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The Rare Breed [1966]

The Rare Breed [1966]

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A very offbeat subject gives this Western its beefy flavour: English lady Maureen O'Hara brings a prize Hereford bull to the Wild West, where she plans to introduce its hardy bloodline into longhorn country. Cattle puncher James Stewart finds the idea suspect, but he likes this redhead, so he manages to tag along through stampede, gunfight, and blizzard. Director Andrew V. McLaglen generally steers a pleasing course, although the movie occasionally stumbles between brawling comedy and western drama. One stunt sequence, a run of longhorns through a desert canyon, qualifies as a hair-raiser. Brian Keith, wearing a gigantic red beard, does a Scots accent as a cattle baron, and veteran cowhands Ben Johnson and Jack Elam are around to lend atmosphere. The big bull's name is Vindicator, and he obeys whenever Juliet Mills whistles "God Save the Queen"--did we mention this is a very offbeat subject for a Western? -- Robert Horton
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The Rare Breed [1966]
Single White Female [1992]

Single White Female [1992]

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You can take this 1992 thriller one of two ways: it's either a highly suspenseful movie about an unfortunate young woman's psychological breakdown, or it's a glossy slasher movie starring two of Hollywood's best young actresses. Or maybe it's both at the same time-or perhaps it's the clever and well-acted thriller for its first hour before resorting to the routine shocks of a cheap horror flick. However you look at it, there's no denying that this is a dynamite showcase for Jennifer Jason Leigh as the flatmate from hell who becomes the bane of Bridget Fonda's existence. First she picks up Fonda's mannerisms, then starts to borrow her wardrobe, cuts her hair to resemble Fonda's, and even "borrows" her roommate's boyfriend for a deceitful night of lovemaking. By that point Fonda's totally freaking out (wouldn't you?), and, well, that's when the whole thing gets a little too silly. Still, this is a nifty little shocker, and director Barbet Schroeder brings more intelligence and style to the material than it really deserves. Add that to the fine performances by the battling roommates and you've got a movie that will make you think twice before inviting total strangers to live with you. -- Jeff Shannon, Amazon.com
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Single White Female [1992]
What's New Scooby Doo: Vol.1 - Space Ape At The Cape [2003]

What's New Scooby Doo: Vol.1 - Space Ape At The Cape [2003]

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A lot has changed since the original 70s-era gang of Scooby-Doo fans gave way to today's followers of the hipster mystery cartoon series. Scooby-Doo and the Alien Invaders contains all the familiar elements; even the groovy green Mystery Machine makes a comeback, but it isn't as reliable as it used to be. At the outset of Alien Invaders, it breaks down, leaving the crime-solving crew stranded in a creepy desert town overrun by aliens. From there, the plot unwinds faster than Scooby can down a box of his namesake snacks. A band of swollen-headed purple and green space guys--Zoinks--send the terrified teens scrambling for cover, but it's not long before the quick-witted gang figures out that there's a team of bad guys behind the bug-eyed masks. That's not to say, though, that real-life aliens aren't also roaming the streets, as Shag and Scoob (who hook up in an unprecedented Scooby-Doo romance with a peace sign-wearing babe and her equally hip dog) discover in the course of clearing out of the phoney aliens' hair-raising path. To longtime viewers, the love angle seems unsettling; it steals from the tightness of the mystery team. Still, with so much creepy fun to get caught up in, it's a minor complaint. Scott Innes, the modern-day voice of both Shaggy and Scooby, nails both parts, and Jennifer Love Hewitt fans also will want to tune in--she sings the Scooby theme song. -- Tammy La Gorce, Amazon.com
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What's New Scooby Doo: Vol.1 - Space Ape At The Cape [2003]
Blow Dry [2001]

Blow Dry [2001]

