The Big Bad Swim

• An adult swim sets the stage for this charming comedy-drama about love, loss, and second chances. Three strangers inextricably connected through personal heartbreak find themselves entering deep water as they learn that life isn't always about diving right in it's about getting your feet wet once in awhile. Starring Jeff Branson (TV's All My Children) and Paget Brewster (TV's Criminal Minds).Not R

Elizabeth Halsey (Cameron Diaz) is a foulmouthed, ruthless, and inappropriate teacher. She drinks, gets high, and can’t wait to marry a meal ticket to get out of her bogus day job. When she’s dumped by her fiancé, she sets her sights on a rich, handsome substitute (Justin Timberlake) while shrugging off the advances of the school gym teacher (Jason Segel). The consequences of her wild and outrageous schemes give her students, coworkers, and even herself an education like no other! As any kid w! ho's ever forcibly shot milk through their nasal passages can testify, the key to a great gross joke isn't so much the content as it is the delivery. The proudly crass Bad Teacher certainly has great big gobs of greasy, grimy potential, chief among them its central performance by an exceedingly game Cameron Diaz, but it occasionally fails to nail the dismount. This film from director Jake Kasdan (Walk Hard: The Dewey Cox Story) is exactly what the title says: after getting dumped by her rich boyfriend, a lying, cheating, and perpetually boozing middle-school teacher (Diaz) hatches a scheme to con her school out of enough money to pay for cosmetic surgery, while squaring off against the aggressively cheerful teacher across the hall (a very funny Lucy Punch). Lessons are not learned, thankfully. Although the title and attitude recall the effortlessly filthy Bad Santa, Bad Teacher feels more like a spiritual sequel to Diaz's earlier Sweetest Thin! g, a women-can-be-gross-too comedy that spent more time co! ngratula ting itself on how far it was willing to go instead of actually going there. While Bad Teacher certainly has its number of belly laughs and worthy outrages (particularly during a hilariously awkward love scene between Diaz and a nerded-up Justin Timberlake), it's hard not to end up with a general feeling of missed opportunities. Too often, it toes the bad-taste line, when it should be jumping over it with a rocket cycle. --Andrew WrightSee dvd for synopsis Studio: Sony Pictures Home Ent Release Date: 10/18/2011 Run time: 98 minutes Rating: Pg13As any kid who's ever forcibly shot milk through their nasal passages can testify, the key to a great gross joke isn't so much the content as it is the delivery. The proudly crass Bad Teacher certainly has great big gobs of greasy, grimy potential, chief among them its central performance by an exceedingly game Cameron Diaz, but it occasionally fails to nail the dismount. This film from director Jake Kasdan (Walk Hard: The Dewey Cox Story) is exactly what the title says: after getting dumped by her rich boyfriend, a lying, cheating, and perpetually boozing middle-school teacher (Diaz) hatches a scheme to con her school out of enough money to pay for cosmetic surgery, while squaring off against the aggressively cheerful teacher across the hall (a very funny Lucy Punch). Lessons are not learned, thankfully. Although the title and attitude recall the effortlessly filthy Bad Santa, Bad Teacher feels more like a spiritual sequel to Diaz's earlier Sweetest Thing, a women-can-be-gross-too comedy that spent more time congratulating itself on how far it was willing to go instead of actually going there. While Bad Teacher certainly has its number of belly laughs and worthy outrages (particularly during a hilariously awkward love scene between Diaz and a nerded-up Justin Timberlake), it's hard not to end up with a general feeling of missed opportunities. T! oo often, it toes the bad-taste line, when it should be jumpin! g over i t with a rocket cycle. --Andrew WrightElizabeth Halsey (Cameron Diaz) is a foulmouthed, ruthless, and inappropriate teacher. She drinks, gets high, and can’t wait to marry a meal ticket to get out of her bogus day job. When she’s dumped by her fiancé, she sets her sights on a rich, handsome substitute (Justin Timberlake) while shrugging off the advances of the school gym teacher (Jason Segel). The consequences of her wild and outrageous schemes give her students, coworkers, and even herself an education like no other!As any kid who's ever forcibly shot milk through their nasal passages can testify, the key to a great gross joke isn't so much the content as it is the delivery. The proudly crass Bad Teacher certainly has great big gobs of greasy, grimy potential, chief among them its central performance by an exceedingly game Cameron Diaz, but it occasionally fails to nail the dismount. This film from director Jake Kasdan (Walk Hard: The Dewey Cox Story) is exactly what the title says: after getting dumped by her rich boyfriend, a lying, cheating, and perpetually boozing middle-school teacher (Diaz) hatches a scheme to con her school out of enough money to pay for cosmetic surgery, while squaring off against the aggressively cheerful teacher across the hall (a very funny Lucy Punch). Lessons are not learned, thankfully. Although the title and attitude recall the effortlessly filthy Bad Santa, Bad Teacher feels more like a spiritual sequel to Diaz's earlier Sweetest Thing, a women-can-be-gross-too comedy that spent more time congratulating itself on how far it was willing to go instead of actually going there. While Bad Teacher certainly has its number of belly laughs and worthy outrages (particularly during a hilariously awkward love scene between Diaz and a nerded-up Justin Timberlake), it's hard not to end up with a general feeling of missed opportunities. Too often, it toes the bad-taste l! ine, when it should be jumping over it with a rocket cycle. --Andre w WrightA sexually-charge comedy about love, loss, and second chances. Audience Award Best Feature Film Winner at the Tallgrass Film Festival. Best American Independent Winner at the Fort Lauderdale International Film Festival. Best Feature Film Winner ath the Annapolis Film Festival. Bonus Features include: Filmmaker's Commentary, Cinematographer's Video Journal, and Deleted Scenes.

