Infidelity & Betrayal

Lie With Me

Controversial brave and extremely sexually explicit Clement Virgo's LIE WITH ME examines the often raw relationship between David (Eric Balfour) and Leila (Lauren Lee Smith) two emotionally damaged young people living in Toronto. Each feels trapped in a bleak life and attempts to find some kind of escape with the other.System Requirements:Running Time 93 Mins.Format: DVD MOVIE Genre: DRAMA Rating: NR UPC: 821575534154 Manufacturer No: TF-53415

Shot in sunny Toronto and set to a dreamy score, Lie With Me looks and sounds like an art film, but the end result isn't quite so lofty. The plot is thin and the dialogue superfluous, but no matter--Canada's Clément Virgo (Love Come Down) just wants to turn you on and he has enlisted two attractive, uninhibited young performers to assist in his aims. Leila (Lauren Lee Smith, The L Word) and David (Eric Balfour, Six Feet Under) meet at a party. He's with his girlfriend, but finds himself drawn to her. The feeling is mutual. She's alone, but quickly finds an unattached hipster with whom to have a tryst. David catches her in the act. Instead of turning away, he watches. They start seeing each other immediately afterwards. "I'm not hooked on danger, [I'm] hooked on sex," Leila claims, but she isn't exactly the most trustworthy narrator. She wants a purely physical relationship, while David wants something more. They return to their old lives, but the obsession refuses to die. Based on the novella by Virgo's partner, Tamara Berger, Lie With Me plays like a low-budget cross between Adrian Lyne's overrated 9 1/2 Weeks and Wayne Wang's underrated The Center of the World. --Kathleen C. Fennessy

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.

The Dreamers (Original Uncut NC-17 Version)

A love letter to movies (and the French new wave of the 1960s in particular), Bernardo Bertolucci's The Dreamers starts with a 1968 riot outside of a Parisian movie palace then burrows into an insular love triangle. Matthew (Michael Pitt, Hedwig and the Angry Inch), an expatriate American student, bonds with a twin brother and sister, Isabelle (Eva Green) and Theo (Louis Garrel), over their mutual love of film--they not only quote lines of dialogue, they act out small bits and challenge each other to name the cinematic source. Matthew suspects the twins of incest, but that doesn't stop him from falling into his own intimacies with Isabelle. As the threesome becomes threatened, Paris succumbs to student riots. The Dreamers aspires to be kinky, but the results are more decorative than decadent; nonetheless, the movie's lively energy recalls the careless and vital exuberance of Godard and Truffaut. --Bret Fetzer

From Academy Award®-winning director Bernardo Bertolucci (The Last Emperor, 1987), comes an erotic tale of three young film lovers brought together by their passion for movies -- and each other. When Isabelle and Theo (Eva Green, Louis Garrel) invite Matthew (Michael Pitt) to stay with them, what begins as a casual friendship ripens into a sensual voyage of discovery and desire in which nothing is off limits and anything is possible. Featuring an engaging, seductive cast, The Dreamers is a ?spellbinding, provocative feast!" (Ebert & Roeper)

French Kiss

Kate flies to Paris to keep her fiance from running off with a French woman, but becomes involved with a sexy French thief who assures her he will help.
Genre: Feature Film-Drama
Rating: PG13
Release Date: 11-JAN-2005
Media Type: DVD

Meg Ryan emerges bloodied but unbowed from this botched comedy by Lawrence Kasdan (The Big Chill). Ryan plays a woman whose fiancé (Timothy Hutton) leaves her for a Parisian beauty. She jets over to the City of Lights to fight for her man, but an incapacitating fear of flying forces her to seek help from a fellow passenger, a French thief played by Kevin Kline, who then tutors her in the ways of getting her beau back. Kasdan seems incapable of pacing the story, let alone getting a firm grip on its comic tone and intentions. The production sputters and regroups and stalls repeatedly, forcing Ryan, particularly, to find the boundaries of her own screwball performance. --Tom Keogh

Brokeback Mountain (Widescreen Edition)