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Despite a gifted Anglo-American cast, Blow Dry strikes an uneasy balance between sentiment and camp. It aims for the same sort of high-wire act that Strictly Ballroom and Priscilla, Queen of the Desert pulled off so effortlessly, but melodrama wins the day. The comic moments are suitably over the top (as expected in a film about duelling hairdressers), but rarely as amusing as intended. The relationships between barbershop owner Phil (Alan Rickman), ex-wife Shelley (Natasha Richardson) and Sandra (Rachel Griffiths), "the other woman", could be more fully developed but are affecting nonetheless. The setting is West Yorkshire. The event that brings them together is the British National Hairdressing Championships. Phil initially resists the urge to compete as it reminds him of the success he and Shelley once enjoyed, but his son Brian (Josh Hartnett) convinces him to give it a go. Hartnett and Rachael Leigh Cook ( She's All That), as the daughter of Phil's old nemesis, seem like peculiar casting choices for a British film, but Hartnett's accent is passable (Cook plays an American) and they don't embarrass themselves as much as supermodel Heidi Klum, who plays a tacky, two-timing hair model. The screenplay is by Simon Beaufoy of Full Monty fame. Although not up to that standard--and certainly no match for Shampoo (the greatest hairdressing movie of all time)-- Blow Dry is still a good showcase for the talents of its three leads. -- Kathleen C Fennessy On The DVD: Blow Dry's on disc anamorphic 1.85:1 widescreen transfer holds a great spectrum or colour. A film about hairdressing needs to faithfully recreate the lavish, over-the-top barnets in all their glorious Technicolor detail and luckily the result is a rich and detailed film with excellent colour saturation throughout. In terms of extras, the film is pretty much left to speak for itself. A blink and you'll miss it "making of" documentary featuring interviews with cast and crew and an eclectic collection of trailers for such other comedies as She's All Th
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Blow Dry [2001]
102 Dalmatians (Live Action) [2000]

102 Dalmatians (Live Action) [2000]

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It is rare to find a sequel which outdoes the original concept, particularly in the world of Disney movies, but 102 Dalmatians is an exception to the rule. The high jinks and action is back, with an additional puppy--the lovable Oddball, who has no spots--and of course the cruellest of villains, Cruella DeVil. After two years of rehabilitation Cruella is released into London's community once more--but this time insists on being called Ella, "Cruella just sounds so cruel"--but has the evil one really changed her ways to become not only a pillar of society, but also a dog-loving activist? Her probation officer Chloe is not convinced and added to that her dalmatians have just had puppies. Glenn Close is back in fine form as Cruella--this may be the defining role of her career-and with a great range of costumes and hair-dos she adds fantastic menace to the character. Added to this is the joy of having two British actors in the role of dog-loving humans (Ioan Gruffudd as Kevin and Alice Evans as Chloe)--instead of having to listen to the cod Dick Van Dyke English accent that Disney seems to love. The film also offers an extrovert turn by Gerard Depardieu as the flamboyant French Fashion designer Monsieur Le Pelt. Through Le Pelt this film does make some important references to the fur trade and the " No Logo-esque" fashion production methods--adding political humour for adults. However as always the true stars of the films are the animal actors themselves, with the talking parrot Waddlesworth who thinks he is a rottweiler (voiced by Eric Idle) and of course the true star Oddball--the cutest puppy since the promotion of a certain toilet roll! On the DVD: This disc is literally rammed with features and fun. From "Puppy Overload" (a compilation of clips to music) and trailers to educational Featurettes, set out in an easily to use menu allowing kids to stop and start the DVD and fully comprehend how the movie and the digital effects work. In addition to these features is a deleted scene offering further Cruella anti
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102 Dalmatians (Live Action) [2000]
Tootsie [1982]

Tootsie [1982]

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Tootsie inevitably looks dated in some respects now, but it's still fabulous in others--the sexual politics look distinctly faded in their sniggering approach to sexual ambiguities, while the sardonic portrayal of a showbiz that loathes perfectionism is still both timely and hysterically funny. Dustin Hoffman's portrayal of Michael Dorsey is a memorable self-caricature--the man is so obsessed with the craft of acting that he refuses to sit down when playing a tomato in a commercial, and so producers run away rather than work with him. By playing Dorothy Michaels playing her soap character, Dorsey gives himself the freedom to be a bad and popular actor. He is so busy with the surface of being a woman--the voice, the hair, the frocks--and with all the bad faith of his and Dorothy's emotional lives, that he learns to relax into the pleasure of performance. This aspect of the film is far more interesting, ironic and funny than the corny New Man moralising about sexual roles that goes with it. Jessica Lange got, and earned, an Oscar for her sensitive straight woman performance as the colleague Michael falls for, and Bill Murray, Teri Garr, Geena Davis (momentarily) and Charles Durning all turn in reliable supporting roles. Sydney Pollack directs efficiently rather than inspiredly--oddly, he earns almost more credit for his well-observed performance as Michael's world-weary agent. On the DVD: The DVD is presented in crisp Dolby Digital sound and with the original theatrical visual ratio of 2.35:1; enhanced for 16:9 widescreen televisions. It is dubbed into French, German, Italian and Spanish and has subtitles in most European languages as well as Arabic, Hindi and Hebrew. The only special features are the theatrical trailer and filmographies for the leading performers and director. -- Roz Kaveney
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Tootsie [1982]
Duran Duran - Greatest DVD [2003]