Batman Beyond: Return of the Joker/Batman: Mystery of the Batwoman

• Batman Beyond: The Return of the Joker The greatest villain of all comes out of the past to threaten Batman, Bruce Wayne and all of Gotham City in Batman Beyond: Return of the Joker, the first feature-length Batman Beyond movie.The sleeker, deadlier and seemingly immortal Clown Prince of Crime is back with his own unique brand of havoc and mayhem. While trying to uncover the Joker's secrets, the n

Features include:

•MPAA Rating: PG-13
•Format: Blu-Ray
•Runtime: 75 minutes
Some diehard Batfans have been slow to warm to the animated series Batman Beyond even though it was created by the same team responsible for the excellent Batman cartoon of the early '90s. The Dark Knight should be a brooding avenger in a noir-nightmare Gotham City, the purists argue, not some smart-aleck teen four decades in the future, with jet packs, invisibility s! hields, and other sci-fi gizmos loaned him by an elderly Bruce Wayne (voiced, excellently as always, by Kevin Conroy, his stony bass given a raspy hint of old age), now confined to hobbling about on a cane and monitoring his protégé's activities from the Batcave. Between its respectful reexamination of the "tortured hero" mythos and its sleek, anime-inspired look, this feature-length movie should go a long way toward quieting their complaints. Of course, it doesn't hurt that they've brought back the most legendary figure in the Rogues Gallery (voiced by Mark Hamill, deliciously deranged), but exactly how and why the Joker has managed to turn up 40 years after his last meeting with Batman still as youthful and diabolical as ever is explained not only logically but terrifyingly as well. The secret behind his arrival is perhaps the saddest, grimmest twist any purported "kids' show" has dared to attempt. (Parents may well want to preview this tape before screening it for the ! very young.) Once again, Warner Brothers' cartoon Batman has ou tshone all the live-action films, never allowing the thrilling action set pieces or flashes of wry humor to drown out the drama, even tragedy, of the all-too-human superheroes. --Bruce ReidThe greatest villain of all comes out of the past to threaten Batman, Bruce Wayne and all of Gotham City in Batman Beyond: Return of the Joker, the first feature-length Batman Beyond movie. The sleeker, deadlier and seemingly immortal Clown Prince of Crime is back with his own unique brand of havoc and mayhem. While trying to uncover the Joker's secrets, the new Batman, Terry McGinnis, discovers the greatest mystery in the life of the original Caped Crusader: What happened the night he fought the Joker for the last time. When Bruce Wayne is almost killed in one of the Joker's latest attacks, Batman vows to avenge his mentor and put the Joker to rest forever. Get ready for heart-stomping action, awesome adventure and amazing revelations in Batman Beyond: Return of the Joker.Some dieh! ard Batfans have been slow to warm to the animated series Batman Beyond even though it was created by the same team responsible for the excellent Batman cartoon of the early '90s. The Dark Knight should be a brooding avenger in a noir-nightmare Gotham City, the purists argue, not some smart-aleck teen four decades in the future, with jet packs, invisibility shields, and other sci-fi gizmos loaned him by an elderly Bruce Wayne (voiced, excellently as always, by Kevin Conroy, his stony bass given a raspy hint of old age), now confined to hobbling about on a cane and monitoring his protégé's activities from the Batcave. Between its respectful reexamination of the "tortured hero" mythos and its sleek, anime-inspired look, this feature-length movie should go a long way toward quieting their complaints. Of course, it doesn't hurt that they've brought back the most legendary figure in the Rogues Gallery (voiced by Mark Hamill, deliciously deranged), but exactly how! and why the Joker has managed to turn up 40 years after his l! ast meet ing with Batman still as youthful and diabolical as ever is explained not only logically but terrifyingly as well. The secret behind his arrival is perhaps the saddest, grimmest twist any purported "kids' show" has dared to attempt. (Parents may well want to preview this tape before screening it for the very young.) Once again, Warner Brothers' cartoon Batman has outshone all the live-action films, never allowing the thrilling action set pieces or flashes of wry humor to drown out the drama, even tragedy, of the all-too-human superheroes. --Bruce ReidThe greatest villain of all comes out of the past to threaten Batman, Bruce Wayne and all of Gotham City in Batman Beyond: Return of the Joker, the first feature-length Batman Beyond movie. The sleeker, deadlier and seemingly immortal Clown Prince of Crime is back with his own unique brand of havoc and mayhem. While trying to uncover the Joker's secrets, the new Batman, Terry McGinnis, discovers the greatest! mystery in the life of the original Caped Crusader: What happened the night he fought the Joker for the last time. When Bruce Wayne is almost killed in one of the Joker's latest attacks, Batman vows to avenge his mentor and put the Joker to rest forever. Get ready for heart-stomping action, awesome adventure and amazing revelations in Batman Beyond: Return of the Joker.Some diehard Batfans have been slow to warm to the animated series Batman Beyond even though it was created by the same team responsible for the excellent Batman cartoon of the early '90s. The Dark Knight should be a brooding avenger in a noir-nightmare Gotham City, the purists argue, not some smart-aleck teen four decades in the future, with jet packs, invisibility shields, and other sci-fi gizmos loaned him by an elderly Bruce Wayne (voiced, excellently as always, by Kevin Conroy, his stony bass given a raspy hint of old age), now confined to hobbling about on a cane and monitoring his! protégé's activities from the Batcave. Between its respectf! ul reexa mination of the "tortured hero" mythos and its sleek, anime-inspired look, this feature-length movie should go a long way toward quieting their complaints. Of course, it doesn't hurt that they've brought back the most legendary figure in the Rogues Gallery (voiced by Mark Hamill, deliciously deranged), but exactly how and why the Joker has managed to turn up 40 years after his last meeting with Batman still as youthful and diabolical as ever is explained not only logically but terrifyingly as well. The secret behind his arrival is perhaps the saddest, grimmest twist any purported "kids' show" has dared to attempt. (Parents may well want to preview this tape before screening it for the very young.) Once again, Warner Brothers' cartoon Batman has outshone all the live-action films, never allowing the thrilling action set pieces or flashes of wry humor to drown out the drama, even tragedy, of the all-too-human superheroes. --Bruce ReidThe greatest villain of all c! omes out of the past to threaten Batman, Bruce Wayne and all of Gotham City in Batman Beyond: Return of the Joker, the first feature-length Batman Beyond movie. The sleeker, deadlier and seemingly immortal Clown Prince of Crime is back with his own unique brand of havoc and mayhem. While trying to uncover the Joker's secrets, the new Batman, Terry McGinnis, discovers the greatest mystery in the life of the original Caped Crusader: What happened the night he fought the Joker for the last time. When Bruce Wayne is almost killed in one of the Joker's latest attacks, Batman vows to avenge his mentor and put the Joker to rest forever. Get ready for heart-stomping action, awesome adventure and amazing revelations in Batman Beyond: Return of the Joker.Some diehard Batfans have been slow to warm to the animated series Batman Beyond even though it was created by the same team responsible for the excellent Batman cartoon of the early '90s. The Dark Knight should! be a brooding avenger in a noir-nightmare Gotham City, the pu! rists ar gue, not some smart-aleck teen four decades in the future, with jet packs, invisibility shields, and other sci-fi gizmos loaned him by an elderly Bruce Wayne (voiced, excellently as always, by Kevin Conroy, his stony bass given a raspy hint of old age), now confined to hobbling about on a cane and monitoring his protégé's activities from the Batcave. Between its respectful reexamination of the "tortured hero" mythos and its sleek, anime-inspired look, this feature-length movie should go a long way toward quieting their complaints. Of course, it doesn't hurt that they've brought back the most legendary figure in the Rogues Gallery (voiced by Mark Hamill, deliciously deranged), but exactly how and why the Joker has managed to turn up 40 years after his last meeting with Batman still as youthful and diabolical as ever is explained not only logically but terrifyingly as well. The secret behind his arrival is perhaps the saddest, grimmest twist any purported "kids' show" has da! red to attempt. (Parents may well want to preview this tape before screening it for the very young.) Once again, Warner Brothers' cartoon Batman has outshone all the live-action films, never allowing the thrilling action set pieces or flashes of wry humor to drown out the drama, even tragedy, of the all-too-human superheroes. --Bruce ReidBATMAN BEYOND:RETURN OF THE JOKER/BAT - DVD Movie

