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Stuck On You [2004]

Stuck On You [2004]

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Stuck on You finds those fun-loving Farrelly Brothers in a feel-good mood, delivering a tame, kind-hearted comedy that even your grandma could enjoy. That's a big change from the seminal "hair gel" of There's Something About Mary, but the codirecting Farrellys have genuine affection for Bob and Walt (Matt Damon, Greg Kinnear), conjoined twins who are the owners and short-order cooks at a Martha's Vinyard burger joint. When amateur actor Walt decides he wants to make it in Hollywood--where he lucks into a star-making TV role with Cher (who gamely plays herself in this light Hollywood satire)--Bob has no choice but to go along. Separation surgery is risky, so most of Stuck on You milks mild laughs from the brothers' intimate connection, especially when Bob finds love with a pen-pal (Wen Yann Shih) who's initially unaware of Bob's brotherly predicament. Once again, the Farrellys score big points for their progressive acceptance of differences; several minor roles are played by physically or developmentally disabled actors, and it's a consistently commendable aspect of the Farrellys' comedic worldview. Other, more conventional rewards include Eva Mendes (and her ample cleavage) as a bubbly show-biz wannabe, Seymour Cassel as Walt's old-school agent, and Meryl Streep--yes, Meryl Streep--showing good sportsmanship in a glorified cameo. Stuck on You is dispensable comedy, but you can't knock it for good old-fashioned brotherly love. -- Jeff Shannon
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Stuck On You [2004]
Jesus' Son [2000]

Jesus' Son [2000]

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Drama Fans of the short stories in Denis Johnson's Jesus' Son will wonder how anyone could film a book so beautifully, radiantly, defiantly strange. The good news is that Alison Maclean's film version is more than just faithful to the book's spirit: it's the closest thing to a visual equivalent of Johnson's visionary prose. As a series of vignettes in the life of an unnamed Midwestern junkie-slash-holy fool, the stories are linked more through imagery than through anything so linear as a plot. Maclean preserves this episodic structure but adds just enough narrative glue to make the whole thing hang together as a film. (And wisely so; if she hadn't, there'd have been no role at all for Samantha Morton, brilliant here as Michelle, the narrator's girlfriend.) With a hero called Fuckhead, you know this isn't going to be entertainment for the whole family, and some of the scenes of drug use and associated gore are grim indeed. But the movie looks just right and some of its images are so beautiful it hurts: old movies playing in an empty drive-in, snow swirling all around; a naked woman parasailing through the sky with her long red hair streaming behind. Maclean also coaxes wonderful performances from a dream-indie cast, including Morton, the magnetic Billy Crudup as Fuckhead, Dennis Hopper, Holly Hunter, an uncharacteristically understated Denis Leary and even, in a gruesome cameo, Denis Johnson himself. (Hint: look for the knife. Then look away quickly.) Once again, Jack Black hijacks every frame in which he appears, and his turn as a pill-popping orderly gives new meaning to the phrase "I save lives". Things drag a little during the last half-hour, but squirm not: following Fuckhead through rehab and beyond, the book's closing scenes are genuinely redemptive without hitting the audience over the head with a "lesson" of any kind. Jesus' Son is Maclean's first feature film since 1992's Crush; let's hope she won't make us wait as long before the next fix. -- Mary Park
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Jesus' Son [2000]
Zatoichi [2004]

Zatoichi [2004]