Duran Duran - Greatest DVD [2003]

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Greatest is a Duran Duran fan's biggest wish come true (next to a live concert, of course)--all their ground-breaking videos together in one place. More than radio, MTV made mega-stars out of the photogenic group, and few took better advantage of the medium, particularly in the 1980s. Just as their music combined the sophisticated pop of Roxy Music with the electro-funk of Chic, each video is as immaculately styled and conceived as the band itself. Like 1998's Greatest CD collection, this two-DVD set features all their big hits, including uncensored versions of "Girls on Film" and "Come Undone". Directors include Godley and Creme, Julien Temple, and Vogue photographer Ellen Von Unwerth and the albums covered range from 1981's self-titled debut to 1997's Medazzaland. All told: more models, more hair spray and more mascara than a Paris fashion show--but it's got a better beat (and you can dance to it). --Kathleen C Fennessy
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Duran Duran - Greatest DVD [2003]
Joe Dirt [2001]

Joe Dirt [2001]

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The eponymous hero of Joe Dirt is full of "uncomplicated goodness", which is a polite way of saying he's your archetypal dim bulb trailer trash. Sporting a mullet that makes him look like a chipmunk Billy Rae Cyrus, Dirt loves Lynyrd Skynyrd, greaser burgers, Auto Trader magazine and tying fireworks to cows. He is, as LA shock DJ Zander Kelly declares, "an underachievement nexus". Nonetheless, Dirt's quest to find the parents that abandoned him when he was eight years old captures the heart of Kelly's listeners and the hapless Dirt is cheered on as his stumbles from mishap to embarrassment. Cue an endearing but not entirely successful blend of fart gags and feelgood sentimentality. Saturday Night Live comedian David Spade captures the drawling dumbness of Dirt perfectly and Kid Rock puts in a star turn as Dirt's rival for the heart of Brandy (Brittany Daniel), but there's little here that hasn't been seen before. Dirt gets covered in "poop", Dirt is nearly eaten by a crocodile, Dirt becomes an unlikely hero of the people. With a sharper script and a slightly more adventurous bent, this could have been a 21st century Wayne's World. As it is, file under "bad hair, dude". On the DVD: As well as the usual array of outtakes, bloopers and deleted scenes, there are telling commentaries from both director Dennie Gordon and star David Spade. The latter is particularly revealing as it consists mainly of Spade saying "well, this scene used to be funny, but we had to cut this bit to get the PG-13 rating". A basic filmography for each of the main actors and the theatrical trailer rounds off the package. -- Ian Watson
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Joe Dirt [2001]
Star Trek The Next Generation - Season 1 (Slimline Edition) [1987]

Star Trek The Next Generation - Season 1 (Slimline Edition) [1987]

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Warping into syndication in 1987, Star Trek: The Next Generation successfully launched its seven-season "continuing mission" of the starship Enterprise, and this classy DVD boxed set gathers the show's inaugural season in crisp picture clarity and dazzling 5.1-channel sound. A ratings leader with a sharp ensemble cast, this revamped Trek honoured series creator Gene Roddenberry's original Trek concept, nurtured by returning veterans like producer Robert H. Justman and writers D.C. Fontana and David Gerrold. Several first-season episodes have original-series counterparts, and while the season was awkwardly inconsistent for all involved (including Roddenberry's heir apparent, producer Rick Berman), in retrospect the series began on remarkably solid footing. Patrick Stewart was perfect as Enterprise Captain Jean-Luc Picard, while Marina Sirtis struggled with a wretched hair bun and an ill-defined character, eventually blessing Counselor Troi with delicate nuance. Denise Crosby made a strong but underutilized impression as Security Chief Tasha Yar, and left the series before season's end, allowing writers to develop Klingon Lieutenant Worf (Michael Dorn) into a fan favourite. Brent Spiner transcended Spock comparisons with his triumphant portrayal of the android Lieutenant Commander Data; and while Jonathan Frakes was accepted as First Officer Will Riker, fans ultimately rejected Wil Wheaton as ensign Wesley Crusher, the teenaged son of the ship's doctor (Gates McFadden). Still, these 25 episodes laid a firm foundation for subsequent seasons, and highlights include the Raymond Chandleresque "holo- novel" of "The Big Goodbye," Data's backstory in "Datalore," the Klingon rituals of "Heart of Glory," and a Romulan encounter in "The Neutral Zone." The DVD supplements (all on the seventh disc) are good enough to make anyone wish for more: four featurettes recall myriad first-season challenges, filled with insider perspective and enough NextGen trivia to satiate all but the most obsessive Trekkers back on Earth. Looking
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Star Trek The Next Generation - Season 1 (Slimline Edition) [1987]
Nightmares & Dreamscapes Collection (3 DVD)

