Special Editions

Star Wars - Episode I, The Phantom Menace (Widescreen Edition)

"I have a bad feeling about this," says the young Obi-Wan Kenobi (played by Ewan McGregor) in Star Wars: Episode I, The Phantom Menace as he steps off a spaceship and into the most anticipated cinematic event... well, ever. He might as well be speaking for the legions of fans of the original episodes in the Star Wars saga who can't help but secretly ask themselves: Sure, this is Star Wars, but is it my Star Wars? The original elevated moviegoers' expectations so high that it would have been impossible for any subsequent film to meet them. And as with all the Star Wars movies, The Phantom Menace features inexplicable plot twists, a fistful of loose threads, and some cheek-chewing dialogue. Han Solo's swagger is sorely missed, as is the pervading menace of heavy-breather Darth Vader. There is still way too much quasi-mystical mumbo jumbo, and some of what was fresh about Star Wars 22 years earlier feels formulaic. Yet there's much to admire. The special effects are stupendous; three worlds are populated with a mélange of creatures, flora, and horizons rendered in absolute detail. The action and battle scenes are breathtaking in their complexity. And one particular sequence of the film--the adrenaline-infused pod race through the Tatooine desert--makes the chariot race in Ben-Hur look like a Sunday stroll through the park.

Among the host of new characters, there are a few familiar walk-ons. We witness the first meeting between R2-D2 and C-3PO, Jabba the Hutt looks younger and slimmer (but not young and slim), and Yoda is as crabby as ever. Natalie Portman's stately Queen Amidala sports hairdos that make Princess Leia look dowdy and wields a mean laser. We never bond with Jedi Knight Qui-Gon Jinn (Liam Neeson), and Obi-Wan's day is yet to come. Jar Jar Binks, a cross between a Muppet, a frog, and a hippie, provides many of the movie's lighter moments, while Sith Lord Darth Maul is a formidable force. Baby-faced Anakin Skywalker (Jake Lloyd) looks too young and innocent to command the powers of the Force or wield a lightsaber (much less transmute into the future Darth Vader), but his boyish exuberance wins over skeptics.

Near the end of the movie, Palpatine, the new leader of the Republic, may be speaking for fans eagerly awaiting Episode II when he pats young Anakin on the head and says, "We will watch your career with great interest." Indeed! --Tod Nelson

Jedi Master Qui-Gon Jinn and his young apprentice Obi-Wan Kenobi aid the Queen of Naboo in an attempt to thwart the invasion of her home planet; meanwhile, they come across Anakin Skywalker, a young boy with strong Jedi powers.
Genre: Science Fiction
Rating: PG
Release Date: 22-MAR-2005
Media Type: DVD

Fight Club (Two-Disc Collector's Edition)

All films take a certain suspension of disbelief. Fight Club takes perhaps more than others, but if you're willing to let yourself get caught up in the anarchy, this film, based on the novel by Chuck Palahniuk, is a modern-day morality play warning of the decay of society. Edward Norton is the unnamed protagonist, a man going through life on cruise control, feeling nothing. To fill his hours, he begins attending support groups and 12-step meetings. True, he isn't actually afflicted with the problems, but he finds solace in the groups. This is destroyed, however, when he meets Marla (Helena Bonham Carter), also faking her way through groups. Spiraling back into insomnia, Norton finds his life is changed once again, by a chance encounter with Tyler Durden (Brad Pitt), whose forthright style and no-nonsense way of taking what he wants appeal to our narrator. Tyler and the protagonist find a new way to feel release: they fight. They fight each other, and then as others are attracted to their ways, they fight the men who come to join their newly formed Fight Club. Marla begins a destructive affair with Tyler, and things fly out of control, as Fight Club grows into a nationwide fascist group that escapes the protagonist's control.

