Prison Films

Blood In, Blood Out

Taylor Hackford (An Officer and a Gentleman) directed this 1993 epic about Chicano gang wars in the California prison system and the differing and tragic paths of three boyhood friends. Half-brothers Paco and Cruz grow up with their cousin Miklo in Chicano Los Angeles, and each in turn is influenced by their violent environment and the prevalence of drugs on their streets. Cruz becomes an artist but winds up tragically addicted to heroin, while Miklo serves time for murder and Paco becomes a cop, setting the stage for a confrontation between the two when Miklo is released from prison. The film strives for an epic feel but takes too long to set up its interweaving stories. It is notable, however, for some fine acting on the part of Benjamin Bratt and Damian Chiapa, as well as smaller roles by Billy Bob Thornton, Ving Rhames and Delroy Lindo. Its depictions of life in the California prison system are harrowing and powerful, and serve as the centerpiece of this urban drama. --Robert Lane

Three cousins in East LA find their power and strength in different avenues, but are held together by their strong family ties.
Genre: Feature Film-Drama
Rating: R
Release Date: 2-APR-2002
Media Type: DVD

The Shawshank Redemption (Two-Disc Special Edition)

When this popular prison drama was released in 1994, some critics complained that the movie was too long (142 minutes) to sustain its story. Those complaints miss the point, because the passage of time is crucial to this story about patience, the squeaky wheels of justice, and the growth of a life-long friendship. Only when the film reaches its final, emotionally satisfying scene do you fully understand why writer-director Frank Darabont (adapting a novella by Stephen King) allows the story to unfold at its necessary pace, and the effect is dramatically rewarding. Tim Robbins plays a banker named Andy who's sent to Shawshank Prison on a murder charge, but as he gets to know a life-term prisoner named Red (Morgan Freeman), we realize there's reason to believe the banker's crime was justifiable. We also realize that Andy's calm, quiet exterior hides a great reserve of patience and fortitude, and Red comes to admire this mild-mannered man who first struck him as weak and unfit for prison life. So it is that The Shawshank Redemption builds considerable impact as a prison drama that defies the conventions of the genre (violence, brutality, riots) to illustrate its theme of faith, friendship, and survival. Nominated for seven Academy Awards including Best Picture, Actor, and Screenplay, it's a remarkable film that signaled the arrival of a promising new filmmaker--a film that many movie lovers count among their all-time favorites. --Jeff Shannon

Cool Hand Luke

Paul Newman gives one of the defining performances of his career, and cemented his place as a beautiful-rebel screen icon playing the stubbornly tough and independent title character in Cool Hand Luke. And before he became familiar as a sidekick in 1970s disaster movies (Earthquake and the Airport movies), George Kennedy won an Oscar for playing Dragline, the brutal chain-gang boss who tries to beat loner Luke's cool out of him. It's a classic rebel-against-the-repressive-institution story in the line of One Flew over the Cuckoo's Nest or The Shawshank Redemption. Certain moments have become classics--particularly the hardboiled egg-eating contest, and the immortal line (drooled by Strother Martin, as a sadistic redneck prison officer), "What we have here is a failure to communicate." And don't forget, Luke is also the source of the oft-quoted driving ditty, "I don't care if it rains or freezes, long as I have my plastic Jesus, right here on the dashboard of my car..." He is cool, all right. The digital video disc is in anamorphic widescreen and digital stereo. --Jim Emerson

A defiant chain-gang prisoner suffers a "failure to communicate" in this searing drama. Paul Newman Shines in the title role, George Kennedy as his sidekick won an Oscar(R). Year: 1967 Director: Stuart Rosenberg Starring: Paul Newman, George Kennedy, J.D. Cannon

DVD Features:
Production Notes
Theatrical Trailer

Dead Man Walking

Superbly adapted and directed by Tim Robbins from the nonfiction book of the same name by Sister Helen Prejean, this spiritually enlightened drama is too intelligent to traffic in polemics or self-righteous pontifications against the death penalty. But in examining the issue of capital punishment from a humanitarian perspective, the film urges thoughtful reflection on the justifications for legally ending a human life. Although it features a fine supporting cast, the film maintains its sharp focus through flawless lead performances by Oscar-winner Susan Sarandon as the Catholic nun Prejean, and Sean Penn as the death-row killer she struggles to save. Robbins avoids a biased message, letting the movie examine both sides of the issue instead (R. Lee Ermey gives a fine performance as the grief-stricken father of one of Penn's victims). As the drama unfolds and Penn's execution deadline grows near, Dead Man Walking is graced by compelling depths of theme and character, achieving an emotional impact that demands further reflection and removes the stigma of piousness from socially conscious filmmaking. --Jeff Shannon