Nightmares & Dreamscapes Collection (3 DVD)

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This hair-raising miniseries is comprised of 8 mind-bending stories each featuring an all-star cast and cutting-edge special effects. Each episode is adapted...
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Nightmares & Dreamscapes Collection (3 DVD)
Greatest Video Hits

Greatest Video Hits

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Once upon a time, you couldn't turn on MTV without seeing Motley Crue videos in heavy rotation. For those still-loyal fans, this compilation brings back the good old days. From the band's 1982 debut, Too Fast for Love, to 2000's New Tattoo, these 21 videos hit on every phase of the Crue's career: they began as a Kiss wannabe, became huge arena-rockers, then stumbled through new singers and drummers before returning to the original lineup. No real fan will go wrong with this hit list, including much time-capsule material: "Girls Girls Girls", "Dr. Feelgood", and "Home Sweet Home" contain big hair, makeup, tight pants--and that's just the band. Bonuses include six "alternate" videos, including the X-rated version of "Girls" (showing barely more than Janet Jackson at the Super Bowl); 50 minutes of bassist Nikki Sixx and drummer Tommy Lee discussing making the clips; and Easter eggs with more hidden videos. The sound, nominally mixed in 5.1 Dolby Surround, is actually quite tame for such hard-hitting music. --Kevin Filipski
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Greatest Video Hits
Once Upon a Time in Mexico [2003]

Once Upon a Time in Mexico [2003]

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There's plenty of guns and a few explosions as bodies fly through the air and crash into tables and fruit stands. Once Upon a Time in Mexico, like all Robert Rodriguez movies, is all about the kinetic kick of high-velocity action. Johnny Depp, blasé and whimsical, plays a CIA agent who's drawn guitar-playing gun-slinger Antonio Banderas (long black hair flopping over his face like the ears of a Labrador puppy) into a ridiculously convoluted plot to overthrow the Mexican government. Along for the ride are a craggy-faced rogue's gallery including Willem Dafoe, Mickey Rourke, Danny Trejo, Ruben Blades, and (to balance things out) the smooth, tantalising complexions of Eva Mendes and Salma Hayek. For sheer trashy fun, Once Upon a Time in Mexico is a step down from its predecessor, but Desperado set the bar pretty high. For coherent storytelling, look elsewhere, but for action razzle-dazzle, this is your movie. Rodriguez's complete trilogy-- El Mariachi, Desperado and Once Upon a Time in Mexico--can also be found in one DVD box set-- Bret Fetzer
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Once Upon a Time in Mexico [2003]
Hairspray (2007)

Hairspray (2007)