Bordertown 4 pc Boxed Set

• BORDERTOWN (DVD MOVIE)

A powerful story of life on the border between the United States and Mexico, Bordertown is based on the hundreds of women working in American-owned factories who have been brutally raped and murdered in Juarez, a city gripped by fear. The attacks have been covered up by the local authorities, and still continue today.

When editor of the Chicago Sentinel George Morgan (Sheen) sends ambitious reporter, Lauren Adrian (Lopez), to Juarez, Mexico to investigate the murders, what she finds is the story of a lifetime. Eva, a young woman who was raped and left for dead in the desert, is the only woman to survive an attack. Unable to go to the police for help, she turns to a local newspaper run by Diaz Alfonso (Banderas), former friend and colleague of Lauren s. Hiding Eva is incredibly dangerous, but Lauren knows that publishing her story is the only way to expose the tr! uth behind the murders. She is determined to find Eva s attackers but soon finds herself immersed in a dangerous web of corruption that extends to both sides of the border.In the five years since human traffickers kidnapped his daughter Vincent has traveled the world and left a bloody wake behind him. Now he has found the town where his daughter is being held and the pimp who s keeping her. Over one night in Solo, Mexico Vincent is determined to fulfill the promise he made years ago; get his daughter back and kill the man who took her.Featuring 28 Episodes. In 1880, Pemmican lay at the western edge of the Great Plains. Nearly a decade later, surveyors of the 49th parallel reached the community of 180 to find it straddling the new Canada-U.S. border. Pemmican became Bordertown. It wasn't until the mud had settled that Bordertown's awkward, if not unique, character came to light. Law and order were dealt with on one side by Clive Bennett, a Mountie, and on the other by U.S. M! arshal Jack Craddock. Whiskey traders, buffalo hunters, gold p! rospecto rs, silver miners, drifters and drunks kept the lawmen busy. Still, clashes were inevitable; they shared an office divided only by a black line--the 49th parallel. Acute rivalry in the pursuit of justice was further complicated by their pursuit of the same woman. Marie Dumont was a widowed Parisian, a sensitive lady of considerable breeding and the town's doctor.

