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The Getaway [HD DVD] [1972]

The Getaway [HD DVD] [1972]

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This original version of The Getaway better than the 1994 remake starring Kim Basinger and husband Alec Baldwin, but this 1972 thriller relies too heavily on the low-key star power of Steve McQueen and Ali MacGraw, and the stylish violence of director Sam Peckinpah, reduced here to a mechanical echo of his former glory. McQueen plays a bank robber whose wife (MacGraw) makes a deal with a Texas politician to have her husband released from prison in return for a percentage from their next big heist. But when the plan goes sour, the couple must flee to Mexico as fast as they can, with a variety of gun-wielding thugs on their trail. MacGraw was duly skewered at the time for her dubious acting ability, but the film still has a raw, unglamorous quality that lends a timeless spin to the familiar crooks-on-the-lam scenario. As always, Peckinpah rises to the occasion with some audacious scenes of action and suspense, including a memorable chase on a train that still grabs the viewer's attention. --Jeff Shannon
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The Getaway [HD DVD] [1972]
Unbearable Lightness Of Being - 2 Disc Special Edition

Unbearable Lightness Of Being - 2 Disc Special Edition

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Daniel Day-Lewis stars as Tomas, the happily irresponsible Czech lover of Milan Kundera's novel, which is set in Prague just before and during the Soviet invasion in 1968. Lena Olin and Juliette Binoche are the two vastly different women who occupy his attention and to some extent represent different sides of his values and personality. In any case, the character's decision to flee Russian tanks with one of them--and then return--has profound consequences on his life. Directed by Philip Kaufman, this rich, erotic, fascinating character study with allegorical overtones is a touchstone for many filmgoers. Several key sequences--such as Olin wearing a bowler hat and writhing most attractively--linger in the memory, while Kaufman's assured sense of the story inspires superb performances all around. -- Tom Keogh
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Unbearable Lightness Of Being - 2 Disc Special Edition
Back To The Future [1985]

Back To The Future [1985]

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Dr. Emmett Brown: Then tell me, "future boy," who is president in the United States in 1985? Marty McFly: Ronald Reagan. Dr. Brown: Ronald Reagan? The actor?! Who's vice president? Jerry Lewis? Filmmaker Robert Zemeckis topped his breakaway hit Romancing the Stone with this joyous comedy with a dazzling hook: what would it be like to meet your parents in their youth? Billed as a special-effects comedy, the imaginative film (the top box-office smash of 1985) has staying power because of the heart behind Zemeckis and Bob Gale's script. High-school student Marty McFly (Michael J Fox, during the height of his TV success) is catapulted back to the 1950s where he sees his parents in their teens, and accidentally changes the history of how Mom and Dad met. Filled with the humorous ideology of the 50s, filtered through the knowledge of the 80s (actor Ronald Reagan is president, ha!), the film comes off as a Twilight Zone episode written by Preston Sturges. Filled with memorable effects and two wonderfully off-key, perfectly cast performances: Christopher Lloyd as the crazy scientist who builds the time machine (a DeLorean luxury car) and Crispin Glover as Marty's geeky dad. Followed by two sequels. -- Doug Thomas, Amazon.com
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Back To The Future [1985]
Election [1999]

Election [1999]

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Matthew Broderick makes up for years of wet-noodle performances with his low-key but unsparing characterisation of Jim McAllister, a high-school teacher at George Washington Carver High School in Omaha, Nebraska. Driven by a strange mixture of loathing and lust for pathologically overachieving student Tracy Flick (Reese Witherspoon), McAllister encourages a dim but popular athlete, Paul (Chris Klein from American Pie), to run against her in the election for student-council president. Director/co-writer Alexander Payne ( Citizen Ruth) turns this deceptively simple premise into a complex and scathing comedy of ambition, corruption and desire, all at its most naked and petty. Every scene contains some painfully funny nuance that will make you wince in a mixture of astonishment and empathy. Witherspoon flips effortlessly back and forth from adolescent vulnerability to steely-eyed strength; she is becoming a contemporary Carole Lombard. The movie itself feels like a magnificent throwback to the richly layered comedies of the 1930s, which drew their humour from sharply drawn characters and twisting plots instead of explosions of bodily fluids. With a wealth of smart, cutting details, Election rewards multiple viewing. -- Bret Fetzer
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Election [1999]
Day Of The Jackal [1973]