Fight Club, directed by David Fincher (Seven), is not for the faint of heart; the violence is no holds barred. But the film is captivating and beautifully shot, with some thought-provoking ideas. Pitt and Norton are an unbeatable duo, and the film has some surprisingly humorous moments. The film leaves you with a sense of profound discomfort and a desire to see it again, if for no other reason than to just to take it all in. --Jenny Brown

A confused young man tired of his life finds a new one in a new club where you beat each other to a plup as therapy.
Genre: Feature Film-Action/Adventure
Rating: R
Release Date: 29-NOV-2005
Media Type: DVD

Willow (Special Edition)

This epic Lucasfilm fantasy serves up enough magical adventure to satisfy fans of the genre, though it treads familiar territory. With abundant parallels to Star Wars, the story (by George Lucas) follows the exploits of the little farmer Willow (Warwick Davis), an aspiring sorcerer appointed to deliver an infant princess from the evil queen (Jean Marsh) to whom the child is a crucial threat. Val Kilmer plays the warrior who joins Willow's campaign with the evil queen's daughter (Joanne Whalley, who later married Kilmer). Impressive production values, stunning locations (in England, Wales, and New Zealand) and dazzling special effects energize the routine fantasy plot, which alternates between rousing action and cute sentiment while failing to engage the viewer's emotions. A parental warning is appropriate: director Ron Howard has a light touch aimed at younger viewers, but doesn't shy away from grisly swordplay and at least one monster (a wicked two-headed dragon) that could induce nightmares. --Jeff Shannon

From legendary filmmakers George Lucas and Ron Howard comes one of the most beloved fantasy tales of all time. This groundbreaking film features stunning special effects, dazzling action and a classic battle between good and evil.

When young Willow Ufgood (Warwick Davis) finds an abandoned baby, he is suddenly thrust unto an adventure filled with magic and danger. According to an ancient prophecy, the sacred child is destined to end the reign of the evil sorceress Queen Bavmorda (Jean Marsh). Now, the only a single swordsman (Val Kilmer) at his side, Willow must overcome the forces of darkness that threaten to destroy anyone who stands in the Queen's way!

Edward Scissorhands (Widescreen Anniversary Edition)

Adventures of a creature left unfinished by his inventor. Instead of hands, he has sharp shears of metal.
Genre: Feature Film-Drama
Rating: PG13
Release Date: 3-JUN-2003
Media Type: DVD

Edward Scissorhands achieves the nearly impossible feat of capturing the delicate flavor of a fable or fairy tale in a live-action movie. The story follows a young man named Edward (Johnny Depp), who was created by an inventor (Vincent Price, in one of his last roles) who died before he could give the poor creature a pair of human hands. Edward lives alone in a ruined Gothic castle that just happens to be perched above a pastel-colored suburb inhabited by breadwinning husbands and frustrated housewives straight out of the 1950s. One day, Peg (Dianne Wiest), the local Avon lady, comes calling. Finding Edward alone, she kindly invites him to come home with her, where she hopes to help him with his pasty complexion and those nasty nicks he's given himself with his razor-sharp fingers. Soon Edward's skill with topiary sculpture and hair design make him popular in the neighborhood--but the mood turns just as swiftly against the outsider when he starts to feel his own desires, particularly for Peg's daughter Kim (Winona Ryder). Most of director Tim Burton's movies (such as Pee Wee's Big Adventure, Beetlejuice, Batman) are visual spectacles with elements of fantasy, but Edward Scissorhands is more tender and personal than the others. Edward's wild black hair is much like Burton's, suggesting that the character represents the director's own feelings of estrangement and co-option. Johnny Depp, making his first successful leap from TV to film, captures Edward's childlike vulnerability even while his physical posture evokes horror icons like the vampire in Nosferatu and the sleepwalker in The Cabinet of Dr. Caligari. Classic horror films, at their heart, feel a deep sympathy for the monsters they portray; simply and affectingly, Edward Scissorhands lays that heart bare. --Bret Fetzer

