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Three Days of the Condor

Robert Redford and Sydney Pollack continued their longtime collaboration (the actor and director have worked together on Jeremiah Johnson, The Way We Were, The Electric Horseman, and Out of Africa, among other films) with this taut spy drama. Redford plays a reader for U.S. intelligence who becomes a hunted man after he is not among the victims of a mass murder of his colleagues. Faye Dunaway does solid work as the frightened and mystified woman whom he forces to conceal him, and Max von Sydow is appropriately cool as a professional assassin. That same, sustained tone of danger and expectation that made Pollack's The Firm so much fun can be found in this 1975 thriller, albeit with an appropriate dose of post-Watergate paranoia. --Tom Keogh

The Pelican Brief

Another John Grisham legal thriller comes to the screen, pairing Denzel Washington and Julia Roberts in a film directed by Alan J. Pakula, who is known for dark-hued suspense pictures such as Klute, The Parallax View,All the President's Men, and Presumed Innocent. The Pelican Brief isn't up to the level of those films, but it is a perfectly entertaining movie about a law student (Roberts) whose life is endangered when she discovers evidence of a conspiracy behind the killings of two Supreme Court justices. She enlists the help of an investigative reporter (Washington) and the two become fugitives. The charisma and chemistry of the leads goes a long way toward compensating for the story's shortcomings, as does a truly impressive supporting cast that includes Sam Shepard, John Heard, James B. Sikking, Tony Goldwyn, Stanley Tucci, Hume Cronyn, John Lithgow, William Atherton, and Robert Culp. --Jim Emerson

A New Orleans law student finds herself embroiled in a terrifying web of intrigue extending to the highest levels of government after she writes a speculative legal brief exposing the activities of a powerful oil magnate.

The Sixth Sense (Collector's Edition Series)

A boy who communicates with spirits that don't know they're dead seeks the help of a disheartened child psychologist.
Genre: Horror
Rating: PG13
Release Date: 6-MAY-2003
Media Type: DVD

"I see dead people," whispers little Cole Sear (Haley Joel Osment), scared to affirm what is to him now a daily occurrence. This peaked 9-year old, already hypersensitive to begin with, is now being haunted by seemingly malevolent spirits. Child psychologist Malcolm Crowe (Bruce Willis) is trying to find out what's triggering Cole's visions, but what appears to be a psychological manifestation turns out to be frighteningly real. It might be enough to scare off a lesser man, but for Malcolm it's personal--several months before, he was accosted and shot by an unhinged patient, who then turned the gun on himself. Since then, Malcolm has been in turmoil--he and his wife (Olivia Williams) are barely speaking, and his life has taken an aimless turn. Having failed his loved ones and himself, he's not about to give up on Cole.

This third feature by M. Night Shyamalan sets itself up as a thriller, poised on the brink of delivering monstrous scares, but gradually evolves into more of a psychological drama with supernatural undertones. Many critics faulted the film for being mawkish and New Age-y, but no matter how you slice it, this is one mightily effective piece of filmmaking. The bare bones of the story are basic enough, but the moody atmosphere created by Shyamalan and cinematographer Tak Fujimoto made this one of the creepiest pictures of 1999, forsaking excessive gore for a sinisterly simple feeling of chilly otherworldliness. Willis is in his strong, silent type mode here, and gives the film wholly over to Osment, whose crumpled face and big eyes convey a child too wise for his years; his scenes with his mother (Toni Collette) are small, heartbreaking marvels. And even if you figure out the film's surprise ending, it packs an amazingly emotional wallop when it comes, and will have you racing to watch the movie again with a new perspective. You may be able to shake off the sentimentality of The Sixth Sense, but its craftsmanship and atmosphere will stay with you for days. --Mark Englehart

Laura (Fox Film Noir)