Elephant: A Film By Gus Van Sant

• Winner of the Palme d'Or and Best Director prizes at the 2003 Cannes Film Festival, Gus Van Sant's (Good Will Hunting, Finding Forrester) Elephant takes us inside an American high school on one, single ordinary day that very rapidly turns tragic. Elephant demonstrates that high school life is a complex landscape where the vitality and beauty of young lives can shift from light to darkness with sur

From the groundbreaking director of GOOD WILL HUNTING and FINDING FORRESTER, GERRY stars Academy Award(R) winner Matt Damon (Best Original Screenplay, GOOD WILL HUNTING, 1997; THE BOURNE IDENTITY, OCEAN'S ELEVEN) and Casey Affleck (OCEAN'S ELEVEN, SOUL SURVIVORS) in a suspenseful and highly provocative story of two men pushed to the limit! A pair of best friends (Affleck and Damon), who've nicknamed each other "Gerry," set out on a desert hike. But what begins as a simple daytime adventure turns int! o an intense life-and-death journey that will test the strength of human endurance and ultimately, their friendship! Written by Damon, Affleck, and Director Gus Van Sant, this uncommonly compelling and starkly visualized film is a must-see motion picture that has earned the overwhelming praise of critics nationwide!In Gerry, two young men (Matt Damon and Casey Affleck) wander beautiful, barren, and surreal landscapes, gradually growing more and more lost. This film from Gus Van Sant (director of Drugstore Cowboy, My Own Private Idaho, and Good Will Hunting) has no story, hardly any dialogue, and even less in the way of "action" or "events." Yet the movie is by turns maddening and hypnotic; although few people will agree on which are the maddening scenes and which are the hypnotic ones, you will leave Gerry with one or more stunning images in your head. In fact, Gerry is probably more pleasurable to remember than it is to sit throug! h. Committed performances, flashes of dark humor, and a smatte! ring of visual effects give the movie some shape, but the more you just surrender to the emptiness of the landscape, the more rewarding Gerry will be. --Bret FetzerFrom the groundbreaking director of Milk and Good Will Hunting, Gerry stars Matt Damon (The Adjustment Bureau) and Casey Affleck (Gone Baby Gone) in a suspenseful and highly provocative story of two men pushed to the limit.
A pair of best friends (Affleck and Damon), who've nicknamed each other "Gerry," set out on a desert hike. But what begins as a simple daytime adventure turns into an intense life-and-death journey that will test the strength of human endurance and ultimately their friendship. Written by Damon, Affleck and director Gus Van Sant, this uncommonly compelling and starkly visualized film has earned the overwhelming praise of critics nationwide.In Gerry, two young men (Matt Damon and Casey Affleck) wander beautiful, barren, and sur! real landscapes, gradually growing more and more lost. This film from Gus Van Sant (director of Drugstore Cowboy, My Own Private Idaho, and Good Will Hunting) has no story, hardly any dialogue, and even less in the way of "action" or "events." Yet the movie is by turns maddening and hypnotic; although few people will agree on which are the maddening scenes and which are the hypnotic ones, you will leave Gerry with one or more stunning images in your head. In fact, Gerry is probably more pleasurable to remember than it is to sit through. Committed performances, flashes of dark humor, and a smattering of visual effects give the movie some shape, but the more you just surrender to the emptiness of the landscape, the more rewarding Gerry will be. --Bret FetzerWinner of the Palme d'Or and Best Director prizes at the 2003 Cannes Film Festival, Gus Van Sant's (Good Will Hunting, Finding Forrester) Elephant takes us inside an Ameri! can high school on one, single ordinary day that very rapidly ! turns tr agic. Elephant demonstrates that high school life is a complex landscape where the vitality and beauty of young lives can shift from light to darkness with surreal speed. It's an ordinary high school day. Except that it's not.

DVD Features:
Featurette:On the Set of Elephant: "Rolling Through Time"
Full Screen Version
TV Spot:HBO Films Spot
Theatrical Trailer

Elephant, the elegant and unsettling movie from Gus Van Sant (My Own Private Idaho, Good Will Hunting), depicts students at a high school before and during a harrowing, Columbine-style shooting. The movie follows one young boy who takes over the wheel from his drunken dad while returning from lunch, then loops back in time and follows another student who crosses paths with the first, then loops back and follows another--all captured in long, unedited tracking shots that are serene and unhurried, even when two boys in camouflage gear, carrying h! eavy bags, arrive at the school and begin shooting. Elephant doesn't attempt to explain their behavior; it simply places the audience back in the brief yet interminable window of adolescence, when life is trivial and painfully important at the same time. Your reaction to Elephant will depend as much on your life experiences as anything in the movie itself. --Bret Fetzer

Hotel Rwanda [Blu-ray]

• 1080p Hi-Def Widescreen Transfer
• First time on Blu-ray
• Released by MGM/Fox Home Entertainment
• Includes Commentary Tracks, Documnetaries and more!

