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Based on the Hasbro toy line that initially captivated kids in the 1980s, director Michael Bay's TRANSFORMERS finds two warring bands of shape-shifting alien robots renewing their intergalactic conflict on Earth. While the Decepticons, followers of the malevolent Megatron (voiced by Hugo Weaving), strive to take over the planet, the Autobots, led by the valiant Optimus Prime (voiced by Peter Cullen), are intent on protecting humanity. When young Sam Witwicky (Shia LaBeouf) discovers that his new car is really the Autobot Bumblebee (voiced by Mark Ryan), it sets the stage for a massive giant-robot showdown.A shining example of the Hollywood summer blockbuster at its best, TRANSFORMERS combines stunning CGI effects and thrilling action sequences with drama, humor, and a touch of romance. Featuring a large cast that includes Josh Duhamel, Tyrese Gibson, Jon Voight, John Turturro, Anthony Anderson, and Rachael Taylor, the film is anchored by LaBeouf, who always displays an engaging Everyman charm, whether he's ru
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Prolific director Michael Winterbottom (24-HOUR PARTY PEOPLE) takes an unusual turn by helming A MIGHTY HEART--a studio picture starring none other than Angelina Jolie. Jolie stars as Mariane Pearl, the widow of WALL STREET JOURNAL reporter Daniel Pearl. Daniel was kidnapped and executed in Pakistan in 2002, and Winterbottom's film centers on the frantic activities leading up to his death. Fellow journalist Mariane revs into action as soon as the disappearance of her husband is announced, calling on the FBI and experts in terrorism to help in the desperate search. With the media circling around the story like hawks, Mariane endures a very public display of grief, and her plight is perfectly captured by the unlikely alliance of Winterbottom and Jolie. The film was shot mostly in Karachi and uses locations that Daniel was known to have visited, adding a heady dose of authenticity to the proceedings. Winterbottom uses shaky, hand-held cameras, which add to the feeling of chaos as multiple organizations descend o
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In the not-so-distant future, a portal has been discovered leading from Earth to Mars, where the government operates a research base to examine the ruins of a lost civilization; scientists are studying it, conducting experiments they perhaps shouldn't be, and trying find out what happened. Answer: nothing good. That's what Sarge (The Rock) and his unit of high-tech Marines find out the hard way when they're sent to investigate a disturbance on the base--which turns out to be nothing less than an infestation of terrifying, evil, flesh-eating monsters.DOOM, based on one of the most popular video games of all time, knows exactly what it wants to do, and wastes no time in doing it. Andrzej Bartkowiak, the director of lean, effective action flicks like ROMEO MUST DIE and EXIT WOUNDS, gets right to the meat of the movie: marines versus monsters in dark, dank corridors. The Rock brings just the right balance of bad-ass attitude and deadpan humor to the role of Sarge, while the cast's other standout is Reaper (LORD O
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Family man George Grieves (Tom Cavanagh of TV's Ed and Love Monkey) checks into Mt. Abadon Hospital for a routine procedure. When he awakens from his anesthesia, something is terribly wrong...with George...with the hospital...and especially with the shuttered East Ward, an eerie lair of secrets, sex and surgical terrors. Raw Feed presents the fear-drenched psychological thriller Sublime, directed by Tony Krantz (executive producer of 24) from a screenplay by Emmy Award winner Erik Jendresen (Band of Brothers). In the tradition of cinema's classic tales of suspense, Sublime will keep you guessing as its puzzle pieces fall into place, and leave you stunned by its astounding conclusion. Graphic, bold, sexual and utterly horrifying, Sublime explores what happens when what you fear becomes real.