Day Of The Jackal [1973]

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With its high-intensity plot about an attempt to assassinate French President Charles de Gaulle, the bestselling novel by Frederick Forsyth was a prime candidate for screen adaptation. Director Fred Zinnemann brought his veteran skills to bear on what has become a timeless classic of screen suspense. Not to be confused with the later remake The Jackal starring Bruce Willis (which shamelessly embraced all the bombast that Zinnemann so wisely avoided), this 1973 thriller opts for lethal elegance and low-key tenacity in the form of the Jackal, the suave assassin played with consummate British coolness by Edward Fox. He's a killer of the highest order, a master of disguise and international elusiveness, and this riveting film follows his path to de Gaulle with an intense, straightforward documentary style. Perhaps one of the last great films from a bygone age of pure, down-to-basics suspense (and a kind of debonair European alternative to the American grittiness of The French Connection), The Day of the Jackal is a cat-and-mouse thriller that keeps you on the edge of your seat until its brilliantly executed final scene (pardon the pun), by which time Fox has achieved cinematic immortality as one of the screen's most memorable killers. --Jeff Shannon
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Day Of The Jackal [1973]
U2 - Elevation 2001 - Live In Boston

U2 - Elevation 2001 - Live In Boston

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After the huge lavish spectacles of previous tours, U2 decided to tone things down a bit for Elevation, which accompanied their All That You Can't Leave Behind album. Just as the album marked a return to a simpler more stripped-down sound, so the live shows did away with the glitter-ball lemons and huge stadiums, returning to smaller venues and all-together more intimate shows. From the small stage with its heart-shaped walkway, and a minimum of special effects, the emphasis is on the music, and from start to finish Elevation provides a welcome reminder of what a great band U2 are. Recorded in Boston, the show features a healthy mixture of new and old tracks, which--considering they were written over the course of two decades--sound as fresh and relevant as ever. From classics such as "Sunday Bloody Sunday", "Where the Streets Have No Name" and "I Will Follow" right up to instant favourites such as "Beautiful Day" and "Elevation", every track is stunningly executed. If you saw the concerts, this is a worthy lasting souvenir, if you didn't, watch this recording and you'll be kicking yourself that you didn't go. On the DVD: With the full concert on the first disc, the second one contains a wealth of superb extras. For starters there's the "Another Perspective", which enables you to watch the concert from alternative points of view--the "Fancam" (from the heart of the crowd ensconced within the heart-shaped walkway) and the "Directorcam" (from the production office where director Hamish Hamilton creates his masterpiece). There's also a Road Movie, which gives a time-lapse photography look behind the scenes of a day on the road, and an insight into how to turn an empty, cold impersonal indoor arena into an intimate, spectacular concert venue. It also includes some alternative live takes of some of the key tracks from the album, including a fantastic performance of "Beautiful Day" from the rooftops of Dublin. With the concert offered in a choice of sound ratios (Dolby 5.1, PCM Stereo) the songs sound even greate
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U2 - Elevation 2001 - Live In Boston
The Movie Album: +DVD

The Movie Album: +DVD

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It's a given that Barbra Streisand loves being a movie star. But The Movie Album, a collection of pop songs culled from 60-plus years of Hollywood history, displays a love and understanding of movie songcraft whose depth is surprising, even coming from the legendary diva. Few are likely even familiar with Andre Previn's evocative main theme for The Four Horseman of the Apocalypse; fewer still would cajole veteran songwriters Alan and Marilyn Bergman to give it lyrics, then make it their wedding song, but that's the unlikely genesis of "More in Love with You" here. If its overwrought classicism represents Streisand at her most cryptically opaque, her playful recasting of the chestnut "I'm in the Mood for Love" as jazzy bossa nova showcases the low-key sense of adventure she brings to many of the performances here. Her veteran dramatic sense effortlessly drives Chaplin's "Smile" beyond schmaltz and elevates Inside Daisy Clover's "You're Gonna Hear from Me" to nothing less than theatrical showstopper. But it's in the album's smaller, more unexpected surprises (an exotica-tinged "Wild is the Wind", the slinky, electro production of Bagdad Café's "Calling You", "Moon River"'s faithful evocation of Hepburn strumming her guitar in the film) that it reveals its true heart and soul--and that of Barbra Streisand, unabashed Hollywood movie-lover.
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The Movie Album: +DVD
The Getaway [1972]