Once you find out what happened in Rwanda, you'll never forget. OscarÂ(r) nominee* Don Cheadle (Traffic) gives "the performance of his career in this extraordinarily powerful" (The Hollywood Reporter) and moving true story of one man's brave stance against savagery during the 1994 Rwandan conflict. Sophie Okonedo (Dirty Pretty Things) co-stars as the loving wife who challenges a good man to become a great man. As his country descends into madness, five-star-hotel manager Paul Rusesabagina (Cheadle) sets out to save his family. But when he sees that theworld will not intervene in the massacre of minority Tutsis, he finds the courage to open his hotelto more than 1,200 refugees. Now, with a rabid militia at the gates, he m! ust use his well-honed grace, flattery and cunning to protect his guests from certain death. *2004: Actor, Hotel RwandaSolidly built around a subtle yet commanding performance by Don Cheadle, Hotel Rwanda emerged as one of the most highly-praised dramas of 2004. In a role that demands his quietly riveting presence in nearly every scene, Cheadle plays real-life hero Paul Rusesabagina, a hotel manager in the Rwandan capital of Kigali who in 1994 saved 1,200 Rwandan "guests" from certain death during the genocidal clash between tribal Hutus, who slaughtered a million victims, and the horrified Tutsis, who found safe haven or died. Giving his best performance since his breakthrough role in Devil in a Blue Dress, Cheadle plays Rusesabagina as he really was during the ensuing chaos: "an expert in situational ethics" (as described by critic Roger Ebert), doing what he morally had to do, at great risk and potential sacrifice, with an understanding that wartime! negotiations are largely a game of subterfuge, cooperation, a! nd cleve r bribery. Aided by a United Nations official (Nick Nolte), he worked a saintly miracle, and director Terry George (Some Mother's Son) brings formidable social conscience to bear on a true story you won't soon forget. --Jeff ShannonSolidly built around a subtle yet commanding performance by Don Cheadle, Hotel Rwanda emerged as one of the most highly-praised dramas of 2004. In a role that demands his quietly riveting presence in nearly every scene, Cheadle plays real-life hero Paul Rusesabagina, a hotel manager in the Rwandan capital of Kigali who in 1994 saved 1,200 Rwandan "guests" from certain death during the genocidal clash between tribal Hutus, who slaughtered a million victims, and the horrified Tutsis, who found safe haven or died. Giving his best performance since his breakthrough role in Devil in a Blue Dress, Cheadle plays Rusesabagina as he really was during the ensuing chaos: "an expert in situational ethics" (as described by critic Roger Ebert), do! ing what he morally had to do, at great risk and potential sacrifice, with an understanding that wartime negotiations are largely a game of subterfuge, cooperation, and clever bribery. Aided by a United Nations official (Nick Nolte), he worked a saintly miracle, and director Terry George (Some Mother's Son) brings formidable social conscience to bear on a true story you won't soon forget. --Jeff Shannon

John Carpenter's Ghosts of Mars - style A Art Poster PRINT Unknown 11x17

• Title: John Carpenter's Ghosts of Mars - style A
• Artist: Unknown
• Print
• Image Size: 11.00in. x 10.68in.
• Paper Size: 11.00in. x 17.00in.