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Going boldly where no man had gone before, Gene Roddenberry's cult phenomenon STAR TREK debuted in 1966 and reflected that decade's optimistic preoccupation with space travel. Set in the 23rd century, the series chronicled the intergalactic adventures of the U.S.S. Enterprise on its five-year mission to explore the outer reaches of space. Encountering a now-iconic assembly of innovative alien life forms such as the Klingons, Romulans, Tribbles, and Khan Noonian Singh, the ship's jumpsuited crew was a then unheard-of font of multiculturism: Asian Sulu (George Takei), African-American Uhura (Nichelle Nichols), and Scotsman Montgomery Scott (James Doohan). But it was the contrasting personalities of cooly logical Vulcan Mr. Spock (Leonard Nimoy), emotionally intuitive medical officer Leonard "Bones" McCoy (DeForest Kelley), and womanizing ship captain James T. Kirk (William Shatner in definitive overacting mode) that lent the series much of its charm--and spawned a rabid cult following that continues to fuel cos
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First-time director Zack Snyder remakes zombie master George A. Romero's classic 1978 gore-fest DAWN OF THE DEAD, wisely replicating only the basic elements of Romero's movie, instead sticking to his own vision of a world overrun by undead flesh-eating creatures. The action begins with nurse Ana (Sarah Polley) waking up to discover her boyfriend has become a tasty midnight snack for a formerly cute neighboring kid. To her horror, she realizes that the whole town is in a similar state of ghoulishness, until she runs into still-alive cop Kenneth (Ving Rhames); the levelheaded Michael (Jack Weber); and Andre (Mekhi Phifer), a rebel with a pregnant wife in tow. As in Romero's original, the group heads for the local mall where they barricade themselves inside. More survivors surface, while in the outside world the zombies go about their day by slowly taking over the planet. Undeterred by the odds against them, the survivors plot, scheme, and enjoy their mall paradise. As they plan their escape, some incredibly gru
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As an audacious experiment in the art and distribution of motion pictures, Bubble is a twofold triumph. Released on DVD a mere four days after its U.S. theatrical release (in only 32 theaters) in January 2006, this ultra-low-key drama was the first of six films by maverick director Steven Soderbergh (produced in partnership with HDNet Films and 2929 Entertainment, founded by Internet pioneers Mark Cuban and Todd Wagner) to be released simultaneously in theaters, on DVD, and HDNet cable TV, effectively closing the traditional "window" between theatrical and home-video release platforms, and causing many theater owners to boycott the film in protest over its groundbreaking strategy. To accommodate this paradigm-shifting milestone, Soderbergh and Full Frontal screenwriter Coleman Hough reunited to craft a working-class murder mystery that's perfectly suited to its experimental purpose: Quickly shot on high definition video, it's a riveting 72-minute exercise in minimal style, located in the depressed border town of Belpre, Ohio, and employing non-actors from the region who played an active role in creating their mundane everyday dialogue. Chubby, middle-aged Martha (Debbie Doebereiner) and twenty-something slacker Kyle (Dustin James Ashley) work in a drab doll factory, molding and assembling rubber doll parts, passing dreary lunch-hours with small talk and clinging to modest dreams that will never come true. When an attractive single mother named Rose (Misty Dawn Wilkins) is hired as a temporary employee, Martha's secretly possessive affection for Kyle is silently challenged, leading to an act of violence that obliterates their daily routine. In dramatizing this passive love triangle, Soderbergh (serving, under pseudonyms, as his own cinematographer and editor) emphasizes the stilted, soul-crushing rhythms of lives that have been stunted by loneliness and isolation; they live in a bubble, as it were, and Bubble is arresting in its visual precision, finding unexpected beauty in physical and emotional bleakness. Obviously not the kind of film that draws a blockbuster audience, Bubble exists on its own terms, capable of captivating a receptive audience, regardless of format or context, without losing its experimental edge. DVD extras include a video introduction by Soderbergh, the original casting interviews with the film's non-professional actors, and more. --Jeff Shannon
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Director Matthew Vaughn (LOCK, STOCK, AND TWO SMOKING BARRELS) takes his experience with credible crime capers and applies it to the fantasy genre in this charming but not too precious adaptation of Neil Gaiman's novel. The many threads of the story intertwine seamlessly, unfolding at an unforced pace that complements the movie's magical special effects. Charlie Cox (CASANOVA) stars as Tristan, a somewhat bumbling shopkeeper's assistant in the sleepy English village of Wall, so named for the stone barrier that separates it from the magical realm of Stormhold. Tristan is in love with the beautiful, dismissive Victoria (Sienna Miller), who much prefers her other suitor, Humphrey (Henry Cavill), since he has traveled all the way to Ipswich to buy her an engagement ring. Tristan, in a last-ditch effort to win Victoria's affections, offers to bring her a fallen star they've just seen, and she agrees to marry him if he can deliver.Unbeknownst to Tristan, he is the product of his father's (Nathaniel Parker) sole exc
