Double Life

The Long Kiss Goodnight

A violent tale of a young mother who awakens after years of amnesia to discover she's an assassin with her former bosses in hot pursuit.Running Time: 120 min.System Requirements:Starring: Geena Davis Samuel Jackson Director: Renny Harlin Produced by Renny Harlin Stephanie Austin; written by Shane Black; running time of 120 minutes; Closed Captioned. Copyright: 1996 New Line Interactive Menus Languages: English and French Subtitles: English French and Spanish High-quality Dolby Digital multi-channel surround sound Original theatrical trailer Background information on the stars Standard version formatted from its original version to fit your screen Widescreen version presented in a "letterbox" widescreen format preserving the 2.35:1 aspect ratio of its original theatrical exhibition English: Dolby Digital 5.1 French: StereoFormat: DVD MOVIE Genre: ACTION/ADVENTURE/THRILLERS Rating: R UPC: 794043444623

Geena Davis and her former husband, director Renny Harlin, attempted to pick up the pieces after the debacle of their box-office disaster, Cutthroat Island. What they came up with was this repulsive ode to American film noir, based on a script by Shane Black (Lethal Weapon) about an amnesiac schoolteacher (Davis) who searches for her true identity and finds she is actually a secret agent immersed in a deadly plot to topple the government. Mechanistic in its violence, obnoxious in its attitude, the film makes Davis, a once-promising actress, nothing more than a special effect. She tosses one to sadists in the audience by allowing her character to be beaten, punched unconscious, and tortured. The DVD release has optional full-screen and widescreen presentations, plus Dolby surround sound, theatrical trailer, cast information, optional French-language soundtrack and optional Spanish subtitles. --Tom Keogh

Shadow of a Doubt

Alfred Hitchcock considered this 1943 thriller to be his personal favorite among his own films, and although it's not as popular as some of Hitchcock's later work, it's certainly worthy of the master's admiration. Scripted by playwright Thornton Wilder and inspired by the actual case of a 1920's serial killer known as "The Merry Widow Murderer," the movie sets a tone of menace and fear by introducing a psychotic killer into the small-town comforts of Santa Rosa, California. That's where young Charlie (Teresa Wright) lives with her parents and two younger siblings, and where murder is little more than a topic of morbid conversation for their mystery-buff neighbor (Hume Cronyn). Charlie was named after her favorite uncle, who has just arrived for an extended visit, and at first Uncle Charlie (Joseph Cotten) gets along famously with his admiring niece. But the film's chilling prologue has already revealed Uncle Charlie's true identity as the notorious Merry Widow Murderer, and the suspense grows almost unbearable when young Charlie's trust gives way to gradual dread and suspicion. Through narrow escapes and a climactic scene aboard a speeding train, this witty thriller strips away the façade of small-town tranquility to reveal evil where it's least expected. And, of course, it's all done in pure Hitchcockian style. --Jeff Shannon

The Newton family lead a quiet life in the North California town of Santa Rosa. The Newton's eldest daughter 'young Charlie' decides that things need brightening up and resolves to contact her Uncle Charlie (after whom she is named) and invite him to stay. On arrival at the telegraph office she discovers he is already on his way. However Uncle Charlie is being pursued by a couple of detectives who suspect him of being "The Merry Widow Murderer" an evil strangler wanted in connection with the deaths of several rich East coast widows.System Requirements:Features: Beyond Doubt: The Making of Hitchcock's Favorite Film Production Drawings by Art Director Robert Boyle Production Photographs Theatrical Trailer Production Notes Running Time: 118 MinFormat: DVD MOVIE Genre: ACTION/ADVENTURE/THRILLERS Rating: PG UPC: 025192831324 Manufacturer No: 28313

Strangers on a Train

Strange thing about this trip. So much occurs in pairs. Tennis star Guy (Farley Granger) hates his unfaithful wife. Mysterious Bruno (Robert Walker) hates his father. How perfect for a playful proposal: I'll kill yours you kill mine. Now look at how Alfred Hitchcock reinforces the duality of human nature. The more you watch the more you'll see. "Isn't it a fascinating design?" the Master of Suspense often asked. Actually it's doubly fascinating. Hitchcock left behind two versions of Strangers on a Train. The original version (Side A) is an all-time thriller classic. A recently found longer prerelease British print (Side B) offers "a startling amplification of Bruno's flamboyance his homoerotic attraction to Guy and his psychotic personality" according to Bill Desowitz of Film Comment. The laying bare of Bruno's hidden nature along with the great set pieces (head-turning tennis match disintegrating carousel) and suspense as only Hitchcock can deliver makes for a first-class trip.Running Time: 102 min.Format: DVD MOVIE Genre: DRAMA UPC: 085391532422