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Takeshi "Beat" Kitano, the Japanese actor-director best known in the US for his quirky, ulraviolent gangster movies ( Fireworks, Brother, Sonatine) and in the UK (among satellite and cable viewers, at least) for the bizarre It's a Knockout-meets- Endurance gameshow Takeshi's Castle, applies his off-kilter sensibility to the samurai genre in The Blind Swordsman: Zatoichi. A blind masseur (Kitano with his hair dyed white) wanders into a small town divided up by rival gangs. Though hunched and shuffling, Zatoichi soon reveals his deadly skills as a swordsman. He befriends a pair of geisha girls with secrets of their own and helps them hunt down the bandits who killed their parents. But one of the gangs has just hired a ronin, a masterless samurai, whose fighting skill may equal the blind swordsman's. Zatoichi mixes a melodramatic storyline, deadpan comedy, and dazzling, CGI-enhanced swordfights into a supremely entertaining package. In Japan, Zatoichi is a recurring character in popular action movies, but Kitano places his own unique stamp on the series. --Bret Fetzer
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Zatoichi [2004]
Love, Honour And Obey [1999]

Love, Honour And Obey [1999]

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It must have seemed like fun at the time: a group of mates got together to play gangsters, ran around London's streets waving guns, dishing out beatings and shouting profanities at the top of their mockney lungs. It's the kind of game that any group of lads with a camcorder and a six-pack might indulge in on a Sunday afternoon. Unfortunately, these particular mates happen to be famous, so the result-- Love, Honour and Obey--actually saw the dark of cinemas. Ray Winstone is Ray, head honcho of a North London crime outfit; Sean Pertwee is Sean, leader of the South London pack. Their organisations co-exist with a minimum of fuss, based on respect for each other's turf. Then Ray's nephew, Jude (Jude Law), introduces his mate, Jonny (Jonny Lee Miller), into the firm and the equilibrium goes up in gun smoke. Jonny's a hothead who disrespects Ray's rules and instigates a private feud with Matthew (Rhys Ifans), his opposite number in Sean's gang, and soon there are gun battles raging through the capital. Perhaps directors Dominic Anciano and Ray Burdis regard their work as avant-garde, a deconstruction of the movie-making myth or a dissection of genre--or maybe they are just having a laugh at our expense. Either way the result is tortuous, egotistical film making. To be fair, Love, Honour and Obey is at least a step up from their last effort, Final Cut, in which much the same cast again paraded under their own names and made utter fools of themselves, but that's like saying the Zeebrugge ferry disaster wasn't as bad as the Titanic. Still, at least it's not all boys playing with their penis extensions: there's also Sadie Frost and Denise Van Outen. -- Jamie Graham
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Love, Honour And Obey [1999]
My Kingdom

My Kingdom

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Bringing together two recent trends--British gangster movies and modern-dress Shakespeare-- My Kingdom is King Lear in contemporary Liverpool. Richard Harris, who ought to be giving his real Lear about now, is fine in the early sections as the complacent gang boss who thinks he's above the street-level violence that sustains his empire. His downfall begins when his wife (Lynn Redgrave) dies in a random mugging and he has to divide all the assets he put in her name among his grasping family and hangers-on. Harris works less well in the mad scenes, which are staged in a motorway service-station: these really need the original language to work. At its best, the film re-imagines the familiar characters in an extraordinarily apt manner: Regan and Goneril are Louise Lombard (as a former model turned madam who oversees a pretentious but tatty brothel) and Lorraine Pilkington (a hair-extended celebrity slut who owns a football team), while Emma Catherwood does Cordelia as Michael Corleone, an ex-junkie who has become a straight student and wants to stay out of the business. Director Don Boyd can't quite wrestle Shakespeare's plot into gangland, but he manages great character bits: the nastier daughters trying to get one-up on each other with grieving speeches (Pilkington does a horrible karaoke tribute at the wake), sadistic Sikh Jimi Mistry taking off his turban before torturing minor victims and Tom Bell as the customs officer who has been on Harris's case so long that he resents anyone else bringing him down. -- Kim Newman
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My Kingdom
Amazing Stories - Series 1 - Complete [1985]

Amazing Stories - Series 1 - Complete [1985]