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"This is going to be the last big score, I promise." Famous last words--uttered by crack thief Doc McCoy to his wife--that set forth a whirlpool of deception and violence in Roger Donaldson's 1994 remake of The Getaway. Bailed out of a Mexican jail by shady businessman Jack Benyon (James Woods) in order to hit an Arizona dog track for him, Doc (Alec Baldwin) and Carol (Kim Basinger) flee for south of the border when the robbery goes wrong, with the million-dollar loot in tow. Following close behind are Benyon's men and Doc's double-crossing partner Rudy (Michael Madsen). The updated version shares not only the original film's plot, but also the added twist of having husband and wife Baldwin and Basinger step into the roles of the first real-life couple to make the film, Steve McQueen and Ali McGraw. This time, however, the woman's role has been given a tougher '90s edge, with Basinger pulling almost as many punches and firing as many shots as Baldwin, compared to McGraw, who followed McQueen around in wide-eyed, silent terror. The Getaway maintains the same deliberate, neo-noir pace that made the first film taut, creating a claustrophobic atmosphere in the wide-open, desolate Southwestern landscapes. The scorching sun and heat only add to the strain, making it virtually impossible for anyone to find a dark corner or alleyway to hide in. The car chases and shoot-out finale are charged, though a secondary plot line, between Rudy and the woman he kidnaps and seduces (Jennifer Tilly), comes across as unnecessarily and incongruously brutal. --Natasha Senjanovic
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Most people who have been alone in a parking garage have probably felt vulnerable to an attacker amidst the silence of the cold concrete walls, but what would you do if your assailant were the attendant? That's the question posed by P2, which fits into that sub-genre of thrillers that unfold in one primary location (think Mario Bava's KIDNAPPED, PHONE BOOTH, or WIND CHILL). The script, co-written by Alexandre Aja (THE HILLS HAVE EYES, HIGH TENSION), Franck Khalfoun, and Gregory Levasseur, offers a basic cat-and-mouse tale with a couple of jolts of bone-rattling gore. It's Christmas Eve, and young New York executive Angela (Rachel Nichols) is the last to leave her office before heading to New Jersey for a holiday with the family. Already late, she is dismayed to find that her car won't start. The handsome, seemingly helpful garage attendant, Thomas (Wes Bentley), checks out the car for her, but to no avail. The next thing she knows, Angela wakes up in the garage office in a dress, chained to a chair, with a Ch
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Martin Scorsese, one of America's most influential filmmakers, returns to the world of mobsters, greed, and excess that he explored so compellingly in 1990's GOODFELLAS. Set in the 1970s and reveling in the minute details of how Las Vegas casinos operate, the film chronicles the rise and fall of casino manager Ace Rothstein (Robert De Niro). As the king of his domain, Ace efficiently runs the business and regularly sends lots of cold cash to his bosses. Helping him keep the casino's employees and customers honest is his best friend, Nicky (Joe Pesci), a violent sociopath. Although Ace aims to run a relatively respectable casino, the volatile Nicky wants to take over the entire gambling mecca, and when Ginger McKenna (Sharon Stone), a seasoned Vegas hustler, enters the picture, Ace and Nicky's friendship is complicated even further. As drugs and alcohol become a bigger part of Ginger's life, all three are eventually brought down by their own greed and blind ambition. CASINO shares many similarities with GOODFE
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Escape to a mysterious inner universe where nature and imagination meet to form a realm of extraordinary beauty. Let Nature's Journey unleash a brand new sensory experience in a genre-bending mix of location filming, subtle computer-generated imagery, exotic musical soundscapes and artistic graphic enhancements that draws you deep into the magical heart of our planet Earth. Produced in High Definition by Video Artist John Banks and featuring a 96/24 Soundtrack by Michael Stearns, Nature's Journey is a sensation of natural sights and sounds transformed by the unique artistry of these visionary filmmakers.Technical SpecificationsNo Region Coding / Play All Total Runtime: 67 Minutes VC-1 Encode at 26 Mbps / 1080i @ 29.97 DTS-HD High Resolution 5.0 ~ 96/24 @ 3 Mbps Dolby Digital 5.0 ~ 48/24 @ 448 kbps Dolby Surround 2.0 (Pro Logic II) ~ 48/16 @ 192 kbps 16:9 1080i / 29.97 – (TBD) VC-1 / 26Mbps DTS-HD High Resolution DRS DIGITAL REFERENCE SERIES Digital Reference Standard Ultra High Fidelity Picture & Sound The Digital Reference Standard is your guarantee of R&B Films' commitment to the highest attainable quality in home entertainment. Each disc is mastered for the best possible reproduction of video and audio, routinely surpassing today's standards in our ongoing pursuit of the ultimate entertainment experience. The process begins with the source material. Digital content arrives pristine, while analog material is processed through a series of procedures designed to maintain the integrity and purity of the signal. In addition, wherever possible, an extremely high sampling rate of 24bits/96kHz is utilized to preserve audio resolution for multi-channel sound. DRS also takes the aesthetics into consideration: original film and recording elements are used whenever available -- with mastering often supervised by the original filmmakers -- to ensure the original artistic vision is honored and, if possible, enhanced throughout the entire process. R&B Films works closely with industry-leading engineers and facilities to create a digital master with video and audio fidelity rendered at its absolute zenith. This devotion to detail continues through the authoring and replication processes to arrive at a finished disc capable of presenting the full aural and visual impact intended by its creators. Look for the DRS logo to certify that you are experiencing reference quality and enjoy the home entertainment benchmark for the new millennium. Richard J. Casey Executive Producer R&B Films, Ltd.