Edward Scissorhands achieves the nearly impossible feat of capturing the delicate flavor of a fable or fairy tale in a live-action movie. The story follows a young man named Edward (Johnny Depp), who was created by an inventor (Vincent Price, in one of his last roles) who died before he could give the poor creature a pair of human hands. Edward lives alone in a ruined Gothic castle that just happens to be perched above a pastel-colored suburb inhabited by breadwinning husbands and frustrated housewives straight out of the 1950s. One day, Peg (Dianne Wiest), the local Avon lady, comes calling. Finding Edward alone, she kindly invites him to come home with her, where she hopes to help him with his pasty complexion and those nasty nicks he's given himself with his razor-sharp fingers. Soon Edward's skill with topiary sculpture and hair design make him popular in the neighborhood--but the mood turns just as swiftly against the outsider when he starts to feel his own desires, particularly for Peg's daughter Kim (Winona Ryder). Most of director Tim Burton's movies (such as Pee Wee's Big Adventure, Beetlejuice, Batman) are visual spectacles with elements of fantasy, but Edward Scissorhands is more tender and personal than the others. Edward's wild black hair is much like Burton's, suggesting that the character represents the director's own feelings of estrangement and co-option. Johnny Depp, making his first successful leap from TV to film, captures Edward's childlike vulnerability even while his physical posture evokes horror icons like the vampire in Nosferatu and the sleepwalker in The Cabinet of Dr. Caligari. Classic horror films, at their heart, feel a deep sympathy for the monsters they portray; simply and affectingly, Edward Scissorhands lays that heart bare. --Bret Fetzer

Titan A.E. (Special Edition)

A visual knockout, Titan A.E. is an ambitious animated feature that combines traditional animations, computer-generated imagery, and special effects in the service of a science fiction adventure plotted with narrative conventions familiar from Star Wars and Star Trek. Credit directors Don Bluth (An American Tail, The Secret of NIMH, Anastasia) and Gary Goldman with crafting a vivid, convincing look to this deep space saga, which conjures some stunning images. A tense opening sequence climaxing in the destruction of Earth, a watery planet where delicate but deadly hydrogen trees float, joyriding in a starship while pursued by playful "space angels," and a nerve-wracking journey through a lethal maze of massive ice crystals each qualify as mesmerizing sequences in any film context.

What's visually stunning proves intermittently stunted on the narrative front, however. Orphaned when the evil Drej atomize Earth, protagonist Cale (voiced by Matt Damon) must journey across space to unlock the mystery of his late father's final project, the Titan spacecraft, in a test of faith and filial identity that echoes Star Wars. The Titan itself ultimately poses a cosmic potential familiar to admirers of Star Trek II: The Wrath of Khan. Comical sidekicks (Nathan Lane, Janeane Garofalo, John Leguizamo), a sultry love interest (Drew Barrymore), and a roguish mentor (Bill Pullman) all verge on the generic, narrowly redeemed by dialogue from a writing team including Buffy the Vampire Slayer creator Joss Whedon.

It's likely that Titan's target audience of young males prompted the filmmakers to walk a tightrope between softer family features and more violent, hard-edged anime. Titan's brief bloodshed and coy nudity stop short of PG-13 terrain, though younger viewers might be unsettled by the violence. Young teens will find the proceedings tamer than the video games and anime fantasies that have influenced it. --Sam Sutherland

A reluctant young hero holds the key to the future of mankind in the palm of his hand in this eye-popping, sci-fi adventure. In the year 3028 the Drej, a vicious alien race, has destroyed earth. Fifteen years later a young man named Cale learns he possesses a genetically encoded map to the Titan, a spaceship that holds the secret to the salvation of the human race. With the Drej in hot pursuit, Cale blasts off with the crew of the Valkyrie in an attempt to find the Titan before the Drej destroy it - and with it, mankind's last chance for a home of their own. Featuring an all-star voice cast that includes Matt Damon and Drew Barrymore and an edgy, out of this world soundtrack, Titan A.E. is an intergalactic thrill ride for a new generation.

Moulin Rouge! (Two-Disc Collector's Edition)

A dazzling and yet frequently maddening bid to bring the movie musical kicking and screaming into the 21st century, Baz Luhrmann's Moulin Rouge bears no relation to the many previous films set in the famous Parisian nightclub. This may appear to be Paris in the 1890s, with can-can dancers, bohemian denizens like Toulouse-Lautrec (John Leguizamo), and ribaldry at every turn, but it's really Luhrmann's pop-cultural wonderland. Everyone and everything is encouraged to shatter boundaries of time and texture, colliding and careening in a fast-cutting frenzy that thinks nothing of casting Elton John's "Your Song" 80 years before its time. Nothing is original in this kaleidoscopic, absinthe-inspired love tragedy--the words, the music, it's all been heard before. But when filtered through Luhrmann's love for pop songs and timeless showmanship, you're reminded of the cinema's power to renew itself while paying homage to its past.