The Getaway [1972]

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It's better than the 1994 remake starring Kim Basinger and husband Alec Baldwin, but this 1972 thriller relies too heavily on the low-key star power of Steve McQueen and Ali MacGraw, and the stylish violence of director Sam Peckinpah, reduced here to a mechanical echo of his former glory. McQueen plays a bank robber whose wife (MacGraw) makes a deal with a Texas politician to have her husband released from prison in return for a percentage from their next big heist. But when the plan goes sour, the couple must flee to Mexico as fast as they can, with a variety of gun-wielding thugs on their trail. MacGraw was duly skewered at the time for her dubious acting ability, but the film still has a raw, unglamorous quality that lends a timeless spin to the familiar crooks-on-the-lam scenario. As always, Peckinpah rises to the occasion with some audacious scenes of action and suspense, including a memorable chase on a train that still grabs the viewer's attention. Getaway is not a great film, but a must for McQueen and Peckinpah fans. --Jeff Shannon
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The Getaway [1972]
James Taylor - Live At The Beacon Theatre [1998]

James Taylor - Live At The Beacon Theatre [1998]

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Sensitive singer-songwriter, soft-rock poster boy, baby-boomer troubadour: James Taylor has outlived the stereotypes offered by fans and critics alike by simply staying his musical course and continuing to refine his familiar, deceptively mellifluous style. This 1998 concert displays Taylor's craftsmanship and easy rapport with both his band and his audience to satisfying effect, offering a repertoire that draws from his entire career while providing a generous selection of songs from his Grammy-winning 1997 set, Hourglass. Fans will love it, of course, but even jaded listeners can find fresh feeling and formidable expertise here. By now, Taylor's skill at low-key love songs is a given, making him an archetypal "sensitive New Age guy" on the strength of his canny mix of emotional vulnerability, romantic imagery, and understated delivery. Less obviously, Taylor has gradually transformed the shadows of disillusionment audible in his earliest songs into a nuanced acknowledgement of his own age. "Line 'Em Up," from Hourglass, typifies his skill at limning disarmingly lucid, frankly philosophical vignettes, here woven around a recollection of Richard Nixon's last hurrah, while "Jump Up Behind Me" affords a testament to self-determination ultimately as serious in theme as it is buoyant in its musical framework. Throughout, Taylor's stage band proves a thoroughbred, its accompaniment rock solid and delicately detailed, and perfectly matched to a crack backing chorus. Among the first video concerts produced with DVD in mind, Live at the Beacon Theatre has been in heavy rotation in home demonstration suites ever since its release, an achievement understandable after hearing the crystalline 5.1 mix engineered by Frank Filipetti, who shared a Grammy as co-producer on Hourglass and snagged a second award for his engineering of that album. -- Sam Sutherland, Amazon.com
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James Taylor - Live At The Beacon Theatre [1998]
Hogan's Heroes - Series 2 - Complete

Hogan's Heroes - Series 2 - Complete

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Two years after 1963's The Great Escape thrilled movie audiences with a tale of Allied soldiers working cooperatively to flee a World War II-era prisoner-of-war camp, CBS found a hit situation comedy in the loosely similar Hogan's Heroes. Initially dismissed by critics as being in poor taste, the half-hour show starred Bob Crane (previously known for a supporting role on The Donna Reed Show) as Colonel Robert Hogan, leader of a resourceful band of French, British and American guests of the German Luftwaffe. Rather than sit out the war with his fellow captives, Hogan essentially used the POW camp, Stalag 13, as a base for sabotaging Nazi operations whenever possible, helping important prisoners escape, supporting the Resistance, gathering intelligence for the Allies, and generally screwing up enemy battlefield plans. The work was always dangerous, but Hogan's crew had a number of advantages: a network of underground tunnels beneath the camp (some leading to a nearby town), a flair for disguises, the complementary talents of Hogan's key staff, and the reliable idiocy of camp Commandant Klink (Werner Klemperer) and willful ignorance of lead officer Sergeant Schultz (John Banner). Season one of Hogan's Heroes found all of these elements securely in place and the series balancing farce with suspense. Typical storylines include "Hold the Tiger," in which the boys smuggle a new German Tiger Tank into the camp, disassemble it to construct a blueprint, and then reassemble it under Klink's nose. "The Prisoner's Prisoner" finds Hogan kidnapping a Nazi general, sneaking him into Stalag 13, and tricking him—a la Mission: Impossible--to reveal troop plans. In "The Prince from the Phone Company," one of Hogan's most-trusted confederates, radio operator Kinchloe (Ivan Dixon), disguises himself as an African prince trying to secure money from the Third Reich. Half the fun of these shows is watching Hogan thinking quickly on his feet whenever things start to go wrong, or when one of Klink's more intelligent superiors become
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Hogan's Heroes - Series 2 - Complete
Warm Springs (Dvd)