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In his previous effort, ABOUT A BOY, writer-director Paul Weitz managed to smoothly blend elements of dark comedy with heartwarming drama to deftly undercut both of the genre's undesirable excesses. IN GOOD COMPANY is Weitz's solo directorial debut sans his brother Chris, with whom he co-helmed the aforementioned BOY and the wildly successful AMERICAN PIE series. Here, he perfects his gift for the so-called "dramedy, " softening the jagged, sometimes ugly edges of corporate satire with warmth and sentiment.Dennis Quaid is perfectly cast as Dan Foreman, a slightly weary yet still dashing advertising boss and dedicated family man. He seems to have it all as a wholesome and admirable father, an existence which smacks of the archetypical mid-century sitcom dad that he so brilliantly portrayed as the secretly homosexual husband-father in Todd Haynes' FAR FROM HEAVEN. Enter Carter Duryea (THAT 70s SHOW's Topher Grace), a cocky young upstart hired to replace him. Before long, Dan is forced to be deferential to his ne
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In his previous effort, ABOUT A BOY, writer-director Paul Weitz managed to smoothly blend elements of dark comedy with heartwarming drama to deftly undercut both of the genre's undesirable excesses. IN GOOD COMPANY is Weitz's solo directorial debut sans his brother Chris, with whom he co-helmed the aforementioned BOY and the wildly successful AMERICAN PIE series. Here, he perfects his gift for the so-called "dramedy, " softening the jagged, sometimes ugly edges of corporate satire with warmth and sentiment.Dennis Quaid is perfectly cast as Dan Foreman, a slightly weary yet still dashing advertising boss and dedicated family man. He seems to have it all as a wholesome and admirable father, an existence which smacks of the archetypical mid-century sitcom dad that he so brilliantly portrayed as the secretly homosexual husband-father in Todd Haynes' FAR FROM HEAVEN. Enter Carter Duryea (THAT 70s SHOW's Topher Grace), a cocky young upstart hired to replace him. Before long, Dan is forced to be deferential to his ne
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A mile-wide, 300 miles-per-hour force of total devastation is coming at you! In this adventure swirling with cliffhanging excitement and awesome special effects, Helen Hunt and Bill Paxton play scientists pursuing the most destructive weatherfront to sweep through mid-America’s Tornado Alley in 50 years. By launching electronic sensors into the funnel, the storm chasers hope to obtain data to create an improved warning system. But to do so, they must intercept the twisters’ deadly path. The chase is on! Special Features • Commentary by Director Jan DeBont and Visual Effects Supervisor Stefan Fangmeier • Chasing the Storm: Twister Revisited featurette • The History Channel Documentary Nature Tech: Tornadoes • Anatomy of a Twister • HBO First Look: The Making of Twister • Van Halen Humans Being Music Video • Theatrical Trailers
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This modern fantasy stars Anthony Hopkins as William Parrish, a wealthy New York City media mogul who suffers a heart attack on the eve of his 65th birthday; although he survives, he senses that his death is near. On the same day, Parrish's younger daughter, Susan (Claire Forlani), meets a handsome young stranger (Brad Pitt) at a neighboring coffee shop and is instantly smitten. As they part, the young stranger is killed and his body is occupied by Death, who is coming to Earth to warn Parrish that his death is, indeed, imminent. Death enters the Parrish household disguised as Joe Black, the handsome stranger, and although Parrish understands Death's intentions he lets the family believe that Joe Black is a young business associate. Susan is shocked to find the familiar young man at her family dinner that evening, and, as she begins a passionate love affair with the debonaire stranger, she has no idea that she has fallen not for the young stranger from the coffee shop but for Death himself. In an effort to pr
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A groundbreaking chronicle of the Second World War culled from over 3, 000 hours of high-definition, full-color film footage, this miniseries attracted over 21 million viewers during its five-night, 10-hour run.With the glorious high definition visuals, full color film footage (no colorization techniques have been used) and immersive 5.1 surround sound make WWII In HD stands out from the many dozens of documentaries that came before. The miniseries also offers a remarkably personal account of the war, as the episodes are told from the point of view of 12 soldiers whose never-before-seen diary entries (diaries were illegal for US soldiers to carry, but these men did so anyway) form the basis of the involving narrative. LL Cool J, Rob Lowe, Ron Livingston, Steve Zahn and many others give voice to these 12 soldiers, while acclaimed actor Gary Sinise wraps the whole production together with an engaging narration.