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It's rare that a movie captures the intensity and excitement of a live Broadway musical production while appealing to a broader movie-going audience, but the 2007 Hairspray is an energetic, powerfully moving film that does just that. A re-make of the 1988 musical film Hairspray the new Hairspray is a film adaptation of the 2002 Broadway musical and features more likeable characters than the original film and an incredible energy that stems from a great cast, fabulous new music, and the influence of musical producer Craig Zadan. What remains constant throughout all three versions of Hairspray is the story's thought-provoking exploration of prejudice and racism. Set in Baltimore in 1962, the film opens with chubby girl Tracy Turnblad (Nikki Blonsky) singing her heart out in a rendition of "Good Morning Baltimore" that, while admittedly a bit too long, sets the farcical tone for the film. Viewers quickly become immersed in Tracy's teenage world of popular television dance shows, big hair, the stigma of being different, and the first hesitant steps toward racial integration within a segregated world. The Corny Collins (James Marsdon) television dance show is a teenage obsession in Tracy's world and Link Larkin (Zac Efron) is every girl's dream partner, so when a call for auditions goes out, Tracy skips school to try out, but is rejected by station manager Velma von Tussle (Michelle Pfeiffer) because of her large size and the threat of competition for Velma's own daughter Amber (Brittany Snow). Perseverance and the support of her friend Penny (Amanda Bynes), father Wilbur (Christopher Walken), and negro dancer Seaweed (Elijah Kelley) lead Tracy to the spotlight and the chance of a lifetime, but more and more Tracy discovers that fairness and equality for those who are different does not come without a fight and that sacrifices must be made to effect change. While the message is serious, Hairspray is first and foremost a comedy with stellar performances by John Travolta as Edna Turnblad (who ever imagined
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Hairspray (2007)
Hawaii Five-O: The First Season

Hawaii Five-O: The First Season

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There's plenty to like about Hawaii Five-0, the late '60s cop show debuting on DVD. Like the music, featuring Morton Stevens' popular theme song. Or the lovely Hawaiian scenery. And let's not forget "Book 'em, Danno," the signature line delivered (although not nearly as frequently as one might expect) by star Jack Lord's Steve McGarrett, not to mention Lord's perfect hair and wrinkle-free slacks. As for everything else, let's just say that Hawaii Five-0 has not aged well. Some of that is inevitably due to the infinitely more sophisticated production values of the series that have followed in its wake; Five-0's technology, sets, and other practical elements are laughably primitive by current standards. Problem is, the cheese factor extends to pretty much every other aspect of the show as well. Most of the action sequences are utterly tension-free, and the pace is frequently glacial, with interminable scenes bogged down by talky exposition. The dialogue is risible: McGarrett refers to one adversary as "a dirty, double-dealing fink," while the so-called hippies who populate the islands utter the kind of idiocies that could only have been written by cubes whose closest contact with the counterculture came from TV commercials for Hai Karate men's cologne ("Looks like splittin' the scene was real cool, baby" is but one egregious example). Lord does a decent job as the stiff-but-heroic McGarrett, variously described as "a hardhead," "an organizational misfit," "a brilliant operator," and "a rebel," but by and large the acting (including guest shots by Sal Mineo, Ricardo Montalban, Gavin MacLeod, and Yaphet Kotto) is wooden. Story-wise, "Cocoon," the pilot, features an intriguing premise wherein U.S. intelligence agents undergo sensory-deprivation torture before spilling their secrets; elsewhere, the elite Five-0 team deals with jewel thieves, gold smugglers, kidnappers, gamblers, murderers, mobsters, all-purpose "criminal masterminds," and even "Red agents" spreading the bubonic plague. In sum: with its light (if not
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Hawaii Five-O: The First Season
Vertical Limit --Superbit [2001]

Vertical Limit --Superbit [2001]

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Vertical Limit is the film for all those mountain-climbing aficionados who devoured Jon Krakauer's Into Thin Air and similar books. It attempts to translate man-against-the-mountain adventure into compelling, albeit fictional, drama. But while the climbing action is pretty darn breathtaking, somebody forgot to put the brakes on the cliché machine while penning the screenplay. Two siblings (Chris O'Donnell and Robin Tunney) are mentally scarred by a climbing accident in which their father died to save them. She becomes a famous mountain climber; he never climbs again. On one of her climbs an avalanche leaves her stranded and only her determined brother can bring her back, along with a ragtag team of rescuers. It's easy to pick out the rest of the story from here, but Vertical Limit is less about the hackneyed plot than it is about putting its characters into increasingly dangerous situations and hanging them precariously over various mountainsides. It's a credit to director Martin Campbell ( GoldenEye) that the impressive action keeps the film moving along past the bordering-on-absurd plot twists. O'Donnell tosses his mane of fluffy hair admirably, but it's still disheartening to see this once-promising actor turning into a pretty-boy stand-in; only Glenn manages to overcome his character's predictability. Mountaineering enthusiasts will recognise a cameo by world-renowned climber Ed Viesturs, who as an actor proves that he's... a very good mountain climber. -- Mark Englehart, Amazon.com
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Vertical Limit --Superbit [2001]
The Bride Of Frankenstein [1935]