Brokeback Mountain is a sweeping epic that explores the lives of two young men a ranch hand and a rodeo cowboy who meet in the summer of 1963 and unexpectedly forge a lifelong connection. The complications joys and heartbreak they experience provide a testament to the endurance and power of love. Heath Ledger and Jake Gyllenhaal deliver emotionally charged remarkably moving performances in "a movie that is destined to become one of the great classics of our time" (Clay Smith The Insider).Format: DVD MOVIE Genre: DRAMA Rating: R UPC: 025192631528 Manufacturer No: 26315

A sad, melancholy ache pervades Brokeback Mountain, Ang Lee's haunting, moving film that, like his other movies, explores societal constraints and the passions that lurk underneath. This time, however, instead of taking on ancient China, 19th-century England, or '70s suburbia, Lee uses the tableau of the American West in the early '60s to show how two lovers are bound by their expected roles, how they rebel against them, and the repercussions for each of doing so--but the romance here is between two men. Ennis Del Mar (Heath Ledger) and Jack Twist (Jake Gyllenhaal) are two itinerant ranchers looking for work in Wyoming when they meet and embark on a summer sheepherding job in the shadow of titular Brokeback Mountain. The taciturn Ennis, uncommunicative in the extreme, finds himself opening up around the gregarious Jack, and the two form a bond that surprisingly catches fire one cold night out in the wilderness. Separating at the end of the summer, each goes on to marry and have children, but a reunion years later proves that, if anything, their passion for each other has grown significantly. And while Jack harbors dreams of a life together, the tight-lipped Ennis is unable to bring himself to even consider something so revolutionary.

Its open, unforced depiction of love between two men made Brokeback an instant cultural touchstone, for both good and bad, as it was tagged derisively as the "gay cowboy movie," but also heralded as a breakthrough for mainstream cinema. Amidst all the hoopla of various agendas, though, was a quiet, heartbreaking love story that was both of its time and universal--it was the quintessential tale of star-crossed lovers, but grounded in an ever-changing America that promised both hope and despair. Adapted by Larry McMurtry and Diana Ossana from Annie Proulx's short story, the movie echoes the sparse bleakness of McMurtry's The Last Picture Show with its fading of the once-glorious West; but with Lee at the helm, it also resembles The Ice Storm, as it showed the ripple effects of a singular event over a number of people. As always, Lee's work with actors is unparalleled, as he elicits graceful, nuanced performances from Michelle Williams and Anne Hathaway as the wives affected overtly and subliminally by their husbands' affair, and Gyllenhaal brings surprising dimensions to a character that could have easily just been a puppy dog of a boy. It's Ledger, however, who's the breakthrough in the film, and his portrait of an emotionally repressed man both undone and liberated by his feelings is mesmerizing and devastating. Spare in style but rich with emotion, Brokeback Mountain earns its place as a classic modern love story. --Mark Englehart

The Crucible

The Salem witch hunts are given a new and nasty perspective when a vengeful teenage girl uses superstition and repression to her advantage, creating a killing machine that becomes a force unto itself. Pulsating with seductive energy, this provocative drama is as visually arresting as it is intellectually engrossing. Arthur Miller based his classic 1953 play on the actual Salem witch trials of 1692, creating what has since become a durable fixture of school drama courses. It may look like a historical drama, but Miller also meant the work as a parable for the misery created by the McCarthy anti-Communist hearings of the 1950s. This searing version of his drama delves into matters of conscience with concise accuracy and emotional honesty. Three passionate cheers for Miller, director Nicholas Hytner, and costars Daniel Day-Lewis and Winona Ryder. --Rochelle O'Gorman

The Salem witch trials of 1692 are brought vividly to life in this compelling adaptation of Arthur Miller's play, directed by Nicholas Hytner ("The Madness of King George"). A group of teenage girls meet in the woods at midnight for a secret love-conjuring ceremony. While the other girls attempt to cast love spells, Abigail Williams (Winona Ryder) wishes for the death of her former lover's (Daniel Day-Lewis) wife. When their ceremony is witnessed by the town minister, the girls suddenly find themselves accused of witchcraft. Soon the entire village is consumed by cries of witchcraft, and as the hysteria grows, blameless victims are torn from their homes, leading to a devastating climax.