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Edward Zwick directs this sumptuously designed, action-packed period epic that stars Tom Cruise as Captain Nathan Algren. Algren, a former Civil War hero, is adrift in 1870s San Francisco after the war, a lost soul struggling to stay afloat in a booze-soaked stupor. When he is recruited by the Japanese government to train the Emperor's army, he departs for the unknown shores of Japan and begins training the soldiers in American military tactics. But these skills are useless against a band of samurai rebels led by the proud warrior Katsumoto (Ken Watanabe), and Algren is easily defeated. He is taken to a remote samurai village where he learns samurai warrior codes and ways of life, developing a deep bond with Katsumoto and sharing philosophical conversations with him. Caught between the feudal culture of the ancient samurai warriors and the encroachment of modern society, Algren is forced to choose between his own culture or Katsumoto's. THE LAST SAMURAI is lavish in its dramatic period costumes and intense pe
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In the years since his novel DO ANDROIDS DREAM OF ELECTRIC SHEEP? was brought to the screen as BLADE RUNNER (1982), Philip K. Dick's paranoid, futuristic works have frequently made the same leap---sometimes as brainy puzzlers (OPEN YOUR EYES, A SCANNER DARKLY), but more often as star-powered action vehicles (TOTAL RECALL, PAYCHECK). NEXT (based very loosely on Dick's short story "The Golden Man") falls squarely in the latter category, with always-game Nicolas Cage as Cris Johnson, a man with the ability to see two minutes into the future. Afraid that all sorts of frightening demands will be made on him if the true scope of his ability becomes known, Johnson limits the use of his powers to a hokey, third-rate Vegas stage show and reading slot machines to gauge their payouts. Meanwhile, terrorists have imported a nuclear device into the U.S., with the intention of detonating it in a major metropolitan area, and F.B.I. agent Callie Ferris (Julianne Moore) has discovered that Cris's ability is no fake and that he
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One of the big Elizabethan-era films of 1998, Shekhar Kapur's Elizabeth serves up a brimming goblet of religious tension, political conspiracy, sex, violence, and war. England in 1554 is in financial and religious turmoil as the ailing Queen "Bloody" Mary attempts to restore Catholicism as the national faith. She has no heir, and her greatest fear--that her Protestant half-sister Elizabeth will assume the throne after her death--is realized. Still, the late Queen Mary has her loyalists. The newly crowned Elizabeth finds herself knee-deep in dethroning schemes while also dodging assassination attempts. Her advisers (including Sir William Cecil, superbly played by Richard Attenborough) beg her to marry any one of her would-be suitors to stabilize England's empire. No matter that she already has a lover. The passionate Robert Dudley (Joseph Fiennes) is married, however, and shows he cannot stand up to the growing strength of the Queen. With the help of her aide Walsingham (Geoffrey Rush), Elizabeth strikes against her enemies before they get to her first. But her rise ultimately entails rejecting love and marriage to redefine herself as the indisputable Virgin Queen. Cate Blanchett's Oscar-nominated performance as the naive and vibrant princess who becomes the stubborn and knowing queen is both severe and sympathetic. Her ethereal, pale beauty is equal parts fire and ice, her delivery of such lines as "There will be only one mistress here and no master!" expressed with command rather than hysterics. As striking as Blanchett's performance is the film's lavish and dramatic production design. The cold, dark sets paired with the lush costuming show the golden age of England's monarchy emerging from the Middle Ages. Rich velvet brushes over the dank stones while power is achieved at any price, and with such attention to physical detail, Elizabeth fully immerses you into its compelling chronicle of pioneering feminism and revisionist history. --Shannon Gee