From its cleverly choreographed opening sequence to its heart-stopping climax on a rampant carousel, this 1951 Hitchcock classic readily earns its reputation as one of the director's finest examples of timeless cinematic suspense. It's not just a ripping-good thriller but a film student's delight and a perversely enjoyable battle of wits between tennis pro Guy (Farley Granger) and his mysterious, sycophantic admirer, Bruno (Robert Walker), who proposes a "criss-cross" scheme of traded murders. Bruno agrees to kill Guy's unfaithful wife, in return for which Guy will (or so it seems) kill Bruno's spiteful father. With an emphasis on narrative and visual strategy, Hitchcock controls the escalating tension with a master's flair for cinematic design, and the plot (coscripted by Raymond Chandler) is so tightly constructed that you'll be white-knuckled even after multiple viewings. Better still, the two-sided DVD edition of this enduring classic includes both the original version of the film and also the longer prerelease British print, which offers a more overt depiction of Bruno's flamboyant and dangerous personality, and his homoerotic attraction to Guy by way of his deviously indecent proposal. In accordance with the cautious censorship guidelines of the period, Hitchcock would later tame these elements of Walker's memorable performance by trimming and altering certain scenes, so the differences between the original and prerelease versions provide an illuminating illustration of censorship's effect on the story's thematic intensity. Beyond all the historical footnotes and film-buff fascination, Strangers on a Train remains one of Hitchcock's crowning achievements and a suspenseful classic that never loses its capacity to thrill and delight. --Jeff Shannon

Malice

Movie critic Roger Ebert made this amusing observation about Malice: "This is the only movie I can recall in which an entire subplot about a serial killer is thrown in simply for atmosphere." He's referring to the fact that this hokey but highly charged thriller is so packed with plot twists and red herrings that you'll soon find yourself so confused that you just have to sit back and hope that it will all make sense by the time the credits roll. It never does make much sense, but the movie at least has the look, feel, and twisted momentum of a really good thriller, and the talent on both sides of the camera is pretty impressive. Alec Baldwin plays a hot-shot surgeon who meets up with an old med-school buddy (Bill Pullman), whose wife (Nicole Kidman) has no objections when Baldwin moves into the upstairs room of their New England Victorian home. The situation's ripe for intrigue, suspicion, temptation, emergency surgery, legal proceedings, and just about anything else you'd find in a movie that desperately struggles to out-Hitchcock Hitchcock. Talk about McGuffins--this movie's chock full of 'em! When the plot thickens to the consistency and clarity of quicksand, you can still enjoy the darkly stylish work of master cinematographer Gordon Willis--or you can check out director Harold Becker's more coherent thriller Sea of Love. With Kidman and Baldwin working up a steamy lather, this one's just fun enough to be an agreeable waste of time. --Jeff Shannon

What happens when you open your home to someone who's gutsier than you, more devious than you and crafty enough to steal your life right out from under you? Plenty of Malice. Starring Alec Baldwin, Nicole Kidman and Bill Pullman and boasting an excellent supporting cast (The New York Times) that includes OscarÂ(r) winners* Gwyneth Paltrow and Anne Bancroft, this bold, riveting thriller is deviously entertaining (The New York Times). Easy-going college dean Andy Safian's (Pullman) quiet New England world has just been terribly disrupted. Two coeds have been raped, a third has been killed and the police are beginning to suspect him! At home, bills are pilingup, his wife (Kidman) is developing severe stomach cramps and the new tenanta devilishly handsome surgeon (Baldwin)is regularly entertaining nurses late into the night. Little does Andy know that all of these events are related and that he's about to be blindsided by something more daring and deadly than anything he could have ever imagined! *Paltrow: Actress, Shakespeare in Love (1998); Bancroft: Actress, The Miracle Worker (1962)