The Bride Of Frankenstein [1935]

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It appeared, at the end of the epochal 1931 horror movie Frankenstein, that the monster had perished in a burning windmill. But that was before the runaway success of the movie dictated a sequel. In Bride of Frankenstein, we see that the monster (once again played by Boris Karloff) survived the conflagration, as did his half-mad creator (Colin Clive). This remarkable sequel, universally considered superior to the original, reunites other key players from the first film: director James Whale (whose life would later be chronicled in Gods and Monsters) and, of course, the inimitable Dwight Frye, as Frankenstein's bent-over assistant. Whale brought campy humour to the project, yet Bride is also somehow haunting, due in part to Karloff's nuanced performance. The monster, on the loose in the European countryside, learns to talk and his encounter with a blind hermit is both comic and touching. (The episode was later spoofed in Mel Brooks's Young Frankenstein.) A prologue depicts the author of Frankenstein, Mary Shelley, being urged to produce a sequel by her husband Percy and Lord Byron. She's played by Elsa Lanchester, who reappears in the climactic scene as the man-made bride of the monster. Her lightning-bolt hair and reptilian movements put her into the horror-movie pantheon, despite being onscreen for only a few moments. But in many ways the film is stolen by Ernest Thesiger, as the fey Dr. Pretorious, who toasts the darker possibilities of science: "To a new world of gods and monsters!" --Robert Horton
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The Bride Of Frankenstein [1935]
George Best - Best Intentions [2000]

George Best - Best Intentions [2000]

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Depending on your point of view, George Best is either the carefree hedonist who played football for the love of it, and gleefully enjoyed the fringe benefits (booze 'n' birds) which came with the territory, or he is the sad, shambolic, wife-beating alcoholic who frittered away his God-given gifts. Both perspectives are given a full airing in Best Intentions, an old Ulster TV documentary which has been re-released on video to coincide with Best, the recent biopic starring John Lynch as George Best. This isn't exactly a polished piece of film-making. Many of the interviews seem to have taken place in howling gales (you can¹t listen to Dennis Law without being distracted by the way his hair dances in the wind), and the archive footage is very clumsily edited. Nevertheless, all the key witnesses are grilled. No, Bobby Charlton insists, there was never really any rift between him and the boy wonder--they were just very different personalities. His old manager Matt Busby remembers him as good-natured, quiet lad who used to stay behind on the training pitch to help the youngsters. Busby's relationship with the Belfast prodigy was akin to that of an ailing father with his lovable, reckless teenage son. Best vexed and exasperated Sir Matt, but helped him win the European Cup. As Best says, it was probably a fair trade-off. Everybody liked George, even his fiercest critics. His ex-wife Angie, his shaggy-haired old manager Bill McMurdo and former team-mates like Pat Jennings and Pat Crerand all trot out well-worn anecdotes about what a "smashing bloke" he is. George himself gives honest answers to questions on his drinking and playboy antics. If you're in any doubt why people make such a fuss of him, it only takes a few seconds of old footage of him prancing around opponents on the pitch to remind us that he really was the footballing genius the hype proclaims him to be. -- Geoffrey Macnab
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George Best - Best Intentions [2000]
CSI: Crime Scene Investigation - Complete Season 3 [2001]

CSI: Crime Scene Investigation - Complete Season 3 [2001]

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Now firmly established as one of the top-rated television dramas, by its third year CSI: Crime Scene Investigation is a show positively glowing with confidence. Even when individual cases seem either too contrived or too easily resolved, the indefatigable night shift at the Las Vegas PD crime lab always look the part, solving conundrums and discovering microscopic damning evidence while, apparently, never shedding their own loose hair or skin cells all over the supposedly quarantined crime scenes. In reality, Catherine Willows' flowing blonde locks would contaminate any evidence she collected, but in the world of CSI only the bad guys leave body parts behind--the CSIs themselves are so good they're positively pristine. The 23 episodes of season 3 on this five-disc set present more deliciously bizarre situations for the problem-solving sleuths: cannibalism, snuff movies, dwarfs, death while drag racing, bodies falling from the sky, and various dismemberments all tax the team's acumen. These are all double or multiple-case episodes, though in a characteristic trick of the writing sometimes apparently unrelated murders turn out to be connected (or vice versa, as in "Blood Lust," in which a road-accident victim is not what he seems, and the death of the driver at the hands of an angry mob is made all the more tragic). The mix of genuine forensic science with the glossiest Jerry Bruckheimer production values, plus the virtues of a good ensemble cast headed by William Peterson's modern-day Sherlock Holmes, remains as compelling as ever. -- Mark Walker
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CSI: Crime Scene Investigation - Complete Season 3 [2001]
Read My Lips [2001]