Ghosts of Mars may not be one of John Carpenter's finer efforts, but you can't knock the veteran director for staying true to his roots--it's clearly a Carpenter film, reveling in its B-movie blood lust, and fueled by the director's rock & roll rebellion as well as the sex appeal of star Natasha Henstridge. This rickety sci-fi/horror hybrid recalls Carpenter's Assault on Precinct 13, with various connections from throughout the director's career--for better and worse. It's the year 2176, and human colonists on Mars are controlled by a political "matronage," with women (for reasons unexplained) holding court in the capitol city of Chryse. Mars Police Force Lt. Ballard (Henstridge) has been sent to retrieve! James "Desolation" Williams (Ice Cube), the planet's most notorious criminal, from a remote mining-colony prison. With her ill-fated crew, Ballard discovers that the colonists have nearly all been possessed by ancient Martian spirits bent on reclaiming the planet, turning them into an army of self-mutilating freaks suggesting an unholy union of Marilyn Manson and the sadomasochistic Cenobites from the Hellraiser films. None of this makes much sense, and the shaky alliance between cops and criminals is a predictable excuse for rampant battle scenes between surviving humans and the ghost-possessed maniacs. Exotic weaponry abounds (along with cheap special effects and some laughable dialogue), resulting in the gruesome dispatch of expendable costars Pam Grier, Joanna Cassidy, Robert Carradine, and Clea Duvall. Driven by Carpenter's synth-metal score, this violent free-for-all has a few brief highlights, but it's suspenseless and ultimately absurd. It's no! t much, but for loyal fans it's probably enough. --Jeff Sh! annonFrom John Carpenter, the master of horror behind 1998's hit John Carpenter's Vampires and classics like The Thing and Halloween, comes a sci-fi thriller full of explosive action and bone-chilling suspense. Natasha Henstridge (Species) is Melanie Ballard, a headstrong police lieutenant on Mars in the year 2025. Humans have been colonizing and mining on the red planet for some time, but when Ballard and her squad are sent to a remote region to apprehend the dangerous criminal James "Desolation" Williams, played by Ice Cube (Three Kings), they discover that he's the least of their worries. The mining operations have unleashed a deadly army of Martian spirits who take over the bodies of humans and won't stop until they destroy all invaders of their planet. With a stellar cast including Pam Grier (Jackie Brown), Jason Statham (Snatch) and Clea Duvall (The Faculty), as well as explosive special effects, John Carpenter's Gh! osts of Mars is an intergalactic terror fest like you've never seen.Ghosts of Mars may not be one of John Carpenter's finer efforts, but you can't knock the veteran director for staying true to his roots--it's clearly a Carpenter film, reveling in its B-movie blood lust, and fueled by the director's rock & roll rebellion as well as the sex appeal of star Natasha Henstridge. This rickety sci-fi/horror hybrid recalls Carpenter's Assault on Precinct 13, with various connections from throughout the director's career--for better and worse. It's the year 2176, and human colonists on Mars are controlled by a political "matronage," with women (for reasons unexplained) holding court in the capitol city of Chryse. Mars Police Force Lt. Ballard (Henstridge) has been sent to retrieve James "Desolation" Williams (Ice Cube), the planet's most notorious criminal, from a remote mining-colony prison. With her ill-fated crew, Ballard discovers that the colonis! ts have nearly all been possessed by ancient Martian spirits ! bent on reclaiming the planet, turning them into an army of self-mutilating freaks suggesting an unholy union of Marilyn Manson and the sadomasochistic Cenobites from the Hellraiser films. None of this makes much sense, and the shaky alliance between cops and criminals is a predictable excuse for rampant battle scenes between surviving humans and the ghost-possessed maniacs. Exotic weaponry abounds (along with cheap special effects and some laughable dialogue), resulting in the gruesome dispatch of expendable costars Pam Grier, Joanna Cassidy, Robert Carradine, and Clea Duvall. Driven by Carpenter's synth-metal score, this violent free-for-all has a few brief highlights, but it's suspenseless and ultimately absurd. It's not much, but for loyal fans it's probably enough. --Jeff ShannonNASTHASHA HENSTRIDGE, PAM GRIER AND ICE CUBE MUST BATTLE IT OUT AGAINST PRIMITIVE MARTIAN GHOSTS WHO WILL STOP AT NOTHING TOANNIHILATE THE HUMAN INVADERS WHO HAVE DISTURBED THEI! R PLANET.Ghosts of Mars may not be one of John Carpenter's finer efforts, but you can't knock the veteran director for staying true to his roots--it's clearly a Carpenter film, reveling in its B-movie blood lust, and fueled by the director's rock & roll rebellion as well as the sex appeal of star Natasha Henstridge. This rickety sci-fi/horror hybrid recalls Carpenter's Assault on Precinct 13, with various connections from throughout the director's career--for better and worse. It's the year 2176, and human colonists on Mars are controlled by a political "matronage," with women (for reasons unexplained) holding court in the capitol city of Chryse. Mars Police Force Lt. Ballard (Henstridge) has been sent to retrieve James "Desolation" Williams (Ice Cube), the planet's most notorious criminal, from a remote mining-colony prison. With her ill-fated crew, Ballard discovers that the colonists have nearly all been possessed by ancient Martian spirits be! nt on reclaiming the planet, turning them into an army of sel! f-mutila ting freaks suggesting an unholy union of Marilyn Manson and the sadomasochistic Cenobites from the Hellraiser films. None of this makes much sense, and the shaky alliance between cops and criminals is a predictable excuse for rampant battle scenes between surviving humans and the ghost-possessed maniacs. Exotic weaponry abounds (along with cheap special effects and some laughable dialogue), resulting in the gruesome dispatch of expendable costars Pam Grier, Joanna Cassidy, Robert Carradine, and Clea Duvall. Driven by Carpenter's synth-metal score, this violent free-for-all has a few brief highlights, but it's suspenseless and ultimately absurd. It's not much, but for loyal fans it's probably enough. --Jeff ShannonGhosts of Mars may not be one of John Carpenter's finer efforts, but you can't knock the veteran director for staying true to his roots--it's clearly a Carpenter film, reveling in its B-movie blood lust, and fueled by the director'! s rock & roll rebellion as well as the sex appeal of star Natasha Henstridge. This rickety sci-fi/horror hybrid recalls Carpenter's Assault on Precinct 13, with various connections from throughout the director's career--for better and worse. It's the year 2176, and human colonists on Mars are controlled by a political "matronage," with women (for reasons unexplained) holding court in the capitol city of Chryse. Mars Police Force Lt. Ballard (Henstridge) has been sent to retrieve James "Desolation" Williams (Ice Cube), the planet's most notorious criminal, from a remote mining-colony prison. With her ill-fated crew, Ballard discovers that the colonists have nearly all been possessed by ancient Martian spirits bent on reclaiming the planet, turning them into an army of self-mutilating freaks suggesting an unholy union of Marilyn Manson and the sadomasochistic Cenobites from the Hellraiser films. None of this makes much sense, and the shaky alliance! between cops and criminals is a predictable excuse for rampa! nt battl e scenes between surviving humans and the ghost-possessed maniacs. Exotic weaponry abounds (along with cheap special effects and some laughable dialogue), resulting in the gruesome dispatch of expendable costars Pam Grier, Joanna Cassidy, Robert Carradine, and Clea Duvall. Driven by Carpenter's synth-metal score, this violent free-for-all has a few brief highlights, but it's suspenseless and ultimately absurd. It's not much, but for loyal fans it's probably enough. --Jeff ShannonGHOSTS OF MARS/VAMPIRES 2-PACK - DVD MovieGhosts of Mars
Ghosts of Mars may not be one of John Carpenter's finer efforts, but you can't knock the veteran director for staying true to his roots--it's clearly a Carpenter film, reveling in its B-movie blood lust, and fueled by the director's rock & roll rebellion as well as the sex appeal of star Natasha Henstridge. This rickety sci-fi/horror hybrid recalls Carpenter's Assault on Precinct 13, with various con! nections from throughout the director's career--for better and worse. It's the year 2176, and human colonists on Mars are controlled by a political "matronage," with women (for reasons unexplained) holding court in the capitol city of Chryse. Mars Police Force Lt. Ballard (Henstridge) has been sent to retrieve James "Desolation" Williams (Ice Cube), the planet's most notorious criminal, from a remote mining-colony prison. With her ill-fated crew, Ballard discovers that the colonists have nearly all been possessed by ancient Martian spirits bent on reclaiming the planet, turning them into an army of self-mutilating freaks suggesting an unholy union of Marilyn Manson and the sadomasochistic Cenobites from the Hellraiser films. None of this makes much sense, and the shaky alliance between cops and criminals is a predictable excuse for rampant battle scenes between surviving humans and the ghost-possessed maniacs. Exotic weaponry abounds (along with cheap special effects! and some laughable dialogue), resulting in the gruesome dispa! tch of e xpendable costars Pam Grier, Joanna Cassidy, Robert Carradine, and Clea Duvall. Driven by Carpenter's synth-metal score, this violent free-for-all has a few brief highlights, but it's suspenseless and ultimately absurd. It's not much, but for loyal fans it's probably enough. --Jeff Shannon

