacher who drives his students on to excellence at calculus.
Amores Perros
by Alejandro González Iñárritu
from Lions Gate
Amores Perros roughly translates to "Love's a bitch," and it's an apt summation of this remarkable film's exploration of passion, loss, and the fragility of our lives. In telling three stories connected by one traumatic incident, Mexican director Alejandro Gonzalez Inarritu uses an intricate screenplay by novelist Guillermo Arriaga to make three movies in close orbit, expressing the notion that we are defined by what we lose--from our loves to our family, our innocence, or even our lives. These interwoven tales--about a young man in love with his brother's pregnant wife, a perfume spokeswoman and her married lover, and a scruffy vagrant who sidelines as a paid killer--are united by a devastating car crash that provides the film's narrative nexus, and by the many dogs that the characters own or care for. There is graphic violence, prompting a disclaimer that controversial dog-fight scenes were harmless and carefully supervised, but what emerges from Amores Perros is a uniquely conceptual portrait of people whom we come to know through their relationship with dogs. The film is simultaneously bleak, cynical, insightful, and compassionate, with layers of meaning that are sure to reward multiple viewings. --Jeff Shannon
Requiem for a Dream (Director's Cut)
from Artisan
Employing shock techniques and sound design in a relentless sensory assault, Requiem for a Dream is about nothing less than the systematic destruction of hope. Based on the novel by Hubert Selby Jr., and adapted by Selby and director Darren Aronofsky, this is undoubtedly one of the most effective films ever made about the experience of drug addiction (both euphoric and nightmarish), and few would deny that Aronofsky, in following his breakthrough film Pi, has pushed the medium to a disturbing extreme, thrusting conventional narrative into a panic zone of traumatized psyches and bodies pushed to the furthest boundaries of chemical tolerance. It's too easy to call this a cautionary tale; it's a guided tour through hell, with Aronofsky as our bold and ruthless host.
The film focuses on a quartet of doomed souls, but it's Ellen Burstyn--in a raw and bravely triumphant performance--who most desperately embodies the downward spiral of drug abuse. As lonely widow Sara Goldfarb, she invests all of her dreams in an absurd self-help TV game show, jolting her bloodstream with diet pills and coffee while her son Harry (Jared Leto) shoots heroin with his best friend Tyrone (Marlon Wayans) and slumming girlfriend Marion (Jennifer Connelly). They're careening toward madness at varying speeds, and Aronofsky tracks this gloomy process by endlessly repeating the imagery of their deadly routines. Tormented by her dietary regime, Sara even imagines a carnivorous refrigerator in one of the film's most memorable scenes. And yet... does any of this have a point? Is Aronofsky telling us anything that any sane person doesn't already know? Requiem for a Dream is a noteworthy film, but watching it twice would qualify as masochistic behavior. --Jeff Shannon
Crash (Widescreen Edition)
by Paul Haggis
from Lions Gate
Movie studios, by and large, avoid controversial subjects like race the way you might avoid a hive of angry bees. So it's remarkable that Crash even got made; that it's a rich, intelligent, and moving exploration of the interlocking lives of a dozen Los Angeles residents--black, white, latino, Asian, and Persian--is downright amazing. A politically nervous district attorney (Brendan Fraser) and his high-strung wife (Sandra Bullock, biting into a welcome change of pace from Miss Congeniality) get car-jacked by an oddly sociological pair of young black men (Larenz Tate and Chris "Ludacris" Bridges); a rich black T.V. director (Terrence Howard) and his wife (Thandie Newton) get pulled over by a white racist cop (Matt Dillon) and his reluctant partner (Ryan Phillipe); a detective (Don Cheadle) and his Latina partner and lover (Jennifer Esposito) investigate a white cop who shot a black cop--these are only three of the interlocking stories that reach up and down class lines. Writer/director Paul Haggis (who wrote the screenplay for Million Dollar Baby) spins every character in unpredictable directions, refusing to let anyone sink into a stereotype. The cast--ranging from the famous names above to lesser-known but just as capable actors like Michael Pena (Buffalo Soldiers) and Loretta Devine (Woman Thou Art Loosed)--meets the strong script head-on, delivering galvanizing performances in short vignettes, brief glimpses that build with gut-wrenching force. This sort of multi-character mosaic is hard to pull off; Crash rivals such classics as Nashville and Short Cuts. A knockout. --Bret Fetzer
Stills from Crash (click for larger image)
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They all live in Los Angeles. And in the next 36 hours, they will collide.