Warm Springs (Dvd)

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Han var den eneste amerikanske præsident, der blev genvalgt tre gange, og er beundret for sit lederskab gennem nogle af landets sværeste perioder, især anden verdenskrig og den store depression. På trods af disse historiske bedrifter kendte mange amerikanere dengang ikke noget til Franklin Roosevelts største bedrift kampen mod polio. Denne inspirerende historie med Kenneth Branagh (Harry Potter og Hemmelighedernes Kammer), Cynthia Nixon (Sex and the City) og Kathy Bates (Rundt om Schmidt) afslører en mands hemmelige søgen efter håb gennem sine mørkeste dage. Et sted, hvor han resten af sit liv vil finde styrke. Instruktør: Joseph Sargent Skuespillere: Kenneth Branagh Cynthia Nixon David Paymer Tim Blake Nelson Matt O'Leary Matt Malloy Andrew Davoli Nelsan Ellis Jane Alexander Kathy Bates Carrie Adams Brian Beegle Sharon Blackwood Alexander Cain Jill Jane Clements Danny Connell Steve Coulter Felicia Day Deborah Duke Brian F. Durkin Lori Beth Edgeman Wilbur Fitzgerald Marianne Fraulo Sam Frihart Margo Gathright-Dietrich Devon Gearhart Meggie Geisland Terrence Gibney Ron Goss Julie Guy Dave Hager Bart Hansard Craig S. Harper Robert Hatch Rand Hopkins Azel James Missy Key Jared Lang Laurel Lawson Terry Loughlin Marc McPherson Maddux Mehal E. Roger Mitchell Mitchell Morgan Mike Pniewski Melissa Ponzio Bret Francis Quinn Bob Seel Teal Sherer David Michael Silverman Lonnie R. Smith Robert Paul Smith Ron Clinton Smith Matthew Stanton Frank Hoyt Taylor Greg Thompson Jody Thompson Robert C. Treveiler Quint Von Canon Jason Von Stein Steve Warren
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Warm Springs (Dvd)
The World At War - Vol. 3 [1973]

The World At War - Vol. 3 [1973]

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When this epic series was first broadcast in 1973 it redefined the gold standard for television documentary; it remains the benchmark by which all factual programming must judge itself. Originally shown as 26 one-hour programmes, The World at War set out to tell the story of the Second World War through the testimony of key participants. The result is a unique and unrepeatable event, since many of the eyewitnesses captured on film did not have long left to live. Each hour-long programme is carefully structured to focus on a key theme or campaign, from the rise of Nazi Germany to Hitler's downfall and the onset of the Cold War. There are no academic "talking heads" here to spell out an official version of history; the narration, delivered with wonderful gravitas by Sir Laurence Olivier, is kept to a minimum. The show's great coup was to allow the participants to speak for themselves. Painstaking research in the archives of the Imperial War Museum also unearthed a vast quantity of newsreel footage, including on occasion the cameraman's original raw rushes which present an unvarnished and never-before-seen picture of important events. Carl Davis' portentous main title theme and score underlines the grand scale of the enterprise. The original 26 episodes were supplemented three years later by six special programmes (narrated by Eric Porter), bringing the total running-time to a truly epic 32 hours. Now digitally remastered The World at War looks even more of an impressive achievement on DVD. Available in five volumes, each handsomely packaged double-disc set comes with a detailed menu that places the individual programmes along a chronological timeline. Better yet, chapter access is laid out to allow you to select key speeches or maps or newsreel footage. The World at War was a landmark television event; its DVD incarnation underlines its importance as an historical document. -- Mark Walker
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The World At War - Vol. 3 [1973]
Anton Bruckner: Symphony No. 8