Arlington Road

It's easy to understand why Arlington Road sat on the studio shelf for nearly a year. No, the film isn't awful; rather, it's an extremely edgy and ultimately bleak thriller that offers no clear-cut heroes or villains. In other words, Hollywood had no idea how to sell it. Director Mark Pellington's underrated directorial debut, Going All the Way, suffered the same fate, essentially because the filmmaker's presentation of suburban America often shifts dramatically within the same film. Characters are usually miserable and bordering on meltdown, no situation is straightforward, and things usually end badly. Arlington Road begins as an astute study of suburban paranoia. Michael Faraday (a face-pinched Jeff Bridges, who spends most of the film on the brink of tears) is a college professor who teaches American history courses on terrorism. He's been a conspiracy freak since his wife, an FBI agent, was killed during a botched raid that feels like a thinly fictionalized reference to the Waco tragedy. After saving the life of his next-door neighbor's child, he initially befriends the family (Tim Robbins and Joan Cusack), but soon believes the husband is a terrorist. The first half of the film mocks Faraday: he has no real evidence and is not the most stable of protagonists. Despite the fact that it was government paranoia that got his wife killed, Faraday repeats the same type of behavior. Pellington shifts gears in the second half, however, and for awhile, it seems that the film has simultaneously sunk into a cheap, high-octane brand of Hollywood entertainment and undermined its own point. Arlington Road, though, possesses a stunning ending that's a real gut punch, one that may leave you needing a second viewing to catch all of its smartly executed setup. --Dave McCoy

The Impossible Spy

Based on the true story of Elie Cohen, Israel's national hero, whose daring mission took him from Argentina to Damascus where he successfully entered the upper echelons of the Syrian government. The secrets he obtained became crucial in Israel's victory in the 1967 Six-Day War. A portrait of spies and spying that is as chilling as it is compelling, and as riveting as any James Bond adventure. The legendary Elie Cohen was persuaded to become a secret agent and ended up leading a double life -- as a mild-mannered husband and father in Israel, and as a wealthy businessman who infiltrated the highest levels of the Syrian government. Incredibly, Cohen was so successful that he was nominated to be the Defense Minister of Syria.

The story begins in 1959. Cohen was a family man leading a quiet, normal life working as an accountant in Tel Aviv when he is recruited by Israel's Mossad secret service and assigned a mission that would forever change his life, and the history of Israel.

2005 was the 40th anniversary year of Elie Cohen's death (May 18, 1965)

June 5-11, 2007 will be the 40th Anniversary of The Six-Day War--for which Elie Cohen's mission was substantially responsible for the quick victory.

- Awards -

The Impossible Spy won the ACE Award for Best Original Score. The same year, the film received four ACE Award Nominations for Outstanding Programming Achievement:
1. Best Dramatic or Theatrical Special ("The Impossible Spy")
2. Best Directing of a Dramatic or Theatrical Special (Jim Goddard)
3. Best Writing of a Dramatic Special (Marty Ross and Douglas Livingstone)
4. Best Original Score (Richard Hartley)

Crimes of Passion

The crazy man of British film, Ken Russell (Women in Love, Whore), hit the apex of guilty-pleasure absurdity with Crimes of Passion, a dark if pointed (and ultimately poignant) walk on the wild side. Although this schizophrenic, neon-blurred traipse through the red-light district of Los Angeles, courtesy of hooker and guide China Blue (Kathleen Turner), never made much money at the box office, it still managed to eke out a cult following. Barry Sandler's script felt a lot like a play with its rather stilted (but furiously funny) dialogue between Turner and Anthony Perkins, who plays an obsessed and crazed stalker/reverend who believes he is China Blue's savior. Their story is contrasted against that of Bobby Grady (John Laughlin), who is married to the materialistic Amy (Annie Potts). After taking a second job as a private investigator for a dress manufacturer who thinks his lead designer, Joanna Crane (Turner again), is selling patterns to a rival, Bobby becomes mired in a netherworld he never imagined. But it's Bobby who becomes Joanna/China Blue's true savior; it seems Joanna's husband cheated on her and she created the alter ego, China Blue, in order to control her world by making men dependent on her sexuality. The facade cracks after Bobby hits the scene. Russell's film is bawdy and even daring, and the unrated version on DVD features a couple of scenes (one with China Blue, a cop, and his nightstick, as well as some flashes of pornography) that were not included in the film's original release. Also for die-hard fans, Sandler originally ended the script at a more ambiguous place in the climactic scene in Joanna's apartment. An "epitaph" with Bobby at an encounter group was added to appease the distributor, who wanted a more upbeat, "Hollywood" conclusion. Sandler's original idea gave the film a real wallop, but despite the change, Crimes of Passion remains an original camp classic. --Paula Nechak