Finding Forrester
by Gus Van Sant
from Sony Pictures
Finding Forrester could have been a shallow variant of The Karate Kid, congratulating itself for featuring a 16-year-old black kid from the South Bronx who's a brilliant scholar-athlete. Instead, director Gus Van Sant plays it matter-of-fact and totally real, casting a nonactor (Rob Brown) as Jamal, a basketball player and gifted student whose writing talent is nurtured by a famously reclusive author. William Forrester (Sean Connery) became a literary icon four decades earlier with a Pulitzer-winning novel, then disappeared (like J.D. Salinger) into his dark, book-filled apartment, agoraphobic and withdrawn from publishing, but as passionate as ever about writing. On a dare, Jamal sneaks into Forrester's musty sanctuary, and what might have been a condescending cliché--homeboy rescued by wiser white mentor--turns into an inspiring meeting of minds, with mutual respect and intelligence erasing boundaries of culture and generation.
Comparisons to Van Sant's Good Will Hunting are inevitable, but Finding Forrester is more honest and less prone to touchy-feely sentiment, as in the way Jamal and a private-school classmate (Anna Paquin) develop a mutual attraction that remains almost entirely unspoken. The film takes a conventional turn when Jamal must defend his integrity (with Forrester's help) in a writing contest judged by a skeptical teacher (F. Murray Abraham), but this ethical subplot is a credible catalyst for Forrester's most dramatic display of friendship. It's one of many fine moments for Connery and Brown (a screen natural), in a memorable film that transcends issues of race to embrace the joy of learning. --Jeff Shannon
Menace II Society
by Albert Hughes
from New Line Home Video
Tyrin Turner may not have broken out into stardom as was initially expected, but his work in Menace II Society is one of the more powerful cinematic debuts. The film, from the brother writer-director team of Allen and Albert Hughes, chronicles life in the Los Angeles 'hood. Similar territory was covered in the equally commanding Boyz N the Hood, but what makes this cautionary tale stand out is not only the Hughes brothers' forceful story, (written with their friend, Tyger Williams) and direction, but the naturalness of then-newcomer leads Turner as Caine, Larenz Tate as O-Dog, and Jada Pinkett as Ronnie. They are so credible--occasionally frighteningly so--that the repressive universe of violent ghetto life is captured effectively. Life as portrayed here--and no doubt accurately so--is both figuratively and literally narrow. As a very young boy, Caine witnesses his dad murdered over something inconsequential, and his mom OD. His is a world where respect comes from intimidation, power from violence. Despite his understanding of right and wrong (values passed on by a good friend, his kind grandparents, a caring teacher), his life and its entrapments are too much to overcome. --N.F. Mendoza
Directed by twin brothers, Allen and Albert Hughes, this critically acclaimed cinematic masterpiece brilliantly details real life in today's tough inner city. With the powerhouse performances by Tyrin Turner (Deep Cover), Larenz Tate (The Fresh Prince of Bel Air) and Jada Pinkett (A Different World), the film also features dynamite supporting roles by Charles S. Dutton (Roc) and Bill Duke (Predator).
DVD Features:
Interviews
Production Notes
Theatrical Trailer
A Raisin in the Sun
by Daniel Petrie
from Sony Pictures
Lorraine Hansberry's play is given sensitive treatment by filmmaker Daniel Petrie (The Bay Boy). Sidney Poitier heads a fine cast in the story of an African American family in Chicago who are struggling with mixed aspirations, not enough money, conflicts over religion, and institutional racism. The film is pretty much set-bound (as plays adapted for the screen sometimes are), but the drama is intense and moving. --Tom Keogh
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