Vampires
Talk about an opening. The first few minutes of John Carpenter's Vampires--in which James Woods's vampire killer leads a dawn raid on a New Mexico "goon nest" of bloodsuckers--not only suggests a horror movie that will not pull any punches, it even evokes some of the more disturbing dream-memories of American Westerns. Muscular and uncompromised, the sequence suggests a new Carpenter classic unraveling before one's eyes. Well, dream on. Things don't quite work out that way, but this is still a film to reckon with. There are a few serious (and surprising) misjudgments on the director's part, particularly a mishandling of Sheryl Lee's role as ! a prostitute poisoned by the bite of a "master vampire" (who pretty much wiped out Woods's team of goon terminators). But aside from some weaknesses, the action is jolting, the suggested complicity of the Catholic Church in destroying monsters is provocative, and the traces of Howard Hawks's continuing influence on Carpenter's storytelling are in evidence. --Tom Keogh

Ghosts of Mars may not be one of John Carpenter's finer efforts, but you can't knock the veteran director for staying true to his roots--it's clearly a Carpenter film, reveling in its B-movie blood lust, and fueled by the director's rock & roll rebellion as well as the sex appeal of star Natasha Henstridge. This rickety sci-fi/horror hybrid recalls Carpenter's Assault on Precinct 13, with various connections from throughout the director's career--for better and worse. It's the year 2176, and human colonists on Mars are controlled by a political "matronage," with women (for reason! s unexplained) holding court in the capitol city of Chryse. M! ars Poli ce Force Lt. Ballard (Henstridge) has been sent to retrieve James "Desolation" Williams (Ice Cube), the planet's most notorious criminal, from a remote mining-colony prison. With her ill-fated crew, Ballard discovers that the colonists have nearly all been possessed by ancient Martian spirits bent on reclaiming the planet, turning them into an army of self-mutilating freaks suggesting an unholy union of Marilyn Manson and the sadomasochistic Cenobites from the Hellraiser films. None of this makes much sense, and the shaky alliance between cops and criminals is a predictable excuse for rampant battle scenes between surviving humans and the ghost-possessed maniacs. Exotic weaponry abounds (along with cheap special effects and some laughable dialogue), resulting in the gruesome dispatch of expendable costars Pam Grier, Joanna Cassidy, Robert Carradine, and Clea Duvall. Driven by Carpenter's synth-metal score, this violent free-for-all has a few brief highl! ights, but it's suspenseless and ultimately absurd. It's not much, but for loyal fans it's probably enough. --Jeff ShannonTitle: John Carpenter's Ghosts of Mars - style A. Artist: Unknown. Image Size: 11.00in. x 10.68in. Paper Size: 11.00in. x 17.00in. Art Poster PRINT

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Flashbacks Of A Fool [Blu-ray]

• FLASHBACKS OF A FOOL BLU-RAY (BLU-RAY DISC)

Daniel Craig delivers a startling performance as Joe Scott, a washed-up Hollywood star adrift in a haze of sex, drugs and squandered fame. But when he receives news of the sudden death of his childhood best friend, Joe flashes back to his younger self (played by Harry Eden of Oliver Twist) in his small English seaside village and the summer of innocence and tragedy that would change his life forever. Olivia Williams (The Sixth Sense), Claire Forlani (CSI:NY) and Eve co-star in this powerful drama about love, loss and one man’s journey to redemption, executive produced by Daniel Craig and featuring songs by Scott Walker, David Bowie and Roxy Music.Leading man Daniel Craig apparently made Flashbacks of a Fool (he was also one of the executive producers) in between stints as James Bond, and you can see why he was attract! ed to it; Joe Scott, the character he portrays in this film, could hardly be less like the suave, ever-resourceful 007. Ensconced in a fab, oceanfront Malibu crib, Joe is a movie star on the skids. Hooked on coke and drink, engaging in group gropes with dumb Hollywood bimbos, he’s sunk so low that his sassy assistant (Eve) calls him "a disgrace to white folks," and even his agent is sick of him, which is somewhat akin to a parasite dissing its host (it’s a measure of writer-director Baillie Walsh’s script’s lack of depth that we never really see what made Joe so great in the first place, or so bad now). When a call comes that a childhood friend has died, Joe decides to return to his native England for the funeral, whereupon an extended flashback kicks in. Young Joe (Harry Eden), it seems, was as randy and hopelessly naïve as a lot of teenage boys. Though he had the hots for the sexiest young thang in town (a coastal village that’s as lovely in its way as the Cali! fornia setting, both of them handsomely photographed by cinema! tographe r John Mathieson; the locations, in fact, are probably the most attractive element of the film), he also wasn’t immune to the advances of Evelyn (Jodhi May), the older married woman who lives next door. And when a tragedy involving Evelyn’s daughter struck while she and Joe were in flagrante, Joe handled it by leaving town, never to return--until now, that is. He discovers that his late pal’s widow is the same young girl Joe’d had his eye on, but otherwise his homecoming is a strangely muted affair; not a lot happens, which pretty much applies to the film overall. In the end, Flashbacks of a Fool has its touching moments, but it might have turned out better had it been both shaken and stirred. --Sam Graham

Stills from Flashbacks of a Fool (Click for larger image)