Luhrmann's overall success with his third "red-curtain" extravaganza (following Strictly Ballroom and William Shakespeare's Romeo & Juliet) is wildly debatable: the scenario is simple to the point of silliness, and how can you appreciate choreography when it's been diced into hash by attention-deficit editing? Still, there's something genuine brewing between costars Ewan McGregor and Nicole Kidman (as, respectively, a poor writer and his unobtainable object of desire), and their vocal talents are impressive enough to match Luhrmann's orgy of extraordinary sets, costumes, and digital wizardry. The movie's novelty may wear thin, along with its shallow indulgence of a marketable soundtrack, but Luhrmann's inventiveness yields moments that border on ecstasy, when sound and vision point the way to a moribund genre's joyously welcomed revival. --Jeff Shannon

A spectacle beyond anything you've ever witnessed. An experience beyond everything you've ever imagined. Behind the red velvet curtain, the ultimate seduction of your senses is about to begin. Welcome to the Moulin Rouge! Nicole Kidman and Ewan McGregor sing, dance and scale the heights of passionate abandon in the year's most talked-about movie from visionary director Baz Luhrmann (William Shakespeare's Romeo + Juliet, Strictly Ballroom). Enter a tantalizing world that celebrates truth, beauty, freedom and above all things, love.

The Full Monty - Fully Exposed Edition

Six unemployed men inspired by a touring group of male strippers decide they can make a small fortune by putting on a striptease show of their own-but with one small difference. They intend to go the "full monty" and strip completely naked! In this hilarious heartfelt comedy these six friends discover the inner strength to bare it all in front of the world. This "enchantingly funny crowd-pleasing" comedy (David Ansen Newsweek) features the music of Donna Summer Gary Glitter Sister Sledge and Tom Jones.System Requirements:Running Time: 92 Mins.Format: DVD MOVIE Genre: COMEDY Rating: R UPC: 024543403760 Manufacturer No: 2240376

A group of unemployed Yorkshire steelworkers hopes to replenish their empty wallets and boost their flagging morale by following in the footsteps of the Chippendale's strippers. These guys are hardly what you would think of as buff, and few can even dance. They simply take these problems in stride, because these are men with a plan--displaced, unemployed, and feeling suffocated by the women in their lives, they just want to earn a little respect. The dialogue and interaction between these men will have you screeching with laughter, but of equal importance is their sense of camaraderie and caring. First-time director Peter Cattaneo is a name to watch for; he easily conveys the sheer humanity of these people in their small town with their sad stories and irresistible sense of optimism. --Rochelle O'Gorman

A group of unemployed Yorkshire steelworkers hopes to replenish their empty wallets and boost their flagging morale by following in the footsteps of the Chippendale's strippers. These guys are hardly what you would think of as buff, and few can even dance. They simply take these problems in stride, because these are men with a plan--displaced, unemployed, and feeling suffocated by the women in their lives, they just want to earn a little respect. The dialogue and interaction between these men will have you screeching with laughter, but of equal importance is their sense of camaraderie and caring. First-time director Peter Cattaneo is a name to watch for; he easily conveys the sheer humanity of these people in their small town with their sad stories and irresistible sense of optimism. --Rochelle O'Gorman

The War of the Roses

Michael Douglas, Kathleen Turner, and Danny DeVito reunited for a third time to fabulous effect in this dark, disturbing comedy of martial trauma and revenge, which couldn't be more different from their sunnier outings in Romancing the Stone and The Jewel of the Nile. Douglas and Turner, in career-best performances, are the materialistic, consumer-driven Roses of the title (Oliver and Barbara) whose seemingly perfect marriage has soured beyond repair; their only point of contact, aside from their two college-bound kids, is their meticulously maintained dream house, which Douglas bought and Turner decorated to perfection. When Turner gets a taste of financial independence, she asks Douglas for divorce--all she wants is the house and everything in it (aside from his clothes and shaving kit). He laughs at her and she punches him in the face. Things only get worse from there, as nasty divorce proceedings (with DeVito as Douglas's lawyer) give way to insults, threats, ruined dinner parties, and pet abuse. And through it all, the Roses begin destroying their beloved home and its contents, just to spite each other. DeVito, who also directed, takes Michael Leeson's blacker-than-black screenplay and gives it a hyperstylized spin, complete with skewed camera angles and wonderfully expressionistic cinematography (by Stephen Burum) as Douglas and Turner barricade themselves in their house, both refusing to give an inch. Shocking for a mainstream studio picture, with its unsympathetic protagonists, escalating bitterness, and disturbing finale, Roses is a poisonously funny valentine to both marriage and '80s materialism, tempered only by its framing device as a cautionary tale. Definitely not a date movie. --Mark Englehart