Anton Bruckner: Symphony No. 8

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Listening to Bruckner's monumental Eighth Symphony, here running some 88 minutes, is like scaling Everest. The summit doesn't come into sight until well into the third, slow movement, then it's not until the third approach via other vistas that we arrive with a clash of cymbals at the peak. En route there are diversions into Alpine meadows where it's not too fanciful to suggest an Edelweiss is in flower. Zubin Mehta recorded Bruckner's Ninth Symphony early on in his career but neither his name nor that of this orchestra has been much associated with the Austrian composer. It was therefore something of a gamble for ArtHaus to release this 1987 performance. Mehta pleads and cajoles his orchestra to give of their all, but ultimately the demands of the music and the unsympathetic acoustic of the Alte Oper Frankfurt defeat them. The Israel Philharmonic Orchestra at key moments isn't always playing as one in a symphony where there are so many entries that require a unison response. One senses that the conductor's forward pacing of the music takes its toll on the precision within the huge waves of sound Bruckner launches throughout the work. Anxiety brings with it the wrong sort of tension, so that when the music drops into one of the pastoral episodes there's little sense that we've moved into gentler terrain despite the heroic efforts of the principal flautist to add a scenic diversion. -- Adrian Edwards
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Anton Bruckner: Symphony No. 8
Great Composers - Bach / Mozart [1997]

Great Composers - Bach / Mozart [1997]

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The BBC TV series Great Composers, broadcast in 1997, takes an introductory look at key figures of European classical music. Bach (1685-1750) is a difficult composer to survey historically, partly because his life as a professional musician was restricted to several provincial German towns. Yet the vast body of music he produced is well covered, with a representative sample performed mainly on instruments of Bach's day. There's also consideration of his cultural importance as the effective progenitor of modern European music and enough anecdotal evidence to suggest a lively, combative personality in his own right. The life of Mozart (1756-1791) is easier to document, with his years as a child prodigy travelling the European cultural circuit, the difficult adolescent years in Salzburg and Paris and the rise and fall of his freelance career in Vienna all amply illustrated here. Again, a well-chosen selection of music, accompanied by thought-provoking comments from a range of musicians and historians, gently exploding the myth of the Amadeus film in the process. This is informal, informing, and worth acquiring. On the DVD: The disc offers crisp Dolby 2.0 stereo and 4:3 ratio, with generous and well-chosen access points--13 for Bach, 16 for Mozart. Subtitles are offered in five languages, and you'll need to select the English option so that the German and Italian speaking contributors come with translation. Those with DVD-ROM can additionally access up-to-date articles on these composers. -- Richard Whitehouse
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Great Composers - Bach / Mozart [1997]
Kingdom Of Heaven - Definitive Edition [2005]

Kingdom Of Heaven - Definitive Edition [2005]

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It's hard to believe Ridley Scott's handsome epic won't become the cinematic touchstone of the Crusades for years to come. Kingdom of Heaven is greater than the sum of its parts, delivering a vital, mostly engrossing tale following Balian (Orlando Bloom), a lonely French blacksmith who discovers he's a noble heir and takes his father's (Liam Neeson) place in the center of the universe circa 1184: Jerusalem. Here, grand battles and backdoor politics are key as Scott and first-time screenwriter William Monahan fashion an excellent storyline to tackle the centuries-long conflict. Two forward-thinking kings, Baldwin (Edward Norton in an uncredited yet substantial role) and Saladin (Ghassan Massoud), hold an uneasy truce between Christians (who hold the city) and Muslims while factions champ at the bit for blood. There are good and evildoers on both sides, with the Knights Templar taking the brunt of the blame; Balian plans to find his soul while protecting Baldwin and the people. The look of the film, as nearly everything is from Scott, is impressive: his CGI-infused battle scenes rival the LOTR series and, with cinematographer John Mathieson, create postcard beauty with snowy French forests and the vast desert (filmed in Morocco and Spain). An excellent supporting cast, including Jeremy Irons, Brendan Gleeson, and David Thewlis, also help make the head and heart of the film work. Many critics pointed out that Bloom doesn't have the gravitas of Russell Crowe in the lead (then again, who does?), but it's the underdeveloped character and not the actor that hurts the film and impacts its power. Balian isn't given much more to do than be sullen and give an occasional big speech, alongside his perplexing abilities for warfare tactics and his wandering moral compass (whose sole purpose seems to be to put a love scene in the movie). Note: all the major characters except Neeson's are based on fact, but many are heavily fictionalized. --Doug Thomas
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Kingdom Of Heaven - Definitive Edition [2005]
Mystery Alaska [1999]