This silky smooth film noir pits gruff police detective Dana Andrews, stiff and blunt in his street-bred manners, against a cultured columnist and acidic wit (Clifton Webb at his prissiest) in a battle of wits during a murder investigation. The cop is a romantic hiding under a hard-boiled exterior who falls in love with the beautiful victim through the portrait that hangs in her apartment. Gene Tierney, whose heart-shaped face mixes the exotic with the girl next door, brings the poise and calm of a model to her role as the object of every man's gaze and the target of a killer. Laura, handsomely shot in dreamy black and white, is the first and best of Otto Preminger's cool, controlled murder mysteries. In the gritty world of film noir it remains the most refined and elegant example of the genre, but under the tasteful decor and high-society fashions lies a world seething in jealousy, passion, blackmail, and murder. Vincent Price costars as a blithe gigolo and David Raksin's lush theme has become a wistful romantic standard. --Sean Axmaker

Nominated for five Academy Awards®, this stylish mystery thriller twists and turns with new suspects, new evidence and unexpected revelations. A wealthy journalist (Clifton Webb) becomes entranced with a beautiful young career woman named Laura (Gene Tierney). But shortly before her wedding to a dashing young playboy (Vincent Price), she is found murdered. Stirred by her portrait, the detective (Dana Andrews) assigned to her case finds that he, too, is strangely under Laura's spell.

Seven (Single Disc Edition)

The most viscerally frightening and disturbing homicidal maniac picture since The Silence of the Lambs, Seven is based on an idea that's both gruesome and ingenious. A serial killer forces each of his victims to die by acting out one of the seven deadly sins. The murder scene is then artfully arranged into a grotesque tableau, a graphic illustration of each mortal vice. From the jittery opening credits to the horrifying (and seemingly inescapable) concluding twist, director David Fincher immerses us in a murky urban twilight where everything seems to be rotting, rusting, or molding; the air is cold and heavy with dread. Morgan Freeman and Brad Pitt are the detectives who skillfully track down the killer--all the while unaware that he has been closing in on them, as well. Gwyneth Paltrow and Kevin Spacey are also featured, but it is director Fincher and the ominous, overwhelmingly oppressive atmosphere of doom that he creates that are the real stars of the film. It's a terrific date movie--for vampires. --Jim Emerson

No Description Available.
Genre: Suspense
Rating: R
Release Date: 27-SEP-2005
Media Type: DVD

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

The Hunt for Red October (Special Collector's Edition)

CIA analyst Jack Ryan, tries to figure out if Russian submarine captain, Marko Ramius, is planning to attack the U.S. coast or planning to defect.
Genre: Feature Film-Action/Adventure
Rating: PG
Release Date: 6-MAY-2003
Media Type: DVD

Before Harrison Ford assumed the mantle of playing Tom Clancy's Jack Ryan hero in Patriot Games, Alec Baldwin took a swing at the character in this John McTiernan film and hit one to the fence. If less instantly sympathetic than Ford, Baldwin is in some respects more interesting and nuanced as Ryan, and drawing comparisons between both actors' performances can make for some interesting postmovie discussion. That aside, The Hunt for Red October stands alone as a uniquely exciting adventure with a fantastic costar: Sean Connery as a Russian nuclear submarine captain attempting to defect to the West on his ship. Ryan must figure out his true motives for approaching the U.S. McTiernan (Predator, Die Hard) made an exceptionally handsome movie here with action sequences that really do take one's breath away. --Tom Keogh

A History of Violence (New Line Platinum Series)

A quiet man's family life threatens to fall apart when an act of self-defense thrusts him into the spotlight.
Genre: Feature Film-Action/Adventure
Rating: R
Release Date: 14-MAR-2006
Media Type: DVD

On the surface, David Cronenberg may seem an unlikely candidate to direct A History of Violence, but dig deeper and you'll see that he's the right man for the job. As an intellectual seeker of meaning and an avowed believer in Darwinian survival of the fittest, Cronenberg knows that the story of mild-mannered small-town diner proprietor Tom Stall (Viggo Mortensen) is in fact a multilayered examination of inbred human behavior, beginning when Tom's skillful killing of two would-be robbers draws unwanted attention to his idyllic family life in rural Indiana. He's got a loving wife (Maria Bello) and young daughter (Heidi Hayes) who are about to learn things about Tom they hadn't suspected, and a teenage son (Ashton Holmes) who has inherited his father's most prominent survival trait, manifesting itself in ways he never expected. By the time Tom has come into contact with a scarred villain (Ed Harris) and connections that lead him to a half-crazy kingpin (William Hurt, in a spectacular cameo), Cronenberg has plumbed the dark depths of human nature so skillfully that A History of Violence stands well above the graphic novel that inspired it (indeed, Cronenberg was unaware of the source material behind Josh Olson's chilling adaptation). With hard-hitting violence that's as sudden as it is graphically authentic, this is A History of Violence that's worthy of serious study and widespread acclaim. --Jeff Shannon