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Steven Spielberg's mid-'80s foray into television, Steven Spielberg Presents Amazing Stories, was based loosely on a pulpy sci-fi magazine from the '40s and '50s--much as his rollicking hit Raiders of the Lost Ark had been based on movie action serials of the same era. Yet despite the retro concept, Amazing Stories brought high gloss and state-of-the-art production values to their yarns of horror, sci-fi, and fantasy. The boxed set of the first season (which debuted in 1985), contains all 24 episodes, as well as more than 20 minutes of deleted footage. Spielberg himself was very hands-on in the series, and directed many episodes and wrote most, and some themes from his later films show up here. In The Mission, a special hourlong episode (most are half an hour), stars Kevin Costner and Kiefer Sutherland play World War II bombers whose plane is hit during a routine mission, and who face a dire choice, with one young colleague's life hanging in the balance. Spielberg's visceral direction of the wartime violence, camaraderie, and anxiety is pitch-perfect, and presages some of the most moving moments in Saving Private Ryan. Part of the fun of this collection is seeing the stars and guest directors Spielberg cajoled into service, including Martin Scorsese, Sam Waterston (with a head of bushy '80s hair), Tim Robbins, Clint Eastwood, Harvey Keitel, and John Lithgow. The storytelling is crackerjack, and the trip down TV memory lane priceless. -- A.T. Hurley
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Amazing Stories - Series 1 - Complete [1985]
Gotcha! [1985]

Gotcha! [1985]

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Before he started losing his hair (which gave his baby face the maturity it needed for him to be taken seriously as a doctor on E.R.), Anthony Edwards was the quintessential juvenile lead, college division. That is what he plays here: a college kid who is campus champ at an assassination game called Gotcha (that uses fake guns). Then he goes on a summer vacation behind the Iron Curtain (before it came tumbling down) and falls for a female operative (Linda Fiorentino), who not only uses him as an unsuspecting courier for spy stuff but makes him a fall guy, as well. When he finally extricates himself from the trouble, the trouble follows him back to campus. Silly and far-fetched, though Edwards has that wounded-puppy look down perfectly. -- Marshall Fine
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Gotcha! [1985]
Breathless [1959]

Breathless [1959]

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Michel Poiccard (Jean-Paul Belmondo), an ex-airline steward turned hoodlum, steals a car and heads to Paris. Discovering a gun in the car's glove department, he uses it to shoot and kill a cop who tries to wave him down. He wants to escape to Italy with his American girlfriend Patricia (Jean Seberg), but the police are after him, and he is distracted by all the pleasures Paris has to offer. Story-wise, Jean-Luc Godard's A Bout De Souffle (1960) (aka Breathless) is pretty thin, but as its director always proclaimed, you don't need much in the way of narrative to make a movie. Sometimes a girl and a gun are quite enough. The effortlessly cool and laconic Belmondo mirrors the director's mischief and flamboyance. With his fat cigarette stub perched on his bottom lip, his shades, his felt hat and white socks, he looks like a cross between a left-bank intellectual and an American gumshoe (perhaps his beloved Bogart). With her close-cropped hair and New York Herald Tribune T-shirt, his girlfriend (Jean Seberg) is equally stylish. A Hollywood star (she had appeared in the lead in Otto Preminger's Saint Joan in 1957 when she was still a teenager), the Iowa-born Seberg is turned by Godard into the lithe embodiment of European radical chic. The film has a spontaneity that studio-bound offerings of the time missed by a mile. Cameraman Raoul Coutard uses natural light and real locations whenever possible. Lots of the pet tricks in the movie--jump cuts, whip pans and improvised tracking shots--have been copied relentlessly by imitators ever since. A Bout De Souffle, though, is unique: anarchic, liberating and hugely stylish, "the best film around now", as its trailer proclaimed. It made Godard, almost overnight, into "the world's most discussed, interviewed and quoted filmmaker". -- Geoffrey Macnab On the DVD: Godard's greatest movie has been lovingly transferred to disc by Optimum, and comes with several extras including trailers and production notes and an old Godard short, Charlotte Et Son Jules, also starring the sw
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Breathless [1959]
CSI: Crime Scene Investigation - Las Vegas - Season 3 Part 1 [2001]