Mystery Alaska [1999]

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David E Kelley's script for Mystery, Alaska (co-authored by Sean O'Byrne) takes his Ally McBeal level of eccentricity to a geographical and spiritual extreme. The film revives the hackneyed Rocky formula, setting a lopsided hockey match within a remote, self-contained hamlet where the members of a tiny population all have to wear multiple hats and still keep neighbourly ties intact. The story concerns the town's chief source of identity and pride: so-called "Saturday games", in which local men divide into teams and play pond hockey for the locals. When a prodigal son (Hank Azaria) of Mystery shows up with a television network offer to bring the New York Rangers in for a televised match against the homegrown team, the town fathers agree. Coaching falls to the town sheriff, John Biebe (Russell Crowe), an admirable man and a long-time player recently bumped from the team. John, however, doesn't want the job: everyone knows the real coach in those parts is Judge Burns (Burt Reynolds), but he wants no part of it either. All of that changes after a sad tragedy forces everyone to revaluate their positions and pull together in order to beat the Rangers. Following the success of Austin Powers: International Man of Mystery, Jay Roach proves to be an able director of drama, swift action and low-key, character-driven comedy not unlike that in Benton's Nobody's Fool. He has to deal with some pure corn at the end, but Roach pulls it off and guides the actors to and through far better moments. -- Tom Keogh, Amazon.com
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Mystery Alaska [1999]
Superman Returns - Single Disc [2006]

Superman Returns - Single Disc [2006]

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It's fair to say that Superman Returns probably wasn't quite the blockbuster many were expecting. It concentrates its action on a handful of dazzling, audacious sequences, it spends time working with its characters, and it deliberately pays homage to the heritage of the source material. Knitted together by Bryan Singer, the man behind the camera for the first two X-Men features, it's some distance away from the last time the Man of Steel appeared on the big screen. But that's very much a good thing. Whilst it doesn't quite, and nor did it need to, perform the major surgery that Batman Begins had to undertake on the Dark Knight's adventures, Singer nonetheless leaves distance between his film and some of its predecessors (although there are respectful tips of the hat to the first two films, not least the nostalgia-inducing credits sequence). The plot finds Superman returning to Earth after several years away, to discover that the world has moved on in his absence. It's not as safe, Lex Luthor is out of prison, and Lois Lane now has a family. Which is the cue for a lot of soul searching, slower, tender moments and character development that divided some sections of the cinema audience. Yet, thanks to a stirring cast, led by newcomer Brandon Routh, the end product gels extremely well. Routh's performance is a fitting tribute to the late Christopher Reeve, while Kevin Spacey chews up anything he's allowed to as key villain Lex Luthor. Further, credible, support comes in the form of Parker Posey, James Marsden and Kate Bosworth. It'd be remiss to call Superman Returns a flawless film. After all, the running time could use fifteen minutes taking off, there's not enough Kevin Spacey and there are occasional moments when the pacing feels a little off. But it is a superb return to form for the classic superhero, with the modern day blockbuster ingredients of some meat to go with the action firmly in place. Further instalments, Mr Singer, will be more than welcome. -- Simon Brew
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Superman Returns - Single Disc [2006]
Gettysburg (Double sided DVD) [1993]

Gettysburg (Double sided DVD) [1993]