Blown Away

Before he made the man-eating lion thriller The Ghost and the Darkness and the special- effects-laden Lost in Space, director Stephen Hopkins helmed this ludicrous and critically panned thriller pitting a cop on the Boston Police bomb squad (Jeff Bridges) against a mad Irish bomber (Tommy Lee Jones) who's still holding a grudge from their early years in the Irish Republican Army. A showcase for the explosive skills of demolitions experts, Blown Away has got some impressive action sequences, although the story is somewhat convoluted and mean-spirited. Suzy Amis (Titanic) costars as Bridges's endangered girlfriend, who becomes a target of Jones's destructive scheme. --Jeff Shannon

Strangers on a Train (Two-Disc Special Edition)

Strange thing about this trip. So much occurs in pairs. Tennis star Guy (Farley Granger) hates his unfaithful wife. Mysterious Bruno (Robert Walker) hates his father. How perfect for a playful proposal: I'll kill yours you kill mine. Now look at how Alfred Hitchcock reinforces the duality of human nature. The more you watch the more you'll see. "Isn't it a fascinating design?" the Master of Suspense often asked. Actually it's doubly fascinating. Hitchcock left behind two versions of Strangers on a Train. The original version (Side A) is an all-time thriller classic. A recently found longer prerelease British print (Side B) offers "a startling amplification of Bruno's flamboyance his homoerotic attraction to Guy and his psychotic personality" according to Bill Desowitz of Film Comment. The laying bare of Bruno's hidden nature along with the great set pieces (head-turning tennis match disintegrating carousel) and suspense as only Hitchcock can deliver makes for a first-class trip.Running Time: 101 min.Format: DVD MOVIE Genre: DRAMA UPC: 085393197520

From its cleverly choreographed opening sequence to its heart-stopping climax on a rampant carousel, this 1951 Hitchcock classic readily earns its reputation as one of the director's finest examples of timeless cinematic suspense. It's not just a ripping-good thriller but a film student's delight and a perversely enjoyable battle of wits between tennis pro Guy (Farley Granger) and his mysterious, sycophantic admirer, Bruno (Robert Walker), who proposes a "criss-cross" scheme of traded murders. Bruno agrees to kill Guy's unfaithful wife, in return for which Guy will (or so it seems) kill Bruno's spiteful father. With an emphasis on narrative and visual strategy, Hitchcock controls the escalating tension with a master's flair for cinematic design, and the plot (coscripted by Raymond Chandler) is so tightly constructed that you'll be white-knuckled even after multiple viewings. Strangers on a Train remains one of Hitchcock's crowning achievements and a suspenseful classic that never loses its capacity to thrill and delight. --Jeff Shannon

The Big Clock (Universal Noir Collection)

What if you were asked to investigate a murder in which you were the prime suspect? From this seemingly impossible notion comes a grandly entertaining nail-biter. Charles Laughton plays the punctuality obsessed, slave-driving head of a publishing empire who won't let his crime magazine's star editor (Ray Milland) take a day off to spend with his family. The overworked Milland, having just upset a delayed honeymoon trip for the umpteenth time, goes on a sorrow-drowning, bar-hopping bender with a mysterious woman who, it turns out, is Laughton's mistress. Later that night after Milland has gone home, Laughton murders her, and the next day he assigns Milland to investigate, since a number of clues point to her having spent time with another man that night. Milland, then, must not only find the real murderer but sidetrack the investigation away from himself. That both characters are solving the crime in tandem yet unwittingly working toward pinning the murder on each other is at the heart of The Big Clock's labyrinthine brilliance. Helping bring out the dark humor in this adaptation of Kenneth Fearing's noir novel (included in the Library of America's Crime Novels collection) is Elsa Lanchester as a high-strung painter who can sketch the prime suspect (Milland), a time-bomb plot device that only adds to the already unbearable suspense. This is a taut, lean thriller, superbly handled by director John Farrow, who never fails to remind his audience through repeated use of clocks, timepieces, and watches that all too often in our lives that ticking sound is the enemy. This was remade in 1987 with Kevin Costner as No Way Out. --Robert Abele