Flashbacks of a Fool Soundtrack
Daniel Craig delivers a startling performance as Joe Scott, a washed-up Hollywood star adrift in a haze of sex, drugs and squandered fame. But when he receives news of the sudden death of his childhood best friend, Joe fla! shes back to his younger self (played by Harry Eden of Oliver Twist) in his small English seaside village and the summer of innocence and tragedy that would change his life forever. Olivia Williams (The Sixth Sense), Claire Forlani (CSI:NY) and Eve co-star in this powerful drama about love, loss and one man s journey to redemption, executive produced by Daniel Craig and featuring songs by Scott Walker, David Bowie and Roxy Music.Leading man Daniel Craig apparently made Flashbacks of a Fool (he was also one of the executive producers) in between stints as James Bond, and you can see why he was attracted to it; Joe Scott, the character he portrays in this film, could hardly be less like the suave, ever-resourceful 007. Ensconced in a fab, oceanfront Malibu crib, Joe is a movie star on the skids. Hooked on coke and drink, engaging in group gropes with dumb Hollywood bimbos, he’s sunk so low that his sassy assistant (Eve) calls him "a disgrace to white folks," and ev! en his agent is sick of him, which is somewhat akin to a paras! ite diss ing its host (it’s a measure of writer-director Baillie Walsh’s script’s lack of depth that we never really see what made Joe so great in the first place, or so bad now). When a call comes that a childhood friend has died, Joe decides to return to his native England for the funeral, whereupon an extended flashback kicks in. Young Joe (Harry Eden), it seems, was as randy and hopelessly naïve as a lot of teenage boys. Though he had the hots for the sexiest young thang in town (a coastal village that’s as lovely in its way as the California setting, both of them handsomely photographed by cinematographer John Mathieson; the locations, in fact, are probably the most attractive element of the film), he also wasn’t immune to the advances of Evelyn (Jodhi May), the older married woman who lives next door. And when a tragedy involving Evelyn’s daughter struck while she and Joe were in flagrante, Joe handled it by leaving town, never to return--until now, that i! s. He discovers that his late pal’s widow is the same young girl Joe’d had his eye on, but otherwise his homecoming is a strangely muted affair; not a lot happens, which pretty much applies to the film overall. In the end, Flashbacks of a Fool has its touching moments, but it might have turned out better had it been both shaken and stirred. --Sam Graham

Stills from Flashbacks of a Fool (Click for larger image)

Suspense Collection (Seven/Heat/Insomnia/The Devil's Advocate)

• 4 FILM FAVORITES: SUSPENSE COLLECTION (DVD MOVIE)

DEVIL'S ADVOCATE - DVD MovieToo old for Hamlet and too young for Lear--what's an ambitious actor to do? Play the Devil, of course. Jack Nicholson did it in The Witches of Eastwick; Robert De Niro did it in Angel Heart (as Louis Cyphre--get it?). In The Devil's Advocate Al Pacino takes his turn as the great Satan, and clearly relishes his chance to raise hell. He's a New York lawyer, of course, by the name of John Milton, who recruits a hotshot young Florida attorney (Keanu Reeves) to his firm and seduces him with tempting offers of power, sex, and money. Think of the story as a twist on John Grisham's The Firm, with the corporate evil made even more explicit. Reeves is wooden, and therefore doesn't seem to have much of a soul to lose, but he's really just our excuse to meet the devil. Pacino's the main attraction, g! leefully showing off his--and the Antichrist's--chops at perpetrating menace and mayhem. The film was directed by Taylor Hackford (Against All Odds, Dolores Claiborne). --Jim EmersonHotshot attorney accepts tempting offer from an elite New York law firm only to find himself fighting for his soul.
Genre: Suspense
Rating: R
Release Date: 7-SEP-2004
Media Type: DVDToo old for Hamlet and too young for Lear--what's an ambitious actor to do? Play the Devil, of course. Jack Nicholson did it in The Witches of Eastwick; Robert De Niro did it in Angel Heart (as Louis Cyphre--get it?). In The Devil's Advocate Al Pacino takes his turn as the great Satan, and clearly relishes his chance to raise hell. He's a New York lawyer, of course, by the name of John Milton, who recruits a hotshot young Florida attorney (Keanu Reeves) to his firm and seduces him with tempting offers of power, sex, and money. Think of ! the story as a twist on John Grisham's The Firm, with t! he corpo rate evil made even more explicit. Reeves is wooden, and therefore doesn't seem to have much of a soul to lose, but he's really just our excuse to meet the devil. Pacino's the main attraction, gleefully showing off his--and the Antichrist's--chops at perpetrating menace and mayhem. The film was directed by Taylor Hackford (Against All Odds, Dolores Claiborne). --Jim EmersonHeat, Seven, The Devil's Advocate, Insomnia HEAT INCLUDES: • Widescreen Format [16x9 2.4:1] • Theatrical Trailers • Languages & Subtitles: English & Français (Main Feature. Bonus Material/Trailer May Not Be Subtitled). SE7EN INCLUDES: • Widescreen Format [16x9 2.4:1] • Cast Biographies/Filmographies • Subtitles: English, Français & Español. THE DEVIL’S ADVOCATE INCLUDES: • Widescreen Format [16x9 2.4:1] • Commentary by Director Taylor Hackford • Over 30 Minutes of Deleted Scenes • Production Notes • Theatrical Trailers & TV Spots • Languages: English & Fran! çais • Subtitles: English, Français & Español (Main Feature. Bonus Material/Trailer May Not Be Subtitled). INSOMNIA INCLUDES: • Widescreen Format [16x9 2.4:1] • Additional Scene • 2 Commentaries: • Director Christopher Nolan (Commentary in Order of Shooting Sequence) • Hilary Swank, Production Designer Nathan Crowley, Editor Dody Dorn, Cinematographer Wally Pfister and Screenwriter Hillary Seitz • 4 Featurettes: • Day for Night: Making the Movie • 180°: A Conversation with Christopher Nolan and Al Pacino • In the Fog: Cinemtography and Production Design • Eyes Wide Open: The Insomniac’s World • Stills Gallery • Theatrical Trailer • Languages: English & Français (Dubbed in Quebec) • Subtitles: English, Français & Español (Main Feature. Bonus Material/Trailer May Not Be Subtitled).