The Red Violin

Mounted in high lavish style, from the opening strains to coda, The Red Violin pays homage to the careful uses of color and composition without bothering to support these qualities with any real substance. Oh, it's a class act on the surface all the way, while failing on nearly every other level to convince. The story tells the story, revealing precious little else. The 17th-century Cremonese instrument-maker Niccolo Bussotti finishes his final violin with a curious red varnish, the secret of which spans the film, yet will come as a surprise only to the very sleepy. The odd voyage of this unique violin through history is then explored from one episode to the next, from child prodigy to gypsies to Victorian virtuoso to a clandestine enclave of art lovers in Shanghai during the Cultural Revolution. This is all framed by the violin's rediscovery in present day by instrument appraiser Charles Morritz (Samuel L. Jackson), for whom the perfect instrument strikes a resonant chord. The main scheme of the film, an object connecting a number of seemingly disparate stories, has been used many times, most notably in Max Ophuls's La Ronde. But while this approach is employed elsewhere to cause one scene to reverberate against another, The Red Violin is content to leave each episode thematically unconnected with any of the others. On the decorative level, the film may satisfy many viewers with its sensuous attention to tone and detail, as well as its eclectic and expertly performed score. But as narrative it is very slight. Just pierce the pretty crust of this puff pastry and gaze in wonder at the pocket of air within. --Jim Gay

The Blue Max

The Blue Max is highly unusual among Hollywood films, not just for being a large-scale drama set during the generally overlooked World War I, but in concentrating on air combat as seen entirely from the German point of view. The story focuses on a lower-class officer, Bruno Stachel (George Peppard), and his obsessive quest to win a Blue Max, a medal awarded for shooting down 20 enemy aircraft. Around this are subplots concerning a propaganda campaign by James Mason's pragmatic general, rivalry with a fellow officer (Jeremy Kemp), and a love affair with a decadent countess (Ursula Andress).

As directed by John Guillermin (who later made The Battle of Britain in 1969), the film's main assets are epic production values, great flying scenes, and stunning dogfights. The weak point is the sometimes ponderous character drama, not helped by Peppard, who is too lightweight an actor to convince as the driven antihero. Clearly influenced by Kubrick's Paths of Glory (1958), The Blue Max is a cold, cynical drama offering a visually breathtaking portrait of a stultified society tearing itself apart during the final months of the Great War. --Gary S. Dalkin

The "Blue Max", a coveted medal for achievement in flying, is ruthlessly sought by Peppard, a poor-boy german soldier who climbs out of the trenches and into the aristorcratic air force. He is met with prejudice by the other contestants, wealthy snobs who

The Horse Whisperer

After a terrible accident, Grace retreats into silence & her horse, Pilgrim, is driven mad by pain. Her mother gambles that a healer, a horse whisperer, can heal both Pilgrim and her daughter.
Genre: Feature Film-Drama
Rating: PG13
Release Date: 2-SEP-2003
Media Type: DVD

Although it's best viewed on a big theatrical screen to take full advantage of Robert Richardson's breathtaking widescreen cinematography, it seems likely that most people will see this classy romance in the comfort of their own homes. Adapted from the bestseller by Nicholas Evans and directed by Robert Redford, the film did respectable business at the box-office, but it was too sprawling and too soapy to be a bona fide hit. Redford stars as the title character, a Montana rancher named Tom Booker, who possesses the specialized talent of healing traumatized horses through careful and affectionate rehabilitation. He gets his most challenging case when he's sought out by a fast-lane New York magazine editor (Kristin Scott Thomas, in a role modeled after former New Yorker editor Tina Brown) whose daughter (Scarlett Johansson) was injured and traumatized by an accident that nearly killed her favorite horse. When mother, daughter, and horse arrive at Booker's ranch, the big-city editor falls in love with the serene rancher and faces the painful decision of whether to stay in Montana or return to her husband (Sam Neill) in New York. Some may find this to be much ado about nothing, and comparisons to The Bridges of Madison County are inevitable, but Redford's directorial approach offers the kind of graceful stature, tenderness, and intelligence required to elevate the simple story. The film takes all the time it needs to let its characters heal and make their important decisions, and that alone makes it a refreshing alternative to the frantic pace of most big-studio productions. --Jeff Shannon

Ryan's Daughter (Two-Disc Special Edition)