CSI: Crime Scene Investigation - Las Vegas - Season 3 Part 1 [2001]

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Now firmly established as the top-rated US drama, 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 first 12 episodes of season 3 on this three-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", where 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 - Las Vegas - Season 3 Part 1 [2001]
Beautiful Girls [1996]

Beautiful Girls [1996]

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This town drama from Ted Demme centres on former classmates coming together for their 10-year reunion. Scott Rosenberg's ( Things to Do in Denver When You're Dead) script thoughtfully passes over the usual grumblings of young adults who can't believe they still live in the same snowbound town. They accept--even welcome--their blue-collar jobs, whether ploughing snow or cutting hair. Willie (Timothy Hutton), the lone wanderer, returns to his listless house in a state of flux, the piano-bar circuit wearing thin as is his relationship with Tracy, a well-off attorney (Annabeth Gish). He isn't the only one with problems. Tommy (Matt Dillon) occasionally sleeps with his now-married high school sweetheart Darian (Lauren Holly) while the earnest Sharon (Mira Sorvino) is left to wait. Paul (another thick-headed role for Michael Rapaport) refuses to commit to Jan (Martha Plimpton) until it's too late. Paul is enamoured with the idea of the supermodel (the title's "beautiful girls") that, he believes, can make life perfect. It's a very satisfying comedy, with some forced poignancy (Willie's description of Tracy as a "seven and a half" comes off as a death sentence). Rosie O'Donnell's dissertation on why Playboy and Penthouse have ruined male expectations is much like Meg Ryan's orgasm scene in When Harry Met Sally: it's hilarious, even memorable, but never wholly believable. The two wild cards thrown into Beautiful Girls give the film its kick. Uma Thurman enters as the local barman's (Pruitt Taylor Vince) radiant cousin. From the big city, she can flirt with the awestruck guys and still keep her head. Willie's true emotional tug is from Marty, his precocious 13-year-old neighbour. If you didn't see Natalie Portman's sophisticated work in Leon, her performance here will come as a revelation. You deeply believe that Willie and Marty are connected despite their age difference. Their courtship will never come to be, but the way the two talk (and talk some more) about their lives is the most insightful part of Rosenberg's
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Beautiful Girls [1996]
The Big Lebowski [1998]

The Big Lebowski [1998]

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The Big Lebowski, a casually amusing follow-up from the prolifically inventive Coen brothers (Ethan and Joel), seems like a bit of a lark and the result was a box-office disappointment. It's lazy plot is part of its laidback charm. After all, how many movies can claim as their hero a pot-bellied, pot-smoking loser named Jeff "The Dude" Lebowski (Jeff Bridges) who spends most of his time bowling and getting stoned? And where else could you find a hair-netted Latino bowler named Jesus (John Turturro) who sports dazzling purple footgear, or an erotic artist (Julianne Moore) whose creativity consists of covering her naked body in paint, flying through the air in a leather harness, and splatting herself against a giant canvas? Who else but the Coens would think of showing you a camera view from inside the holes of a bowling ball, or an elaborate Busby Berkely-styled musical dream sequence involving a Viking goddess and giant bowling pins? The plot--which finds Lebowski involved in a kidnapping scheme after he's mistaken for a rich guy with the same name--is almost beside the point. What counts here is a steady cascade of hilarious dialogue, great work from Coen regulars John Goodman and Steve Buscemi, and the kind of cinematic ingenuity that puts the Coens in a class all their own. --Jeff Shannon
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The Big Lebowski [1998]
The Girls From Liberty X - Toned [2004]

The Girls From Liberty X - Toned [2004]