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Thanks to generous funding from media mogul Ted Turner, first-time director Ronald F Maxwell was able to make an almost word-for-word adaptation of Michael Shaara's Pulitzer Prize-winning novel, The Killer Angels. Running over four hours, Gettysburg (1993) splits into two convenient parts for TV viewing (although a 70mm print was given limited theatrical release). This story of three bloody days of conflict in July, 1863 (an unimaginable 50,000 casualties), is divided equally between Union and Confederate forces. On the Union side, Jeff Daniels is the quietly heroic Colonel Joshua Chamberlain; Sam Elliott is utterly convincing as General Buford, the Union cavalryman who holds the Confederate army at bay on the first day. Martin Sheen plays an oddly subdued and vacillating General Lee--a controversial portrait of the legendary Confederate chief--while Tom Berenger, despite being almost hidden underneath an enormous authentically period-style beard, is strong and authoritative as General Longstreet (whose opposition to Lee's plans gave many in the Confederacy a reason to blame him for the disaster at Gettysburg). Chamberlain's last-ditch defence of Little Round Top, which prevented the Union forces from being flanked on the second day of battle, forms the climax to the first half; the heartbreaking Pickett's Charge--the Confederates' disastrous frontal assault on the entrenched Union lines on the third day--is the movie's greatest set piece and one of the most compelling reasons to endure a little too much stodgy dialogue (lifted directly from the novel) and an apparently over-reverential attitude to the subject-matter. But much of this movie was made in and around the actual battle site, so it's only to be expected that the cast and crew tread carefully, as if literally under the watchful eyes of the men whose lives they are re-enacting. And re-enactment is the key: with a cast of thousands in splendidly detailed period costumes, cannonades galore and massed ranks of musketry, the sheer scale of the military spe
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Gettysburg (Double sided DVD) [1993]
Hidalgo [2004]

Hidalgo [2004]

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Director Joe Johnston has always had an entertaining sense of adventure, and with Hidalgo he proves it in spades. It's yet another underrated film for Johnston (along with such enjoyable popcorn flicks as The Rocketeer and Jurassic Park III), dismissed by many critics but a welcome treat for anyone drawn to good ol'-fashioned movie excitement. In his first role since playing Aragorn in the Lord of the Rings trilogy, Viggo Mortensen brings handsome appeal to his low-key portrayal of Frank T. Hopkins, a real-life long-distance horse racer who, as the movie opens, has witnessed the appalling massacre of Native Americans at Wounded Knee in 1890. Drifting into Buffalo Bill's Wild West Show, he agrees to compete, with his trusty mustang, Hidalgo, in "The Ocean of Fire," a treacherous 3,000-mile horse race across the Arabian desert. Toss in a bunch of conspiring competitors, a noble sheik (Omar Sharif), his lovely daughter (Zuleikha Robinson), and enough fast-paced danger to fill 133 minutes, and you've got a rousing, humorous, and lightly spiritual adventure that's a lot of fun to watch. It hardly matters that it's almost pure fiction (the real Hopkins was known by many as "a pathological liar"). More important is the love of movies and moviemaking that Johnston so delightfully conveys. -- Jeff Shannon
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Hidalgo [2004]
1966 World Cup Final [2002]

1966 World Cup Final [2002]

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The 1966 World Cup Final is arguably the most revered sporting achievement in English history, certainly English football's most frequently eulogised match, but have you actually ever seen it? If not this enhanced DVD release is nothing short of essential. Featuring the original black and white BBC coverage of the match, with Kenneth Wolstenholme at the commentator's mike, this is an opportunity for even those familiar with the big moments--five goals and "they think it's all over"--to watch the action in its entirety. It's an experience rather similar to people's descriptions of meeting TV stars--everyone's shorter, taller, fatter, thinner, balder than you expect--but even simply viewed as a game of football this is something of a classic, with disputed goals, clattering tackles, last-minute equalisers and dodgy officials, putting the achievement of Moore and co into its proper context. On the DVD: The 1966 World Cup Final comes to DVD with a sparkling slew of extras. The choicest feature is the alternative match commentary provided, live, by five of the England team themselves--Jack Charlton, Martin Peters, Geoff Hurst, George Cohen and Gordon Banks. It's a frequently hilarious, sometimes touching additional perspective, delivered in an entertainingly chaotic style by five men who may share a common bond, but clearly see the task in hand somewhat differently. Aside from text-only profiles of the England 11 (no subs in those days), and a gallery of stills from the match and build-up, there are three additional mini-programmes. Exclusive interviews with Tina Moore (wife of late England captain Bobby Moore), and with the late commentator Kenneth Wolstenholme, tear down some of the media-generated nonsense that has grown to obscure the match and its key participants, with their personal reflections on the event and its resonance. John Motson narrates an entertaining documentary on "The Summer of 66", featuring archive and contemporary interviews with players and fans. -- Alex Hankin
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1966 World Cup Final [2002]
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Pricemo tager forbehold for fejl og mangler og kan på ingen måde holdes ansvarlig for konsekvenser af disse