Inspired by the true story of a nun's relationship with a condemned man, this provocative examination of crime, punishment and redemption earned Susan Sarandon the 1995 OscarÂ(r) for Best Actress and Sean Penn an OscarÂ(r) nomination for Best Actor. Dead Man Walking is a "fast-moving and absorbing" film filled with "genuine suspense" (Variety) that will leave you awe-struck from beginning to end. Sister Helen Prejean (Sarandon), a compassionate New Orleansnun, is the spiritual advisor to Matthew Poncelet (Penn), a vicious, angry and complex murderer awaiting execution. Her dedication is to help others, like Matthew, find salvation. But as she attemptsto navigate Matthew's dark soul, she encounters a depth of evil that makes her question how far redemption can really go. Can she stave off the fateful day of execution long enough to save Matthew, or will she discover a truth that will rock the very foundation by which she lives her life?

Monster's Ball

The unflinching realism and searing performances of Monster's Ball are stunning in all the connotations of the word. Hank (Billy Bob Thornton) and Leticia (Halle Berry) inhabit stark, queasy realities of the contemporary South, he as a death row corrections officer and she as the soon-to-be widow of an inmate (Sean Combs) whose execution Hank helps conduct. In the aftermath of the execution, both lose their children to tragic deaths and they form an unlikely bond. In the hands of lesser participants, the fateful plot might strain credibility and seem tailored to allow for liberal sermonizing about the obvious wrongs of our legal justice system, but director Marc Forster and cinematographer Roberto Schaefer balance the contentious nature of the film's issues--the death penalty, racism both overt and subtle, interracial couples--with a flawless attention to character and visual detail that completely convinces. The moral ambiguity of both central characters is given full voice as our sympathy is drawn out reluctantly at first but all the more resolutely in the end. Thornton draws from seemingly limitless resources to deliver yet another outstanding performance, but it is Halle Berry who is a revelation as she sustains throughout the complex tenor of brutality witnessed and raw courage defined. --Fionn Meade

An Innocent Man

Tom Selleck (THREE MEN AND A BABY) turns in a riveting performance as Jimmie Rainwood, an average citizen whose life becomes a living nightmare when he's framed by a pair of crooked cops and sent to prison for a crime he didn't commit. With his life torn apart, Rainwood swears revenge, vowing to fight back and deliver justice to the dishonest cops who set him up -- no matter what the price! Ultimately, Rainwood risks everything to recapture his normal life, and prove once and for all that he is an innocent man!

Born Innocent

A 14-year-old runaway (Linda Blair) is placed in the care of the state. She is soon to find out her existence means little to many, trapped in the uncaring bureaucracy, the sometimes brutal treatment from her peers and her own abusive family, she will be hard pressed to meet anyone willing to hear her unsung plea for help. Digitally mastered and uncut - contains the original graphic rape scene! Bonus Features: VCI Previews| Actor Bios| Chapter Selection Menu. Specs: DVD5; Dolby Digital Mono; 99 minutes; Color; 1.33:1 Aspect Ratio; MPAA - NR; Year - 1974; SRP - $5.99.

Brokedown Palace

Alice (Claire Danes) and Darlene (Kate Beckinsale) are best friends on their post-high-school whirlwind vacation. Telling their parents they're off for Hawaii, they head instead to Thailand, where they stay at a $6-a-night dive and sneak drinks at a posh hotel. They both fall sway to the charms of a handsome Australian (Daniel Lapaine), who invites them to Hong Kong. Off they go, although unbeknownst to them (or is it? this question is never fully answered), one of them has heroin in her backpack. Sentenced to 33 years in a Thai jail, they find their friendship begins to deteriorate as their trust in each other fades. They enlist the help of Yankee Hank (Bill Pullman), a greedy but knowledgeable American lawyer living in Asia.