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Another pop band, another set of female celebrities, another fitness title, and this is all beginning to sound bland and forgettable. But The Girls from Liberty X--Toned is a cool surprise. With a beach location, a night setting, and club beats by Liberty X producers Gold Dust this dance-led workout has a lot going for it. Choreographer Kardy Laguda kicks straight into a funky warm up, while the three Liberty X girls concentrate on the moves rather than distracting with the usual inane celebrity comment. Dressed simply in trainers, shorts and tank tops, with hair pulled back (as it turns out to avoid going frizzy from the sea water splashes), they are perfect showcases for a workout that is more of a coordination challenge than a fitness marathon. The warm up builds up the sexy moves in preparation for the main workout. The pace ups significantly for the core session and, as Laguna throws in more and more moves and details, the non-dance literate could get lost. The final cool down is a chilled-out wind down with some good leg stretches. Whilst this isn't pitched at the serious fitness fanatic, it's certainly not one for the calorie counters lacking in body confidence. Enjoyable if you've got attitude. On the DVD: The Girls from Liberty X--Toned DVD features a behind-the-scenes extra that, in contrast to the cool, measured, funky night workout, reveals a down-to-earth working day. It's a chance to see the stunning Marbella location, the stage being built on the beach, and the girls taking the waves and the prospect of being soaked in their stride. You'll appreciate the workout more if you watch this first. -- Lorna V
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The Girls From Liberty X - Toned [2004]
O Brother, Where Art Thou? (2 Disc Special Edition) [2000]

O Brother, Where Art Thou? (2 Disc Special Edition) [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? (2 Disc Special Edition) [2000]
DVD: Bobby

DVD: Bobby

Se flere produkter fra Dvdoo
Året er 1968. Krigen raser i Vietnam, Robert Kennedyholder sin famøse tale, hvor han siger, at USA aldrig kanvinde krigen. Studenteroprør lammer Paris, oprør ulmer iPrag, de sortes menneskeretsforkæmper Martin LutherKing er netop blevet skudt, musicalen Hair sættes op iNew York og Simon og Garfunkel ligger nr. 1 på hitlisternemed Mrs. Robinson.Der er forandring og oprør i luften. Robert Kennedy stillerop som demokraternes præsidentkandidat, og skal holdeet vigtigt konvent på The Ambassador Hotel i Los Angeles.Hele hotellet står på den anden ende, og vi følger 22personer, som alle befi nder sig på hotellet den dag. Der erden utro direktør, den pensionerede dørmand, som ikkekan slippe jobbet, to unge, der skal giftes, en alkoholiseretnatklubsangerinde, to unge kampagnemedarbejderesom oplever deres første syretrip. 22 mennesker, hvis livberøres dybt, da Kennedy brutalt bliver skudt ned påhotellet.
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DVD: Bobby
Bobby (Dvd)

Bobby (Dvd)

Se flere produkter fra SAXO.com
Året er 1968. Krigen raser i Vietnam, Robert Kennedy holder sin famøse tale, hvor han siger, at USA aldrig kan vinde krigen. Studenteroprør lammer Paris, oprør ulmer i Prag, de sortes menneskeretsforkæmper Martin Luther King er netop blevet skudt, musicalen Hair sættes op i New York og Simon og Garfunkel ligger nr. 1 på hitlisterne med "Mrs. Robinson". Der er forandring og oprør i luften. Robert Kennedy stiller op som demokraternes præsidentkandidat, og skal holde et vigtigt konvent på The Ambassador Hotel i Los Angeles. Hele hotellet står på den anden ende, og vi følger 22 personer, som alle befinder sig på hotellet den dag. Der er den utro direktør, den pensionerede dørmand, som ikke kan slippe jobbet, to unge der er løbet hjemmefra, en alkoholiseret natklubsangerinde, to unge kampagnemedarbejdere som oplever deres første syretrip. 22 mennesker, hvis liv berøres dybt, da Kennedy brutalt bliver skudt ned på hotellet. Instruktør: Emilio Estevez Skuespillere: Harry Belafonte Joy Bryant Nick Cannon Emilio Estevez Laurence Fishburne Brian Geraghty Heather Graham Anthony Hopkins Helen Hunt Joshua Jackson Ashton Kutcher Shia LaBeouf Lindsay Lohan William H. Macy Svetlana Metkina
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Bobby (Dvd)
McMillan And Wife - Season 1