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A spacecraft carrying an assortment of passengers including Riddick (Vin Diesel), a dangerous, shackled murderer between prisons, is forced to make a crash landing on a barren, triple-sunned planet after the craft suffers severe damage during a meteor shower. The ship is ripped into pieces, killing several crew members and leaving meek officer Fry (Radha Mitchell) in charge of the survivors. After two unfortunate deaths, the survivors discover that the only visible life form on the planet is a species of light-fearing, carnivorous, occasionally cannibalistic aliens dwelling in caverns beneath the desert surface. Using a model of the planet and its suns in an abandoned research station, Fry deduces that she and her fellow travellers have unfortunately descended on the planet on the day of its first total eclipse in 22 years, giving them mere hours before they are bathed in total darkness. Only then is it safe for the hungry subterranean creatures to emerge, seeking to feed on the remaining survivors. However,
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Director John Carpenter and special makeup effects master Rob Bottin teamed up for this 1982 remake of the 1951 science fiction classic The Thing from Another World, and the result is a mixed blessing. It's got moments of highly effective terror and spine-tingling suspense, but it's mostly a showcase for some of the goriest and most horrifically grotesque makeup effects ever created for a movie. With such highlights as a dog that splits open and blossoms into something indescribably gruesome, this is the kind of movie for die-hard horror fans and anyone who slows down to stare at fatal traffic accidents. On those terms, however, it's hard not to be impressed by the movie's wild and wacky freak show. It all begins when scientists at an arctic research station discover an alien spacecraft under the thick ice, and thaw out the alien body found aboard. What they don't know is that the alien can assume any human form, and before long the scientists can't tell who's real and who's a deadly alien threat. Kurt Russell leads the battle against the terrifying intruder, and the supporting cast includes Richard Masur, Richard Dysart, Donald Moffat, and Wilford Brimley. They're all playing standard characters who are neglected by the mechanistic screenplay (based on the classic sci-fi story "Who Goes There?" by John W. Campbell), but Carpenter's emphasis is clearly on the gross-out effects and escalating tension. If you've got the stomach for it (and let's face it, there's a big audience for eerie gore), this is a thrill ride you won't want to miss. --Jeff Shannon
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MEET THE PARENTS stars Ben Stiller as the unfortunately named Greg Focker, a neurotic nurse intent on marrying his girlfriend, Pam (Teri Polo). But when the couple visits Pam's family home for her sister's wedding, he must first win the approval of her father, Jack (Robert De Niro), a protective ex-CIA agent. Before long, the awkward Greg and the suspicious Jack go head-to-head, resulting in hilarious scenes that feature a lie detector test, a suburban car chase, a toilet-trained cat, and a mean game of water volleyball. As the misunderstandings and mistakes reach an almost nightmarish peak, it seems as though Greg may never win over Pam's unflinching guardian. Featuring the inspired pairing of Robert De Niro and Ben Stiller (and an excellent appearance by Owen Wilson), director Jay Roach's clever comedy exemplifies every man's worst fears about courtship. When things for Stiller's character get bad, they just continue to get worse, culminating in a ridiculously funny airport scene. In the tradition of ANNIE
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Based on the true-life exploits of notorious Depression-era bank robbers Bonnie Parker and Clyde Barrow, BONNIE AND CLYDE is recognized as one of the most violent films to come out of mainstream Hollywood. Bonnie (Faye Dunaway) is bored with life and wants a change. She gets her chance when she meets a charming young drifter by the name of Clyde Barrow (Warren Beatty). Clyde has dreams of a life of crime that will free him from the hardships of the Depression. The two fall in love and begin a crime spree that extends from Oklahoma to Texas. They rob small banks with skill and panache, soon becoming minor celebrities known across the country. People are proud to have been held up by Bonnie and Clyde; to their victims, the duo is doing what nobody else has the guts to do. To the law, the two are evil bank robbers who deserve to be gunned down where they stand. Beatty and Dunaway are marvelous as the young criminal lovers, delivering subtle and complete performances. Also excellent are Gene Hackman as Clyde's br
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