On the DVD
On a single disc and with little fanfare, this DVD makes an excellent case for the best extras of the year. Dive into the one-hour-long documentary and learn more about moviemaking than on many a double-disc. The secret lies in director David Cronenberg's (and his usual crew) folksy casualness in showing off the craft, be it makeup (green screens were used), directing (Cronenberg doesn't storyboard), or art direction (the diner set). It also is very funny to hear about "fish Fridays" and how Maria Bello's Uncle Pete became an influence. Even the infamous sex-on-the-staircase scene is diagnosed with candor as stars Viggo Mortensen and Bello act as if there is no backstage camera. There's only one deleted scene, but it's uncommonly deconstructed on why it was filmed and why it was cut (it's a very Cronenbergian dream sequence). A short bit on Cannes is also a delight. So much is here that Cronenberg's smart commentary track is nearly superfluous. Isn't that a nice surprise? --Doug Thomas

More to Explore

The Graphic Novel	Other Graphic Novels that Inspired Movies	David Cronenberg Essentials
Why We Love Maria Bello	The work of Viggo Mortensen	The work of William Hurt

Stills from A History of Violence

Viggo Mortensoe as Tom Stall	Ashton Holmes as Jack Stall and Kyle Schmid as Bobby Jordan
William Hurt as Richie Cusack	Ed Harris as Carl Fogarty and Viggo Mortensen as Tom Stall
Maria Bello as Edie Stall	Director David Cronenberg

Murder by Death

Neil Simon wrote this 1976 spoof in which virtually every famous fictional detective of the 1930s and 1940s congregate at the home of a mysterious fellow (Truman Capote) to try and solve the mystery of who's trying to kill them all. Simon's jokes are mostly obvious, and the film's real appeal is the clever concept matched with fine--sometimes legendary--actors. Peter Falk plays a very Bogart-like Sam Spade equivalent, James Coco is a Hercule Poirot wannabe, Peter Sellers does a Charlie Chan bit, David Niven and Maggie Smith are reflections of Nick and Nora.... You get the picture. Lighthearted and silly, this is cotton-candy comedy for the cast as well as viewers. --Tom Keogh

The Day After Tomorrow (Widescreen Edition)

A climatologist and his family must find a way to survive the devastation caused by an extreme shift in the global climate.
Genre: Feature Film-Action/Adventure
Rating: PG13
Release Date: 12-JUN-2007
Media Type: DVD

Supreme silliness doesn't stop The Day After Tomorrow from being lots of fun for connoisseurs of epic-scale disaster flicks. After the blockbuster profits of Independence Day and Godzilla, you can't blame director Roland Emmerich for using global warming as a politically correct excuse for destroying most of the northern hemisphere. Like most of Emmerich's films, this one emphasizes special effects over such lesser priorities as well-drawn characters and plausible plotting, and his dialogue (cowritten by Jeffrey Nachmanoff) is so laughably trite that it could be entirely eliminated without harming the movie. It's the spectacle that's important here, not the lame, recycled plot about father and son (Dennis Quaid, Jake Gyllenhaal) who endure an end-of-the-world scenario caused by the effects of global warming. So sit back, relax, and enjoy the awesome visions of tornado-ravaged Los Angeles, blizzards in New Delhi, Japan pummeled by grapefruit-sized hailstones, and Manhattan flooded by swelling oceans and then frozen by the onset of a modern ice age. It's all wildly impressive, and Emmerich obviously doesn't care if the science is flimsy, so why should you? --Jeff Shannon