McMillan And Wife - Season 1

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They were the happening '70s answer to Nick and Nora Charles from the Thin Man movies, and when McMillan & Wife premiered as part of the "NBC Mystery Movie" lineup (in three-way rotation with McCloud and Columbo) on September 17, 1971, they were an instant hit with both critics and viewers. The two-hour pilot "Once Upon a Dead Man" set the serio-comic tone for the series: San Francisco police commissioner Stewart McMillan (Rock Hudson, his film career in decline) and the goofy doofus Sgt. Enright (John Schuck) frequently found themselves in the midst of a mystery, typically beginning when McMillan's cute and kooky wife Sally (Susan Saint James) stumbled onto telltale evidence or a murder scene. The McMillans were the perfect image of '70s California cool, attending trendy parties and charity benefits while solving robberies, murders, and other malicious goings-on, sporting the latest fashions (Hudson's handlebar moustache and longish hair perfectly complementing Saint James's bellbottoms and shag hairdo) and verbally sparring with some of the goofiest dialogue this side of Hope & Crosby's Road movies. Schuck provided additional comic relief while Nancy Walker, as the McMillans' nosy maid Mildred, made brief but memorable appearances before her role was expanded in subsequent seasons. -- Jeff Shannon
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McMillan And Wife - Season 1
What's New Scooby Doo : Vol 2 - Safari So Goodi

What's New Scooby Doo : Vol 2 - Safari So Goodi

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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 2 - Safari So Goodi
MacGyver - Series 1 - Complete

MacGyver - Series 1 - Complete

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Like James Bond--but without the high-tech gadgets--Angus MacGyver (Richard Dean Anderson) is one of those rare beings who can avert any crisis without mussing a hair. (The rest of us should be so lucky.) In the pilot alone, the secret agent dismantles a missile using a paper clip and fashions a rocket thruster out of a pistol. Is there anything MacGyver can't do? As the first season of ABC's long-running adventure series proves, the answer is a resounding no. MacGyver's secret: the everyday items he "finds along the way," like matches or gum wrappers, and the ingenuity to put them to a myriad of uses (a background in physics and chemistry doesn't hurt). Unlike Alias' Sidney Bristow, he isn't a multi-linguist, a martial artist, or a master of disguises. Wits are MacGyver's weapon of choice. Produced by Henry Winkler ( Arrested Development), The Complete First Season includes all 22 episodes from 1985-1986 (alas, there are no extras). MacGyver is joined by Phoenix Foundation director of operations Pete Thornton (Dana Elcar), who is introduced in "Nightmares." Also, his grandfather, Harry Jackson (John Anderson), makes his first appearance in "Target MacGyver," while friend Penny Parker (Teri Hatcher of Desperate Housewives) makes hers in "Every Time She Smiles" (they will appear more frequently in future seasons). Other notable guest stars include Joan Chen ( The Last Emperor) in "The Golden Triangle," Nana Visitor ( Star Trek: Deep Space Nine) in "Hellfire," and John De Lancie ( Star Trek: The Next Generation) in "The Escape." MacGyver ran for seven seasons and was followed by two made-for-TV movies in 1994, Lost Treasure of Atlantis and Trail to Doomsday. In 1997, after a short-lived series for UPN (1995's Legend), Anderson landed the lead in an even longer-running series, Stargate SG-1, based on the sci-fi extravaganza with Kurt Russell. -- Kathleen C. Fennessy
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MacGyver - Series 1 - Complete
Nightmares & Dreamscapes Collection

Nightmares & Dreamscapes Collection

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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 from on of King's short stories and will feature such notable performers as Oscar nominees Wi...
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Nightmares & Dreamscapes Collection
Read My Lips [2002]

Read My Lips [2002]

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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 [2002]
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