In 1970, Ryan's Daughter had the distinction of being the first David Lean film to be included in Playboy magazine's annual "Sex in the Cinema" round-up, thanks to a back-to-nature sex scene that earned the film its R rating. This old-school epic went on to win two Academy Awards for Best Cinematography and Best Supporting Actor for a grotesquely made-up John Mills as the cruelly put-upon village simpleton. But the years have not been quite kind to Ryan's Daughter. This brooding and storm-tossed epic is lovely to look at, but hard to hold with its miscast principles and unsympathetic characters. The film is set in 1916 in a British-occupied Irish village on the seacoast of Western Ireland. Lean's Ireland is a world apart from the colorful characters and close-knit community of John Ford's The Quiet Man. The village is populated by hooligans, slatterns, and traitors. No wonder the local priest (Trevor Howard) is compelled to haul off and slap several of his parishioners, including Rosy Ryan, the dreamy-eyed romantic daughter of the local "publican." The "graceless gal," as the priest calls her, is married to "a good man," a middle-aged local schoolteacher (a cast-against-type Robert Mitchum). She has enough money, and she has her health. But it's not enough, she declares. Enter--at the film's hour mark--a shell-shocked British officer (Christopher Jones) with whom she enjoys an illicit and scandalous affair that offers the promise of the "satisfaction of the flesh" for which she yearns. Ryan's Daughter reunited Lean with Robert Bolt, the screenwriter of Lawrence of Arabia and Doctor Zhivago. Alas, the third time was not quite the charm. Miles and Jones generate little heat and Rosy's heedless behavior rouses even less audience empathy. Little in Maurice Jarre's sweeping score equals the high notes of his Oscar-winnings scores for Lawrence or Zhivago. But the landscapes, magnificent and foreboding, cast a ravishing spell of their own. Ryan's Daughter, too, will be embraced by those who have a soft spot in their hearts for love stories set against the backdrop of historical events and this Hollywood epic that in the year of M*A*S*H and Five Easy Pieces, was stubbornly out of style. --Donald Liebenson

On the DVD
This two-disc special edition would seem to be everything for which champions of Ryan's Daughter would wish. It presents the film in its original 206-minute running time, and preserves the original aspect ratio of the theatrical 70mm presentation. The audio commentary views the film from a variety of perspectives, including Miles, Lean's widow, Lean's biographer, Robert Mitchum's daughter, and directors John Boorman and Hugh Hudson. These and others are also featured in an illuminating new three-part documentary, "The Making of Ryan's Daughter," which also features archival interviews with Lean, and is candid enough to address the film's less-than-welcome reception with critics and audiences. Rounding out this set are two period documentaries that went behind the scenes of the production. --Donald Liebenson

Lovely, headstrong Rosy (Sarah Miles) cannot forsake her passionate romance with the handsome British officer (Christopher Jones). Yet there is a greater love ? the devotion of her reserved schoolteacher husband Charles (Robert Mitchum), who stands by Rosy when her illicit affair leads to a charge of treason. Two honored alumni of Lawrence of Arabia and Doctor Zhivago director David Lean and screenwriter Robert Bolt frame this brooding tale within the expansive beaches, craggy cliffs and heathered hills of Ireland's Dingle Peninsula. Freddie Young's lush cinematography and John Mills' memorable portrayal of a town simpleton won Academy Awards.* The remarkable movie containing them casts a haunting spell.

DVD Features:
Audio Commentary:Commentary by: Lady Sandra Lean, Sarah Miles, Trine Mitchum (Robert Mitchum?s Daughter), Assistant Director Michael Stevenson, Second Unit Director Roy Stevens, Art Director Roy Walker, Assistant Editor Tony Lawson, Location Manager Eddie Fowlie, Stuntman Vic Armstrong, Biographer Stephen M. Silverman, Directors John Boorman, Hugh Hudson and Richard Schickel
Theatrical Trailer
Documentaries:Vintage Documentaries: Ryan?s Daughter: A Story of Love; Film Night: We?re the Last of the Traveling Circuses
Documentary:The Making of Ryan?s Daughter (A 4-Part 35th-Anniversary Documentary): Storm Rising, Storm Chaser, Storm Catcher, The Eye of the Storm