Read My Lips [2001]

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Workplace dramas seem to have become a French speciality, and Jacques Audiard's Read My Lips ("Sur mes levres") proves a worthy follow-up to such notable predecessors in the genre as Human Resources and Time Out ("L'Emploi du temps"). The film also nods towards Neil LaBute's In the Company of Men and Hitchcock's Rear Window, but it's none the worse for that. Carla, our anti-heroine (Emmanuelle Devos), is an ugly duckling working as a secretary for a construction company in suburban Paris. Dowdy and all-but deaf, she's exploited and put upon by her male coworkers. When her boss lets her hire an assistant she bizarrely chooses Paul (Vincent Cassel), a scruffy and none-too-bright ex-con. But an odd symbiosis grows up between this pair of losers; the combination of his petty-criminal skills and her lip-reading abilities has certain potentials. As A Self-Made Hero, his previous movie, showed, Audiard doesn't go in for lovable characters. Carla is no long-suffering saint and Paul is frankly sleazy, but this just makes their interaction all the more intriguing. Devos, glowering malevolently beneath her dark brows, and Cassel with his greasy hair and ratty moustache, turn in relishably truculent and un-starry performances, and Audiard deftly manages the transition from office comedy to gangland heist thriller with no grinding of gears. By the end the plot starts to strain belief, but it scarcely matters. The noir-ish lighting and potent use of hand-held close-ups enhance the film's sense of nervous unease, and there's ingenious use of sound to convey Carla's hearing-impaired world. Downbeat and unblinkingly amoral, Read My Lips offers pleasures that a glossier treatment would have missed entirely. On the DVD: Read My Lips has no extras on the disc beyond the trailer. But the transfer is clean and crisp, offering the full-width original ratio, and the Dolby sound captures the all-important subtleties of the soundtrack flawlessly. -- Philip Kemp
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Read My Lips [2001]
O Brother, Where Art Thou? [2000]

O Brother, Where Art Thou? [2000]

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Only Joel and Ethan Coen, masters of quirky and ultra-stylish genre subversion, would dare nick the plotline of Homer's Odyssey for O Brother, Where Art Thou?, their comic picaresque saga about three cons on the run in 1930s Mississippi. Our wandering hero in this case is one Ulysses Everett McGill, a slick-tongued wise guy with a thing for hair pomade (George Clooney, blithely sending up his own dapper image) who talks his chain-gang buddies (Coen-movie regular John Turturro and newcomer Tim Blake Nelson) to light out after some buried loot he claims to know of. En route they come up against a prophetic blind man on a railroad truck, a burly one-eyed baddie (the ever-magnificent John Goodman), a trio of sexy singing ladies, a blues guitarist who's sold his soul to the devil, a brace of crooked politicos on the stump, a manic-depressive bank robber, and--well, you get the idea. Into this, their most relaxed film yet, the Coens have tossed a beguiling ragbag of inconsequential situations, a wealth of looping, left-field dialogue and a whole stash of gags both verbal and visual. O Brother (the title's lifted from Preston Sturges' classic 1941 comedy Sullivan's Travels) is furthermore graced with glowing, burnished photography from Roger Deakins and a masterly soundtrack from T-Bone Burnett that pays loving homage to American 30s folk-styles: blues, gospel, bluegrass, jazz and more. And just to prove that the brothers haven't lost their knack for bad-taste humour, we get a Ku Klux Klan rally choreographed like something between a Nuremberg rally and a Busby Berkeley musical. -- Philip Kemp On the DVD: This two-disc set duplicates the original single-disc release of the film which included a handful of cast and crew interviews, and adds an additional disc with more interviews, two brief behind-the-scenes featurettes about the production design and the post-production digital colouring of the film, a couple of storyboard-to-scene comparisons and a music video of "Man of Constant Sorrow". There's also a 16-minute
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O Brother, Where Art Thou? [2000]
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