In this blackest of comedies, a perfect 18-year marriage suddenly becomes unglued and the gleefully evil Barbara (Kathleen Turner) and Oliver (Michael Douglas) Rose single-mindedly inflict as much misery as possible on each other. Rather than just get divorced, they declare war, fighting to the bitter end over their huge mansion and every possession in it. Not even the calculating guidance of Oliver's lawyer (Danny DeVito) can stop this uncompromisingly nasty two some as their vicious battle sends them on an increasingly dark and dangerous path.

Bedazzled

A timid man sells his soul to a sultry devil for seven wishes.
Genre: Feature Film-Comedy
Rating: PG13
Release Date: 15-APR-2003
Media Type: DVD

Brendan Fraser stars in Bedazzled as Elliot, a dweebish office worker who yearns for Alison (played by Frances O'Connor from Mansfield Park), a coworker who barely knows he exists. When he blithely says he'd give his soul for Alison, the Devil appears (Elizabeth Hurley, Austin Powers) and says she'll give him seven wishes in exchange. Elliot is dubious at first, but agrees out of desperation. Unfortunately, his every wish always leaves the Devil a little wiggle room. When he asks to be rich and powerful, the Devil turns him into a drug lord beset on all sides. When he asks to be a successful, well-endowed writer, the Devil adds a male lover to the mix. The setup and situations are clever, though Bedazzled doesn't delve into any real moral or theological questions and has a little less bite than the original it's based on (from 1968, starring Dudley Moore and Peter Cook). But it does provide some better comic substance than Fraser has had in most of his previous roles (George of the Jungle, Encino Man). Fraser demonstrated in Gods and Monsters that he could hold his own dramatically with the likes of Brit thespian Ian McKellen, and he's consistently been a charming presence in movies enjoyable (The Mummy) and not so enjoyable (Dudley Do Right). Bedazzled may not give him any more movie-making clout, but it does give his fans something to enjoy. O'Connor is entirely pleasant in her largely straight role, and Hurley fills out her part by delectably filling out a number of revealing outfits. An enjoyable bit of froth. --Bret Fetzer

The Beach

Leonardo DiCaprio sought to distance himself from the purity of his character in Titanic, and his role in The Beach is in many ways a polar opposite. As Richard, a young American seeking to "suck in the experience" of freestyle travel in Thailand, he's a chronic liar, a pot-smoking hedonist, an amoral lover, and ultimately an unstable snake in a doomed Garden of Eden. This crazy descent might be expected from the filmmakers of Trainspotting, but The Beach is a movie without a rudder, venturing into fascinating territory, promising a stimulating adventure, and then careening out of control.

After receiving a not-so-secret map to a secluded island from a stoned-out loony (Robert Carlyle, full of dark portent and spittle), Richard sets out to find the hidden paradise with a young French couple (Virginie Ledoyen, Guillaume Canet). What they find is a tropical commune existing in delicate balance with Thai pot farmers, and before long--as always--there's trouble in paradise. There's trouble in the movie, too, as DiCaprio is reduced to histrionics when the plot turns into a muddled mix of Lord of the Flies and Apocalypse Now, with shark attacks tossed in for shallow tension. Director Danny Boyle attempts perfunctory romance and a few audacious moves (notably DiCaprio's vision of life as a violent video game), but what's the point? Tilda Swinton registers strongly as the commune's charismatic leader, but her character--and the entire film--remains largely undeveloped, and pretty scenery is no guarantee of a laudable film. --Jeff Shannon