The main flaws of this film are the capital-L lessons: friendship is powerful, don't trust strangers, nice girls shouldn't drink and sleep around. The film's bleakest moments, in the jail, aren't all that bad, and in this respect Brokedown Palace has nothing on the intensity of films such as Midnight Express or even Return to Paradise. Yet Danes and Beckinsale prove they are strong actresses, and their characters' friendship is suitably complex and believable. --Jenny Brown

In this riveting thriller, Claire Danes and Kate Beckinsale star as two best friends whose dream vacation becomes a nightmare. Alice (Danes) is impulsive and reckless; Darlene (Beckinsale) is more reserved. But when each falls for the same mysterious man, both girls throw caution to the wind, and in one instant, their lives are changed forever. Now in a foreign land, they must prove their innocence before it's too late. Bill Pullman co-stars in this "compelling" (People Magazine) tale of self-discovery and the ultimate sacrifice for a friend!

The Hurricane

Fighter Rubin \""Hurricane\"" Carter is convicted of murder at the height of his boxing career and after 20 years in prison, four people go to extraordinary lengths to prove his innocence.
Genre: Feature Film-Drama
Rating: R
Release Date: 28-MAR-2006
Media Type: DVD

In his direction of The Hurricane, veteran filmmaker Norman Jewison understands that slavish loyalty to factual detail is no guarantee of compelling screen biography. In telling the story of boxer Rubin "Hurricane" Carter--who was wrongly convicted of murder in 1967 and spent nearly two decades in jail--Jewison and his screenwriters compress time, combine characters, and rearrange events with a nonchalance that would be galling if they didn't remain honest to the core truth of Carter's ordeal. Because of that emotional integrity--and because Denzel Washington brings total conviction to his title role--The Hurricane rises above the confines of biographical fidelity to embrace higher values of courage, compassion, and ultimate justice.

Jewison is woefully heavy-handed in his treatment of the fictionalized, absurdly villainous detective (Dan Hedaya) who zealously plots to keep Carter in jail, and anyone familiar with Carter's story may object to the film's simplified account. But what matters here is the shining star of hope that is Lesra (Vicellous Reon Shannon), the Brooklyn teenager who rejuvenates Carter's legal battle in the early 1980s. This surrogate father-son relationship is what revives Carter's hope for family and future, and makes The Hurricane so engrossing and emotionally effective. Lesra's real-life Canadian mentors are compressed from nine characters to three, but their efforts are superbly dramatized, and Jewison hits the small but important grace notes that make a good film even better. By its final scenes, The Hurricane conveys the rich, rewarding satisfaction of surviving a difficult but valuable journey of mind, body, and soul. --Jeff Shannon

In his direction of The Hurricane, veteran filmmaker Norman Jewison understands that slavish loyalty to factual detail is no guarantee of compelling screen biography. In telling the story of boxer Rubin "Hurricane" Carter--who was wrongly convicted of murder in 1967 and spent nearly two decades in jail--Jewison and his screenwriters compress time, combine characters, and rearrange events with a nonchalance that would be galling if they didn't remain honest to the core truth of Carter's ordeal. Because of that emotional integrity--and because Denzel Washington brings total conviction to his title role--The Hurricane rises above the confines of biographical fidelity to embrace higher values of courage, compassion, and ultimate justice.

Jewison is woefully heavy-handed in his treatment of the fictionalized, absurdly villainous detective (Dan Hedaya) who zealously plots to keep Carter in jail, and anyone familiar with Carter's story may object to the film's simplified account. But what matters here is the shining star of hope that is Lesra (Vicellous Reon Shannon), the Brooklyn teenager who rejuvenates Carter's legal battle in the early 1980s. This surrogate father-son relationship is what revives Carter's hope for family and future, and makes The Hurricane so engrossing and emotionally effective. Lesra's real-life Canadian mentors are compressed from nine characters to three, but their efforts are superbly dramatized, and Jewison hits the small but important grace notes that make a good film even better. By its final scenes, The Hurricane conveys the rich, rewarding satisfaction of surviving a difficult but valuable journey of mind, body, and soul. --Jeff Shannon

The Last Castle

The Last Castle rides high on a wave of American patriotism, respectful of military service and protocol, and primed to ignite anyone's passion for justice against corrupted ideals. This intense prison drama begins when a court-martialed three-star general (Robert Redford) is sentenced to military prison for defying a presidential command. The prison's warden (James Gandolfini) is a jealous martinet who's never seen combat, and when the jailed general seizes command of the prison to protest the warden's abuse of power, The Last Castle erupts toward a classic showdown between integrity and cowardice. Former critic and West Point graduate Rod Lurie (The Contender) directs this intimate battle with manipulative skill, appealing more to emotions than intelligence, but his stellar cast keeps the action on track, and a potent script returns flag-waving to its rightful place of honor. --Jeff Shannon