Marc Webb In this quirky romantic comedy about love and fate, a young greeting card writer (Joseph Gordon-Levitt) is hopelessly, helplessly searching for the girl of his dreams...and his new co-worker, Summer Finn (Zooey Deschanel), may just be “the one.” But the 500 days of their offbeat relationship reveal (in no particular order) that the road to happiness can be unpredictable, uncontrollable—and unbelievably funny!

Audio: English: 5.1 DTS HD Master Audio / Spanish & French: 5.1 Dolby DigitalLanguage: Dubbed & Subtitled: English, French & SpanishTheatrical Aspect Ratio: Widescreen: 2.40:1

Steve McQueen From acclaimed director Steve McQueen comes this "deeply evocative and brilliantly acted" film (Claudia Puig, USA Today) based on the true story of Solomon Northup. It is 1841, and Northup (Chiwetel Ejiofor in a gripping performance), an accomplished, free citizen of New York, is kidnapped and sold into slavery. Stripped of his identity and deprived of all dignity, Northup is ultimately purchased by ruthless plantation owner Edwin Epps (Michael Fassbender) and must find the strength within to survive. Filled with powerful performances by an astonishing cast that includes Benedict Cumberbatch, Brad Pitt and newcomer Lupita Nyong'o, 12 Years A Slave is both an unflinching account of slavery in American history and a celebration of the indomitable power of hope.

They are the voices behind the greatest Rock, Pop and R&B hits of all time, but no one knows their names. Now in this award-winning documentary, director Morgan Neville shines the spotlight on the untold stories of such legendary background singers as Darlene Love, Merry Clayton, Lisa Fischer, Claudia Lennear, Judith Hill and more. These are the triumphs and heartbreaks of music's greatest unsung talents, featuring rare behind-the-scenes footage, vintage live performances, and interviews with superstars Bruce Springsteen, Sting, Mick Jagger, Stevie Wonder and Bette Midler.

Stanly Kubrick When Stanley Kubrick recruited Arthur C. Clarke to collaborate on "the proverbial intelligent science fiction film," it's a safe bet neither the maverick auteur nor the great science fiction writer knew they would virtually redefine the parameters of the cinema experience. A daring experiment in unconventional narrative inspired by Clarke's short story "The Sentinel," 2001 is a visual tone poem (barely 40 minutes of dialogue in a 139-minute film) that charts a phenomenal history of human evolution. From the dawn-of-man discovery of crude but deadly tools in the film's opening sequence to the journey of the spaceship Discovery and metaphysical birth of the "star child" at film's end, Kubrick's vision is meticulous and precise. In keeping with the director's underlying theme of dehumanization by technology, the notorious, seemingly omniscient computer HAL 9000 has more warmth and personality than the human astronauts it supposedly is serving. (The director also leaves the meaning of the black, rectangular alien monoliths open for discussion.) This theme, in part, is what makes 2001 a film like no other, though dated now that its postmillennial space exploration has proven optimistic compared to reality. Still, the film is timelessly provocative in its pioneering exploration of inner- and outer-space consciousness. With spectacular, painstakingly authentic special effects that have stood the test of time, Kubrick's film is nothing less than a cinematic milestone—puzzling, provocative, and perfect. —Jeff Shannon

Asghar Farhadi

Joshua Oppenheimer This chilling and inventive documentary, executive-produced by Errol Morris (The Fog of War) and Werner Herzog (Grizzly Man), examines a country where death squad leaders are celebrated as heroes, and are challenged to reenact their real-life mass killings in the style of the American movies they love. The hallucinatory result is a cinematic fever dream, an unsettling journey deep into the imaginations of mass murderers and the shockingly banal regime of corruption and impunity they inhabit. THE ACT OF KILLING is an unprecedented film that, according to The Los Angeles Times, could well change how you view the documentary form. *Indonesian with English Subtitles* Special Features: SPECIAL FEATURES - INCLUDES TWO VERSIONS OF THE FILM: 165-min. Director s Cut; 122-Min Theatrical Cut; 45-min. Interview with Oppenheimer on Democracy Now!; Audio Commentary with Executive Producer Werner Herzog and Director Joshua Oppenheimer; Vice Presents: Werner Herzog and Errol Morris on The Act of Killing; Deleted Scenes; Trailers; 40-page Booklet Featuring an Essay by Errol Morris; Digital Download "Startling and inventive . . . this is not a movie that lets go of you easily." —The New York Times ". . . could well change how you view the documentary form." —Los Angeles Times "A masterpiece of murder and the movies." —Village Voice

David Crowther, Ridley Scott The terror begins when the crew of a spaceship investigates a transmission from a desolate planet, and discovers a life form that is perfectly evolved to annihilate mankind. One by one, each crew member is slain until only Ripley is left, leading to an explosive conclusion that sets the stage for its stunning sequel, "Aliens."

James Cameron In this action-packed sequel to Alien, Sigourney Weaver returns as Ripley, the only survivor from mankind's first encounter with the monstrous Alien. Her account of the Alien and the fate of her crew are received with skepticism - until the mysterious disappearance of colonists on LV-426 leads her to join a team of high-tech colonial marines sent in to investigate.

Personally supervised by director James Cameron, this special edition includes scenes eliminated prior to the film's 1986 release which broaden the narrative scope and enrich the emotional impact of the film.

Carl Reiner

Duke Johnson, Charlie Kaufman A man crippled by the mundanity of his life experiences something out of the ordinary. Michael Stone, an author that specializes in customer service, is a man who is unable to interact deeply with other people. His low sensitivity to excitement, and his lack of interest made him a man with a repetitive life on his own perspective. But, when he went on a business trip, he met a stranger - an extraordinary stranger, which slowly became a cure for his negative view on life that possibly will change his mundane life.

Mike Leigh Director Mike Leigh's gift for finding rich drama and humor in ordinary human lives remains as strong as ever in Another Year. Plot is almost nonexistent: Tom and Gerri (Jim Broadbent and Ruth Sheen), a happy and settled couple, both support and try to fend off the neediness of their less fortunate friends—particularly Mary (Lesley Manville), whose fantasies of romance with Tom and Gerri's son Joe (Oliver Maltman) come crashing down when Joe brings home his new girlfriend Katie (Karina Fernandez). Leigh's ability to draw astoundingly fully realized performances from his superb casts can turn a simple bit of anxious flirting into nerve-wracking comedy, or make the audience feel the cruel sting of a sudden disappointment. Manville (who's appeared in previous Leigh movies, as has most of the cast) turns in a remarkably alive performance, making Mary's yearning and fears almost uncomfortably vivid—but everyone in the cast is thoroughly natural, with the ever-dependable Broadbent (familiar from Moulin Rouge and Harry Potter and the Half-Blood Prince) and Sheen anchoring the film with a quiet, confident affection. Another Year is a gentle addition to Leigh's oeuvre; it doesn't have the head-to-head conflict of Secrets and Lies or the musical fervor of Topsy-Turvy. This movie's emotions are more rueful and reflective, pondering the nature of contentment. Much as Happy-Go-Lucky questioned the essence of cheerfulness, Another Year asks, What makes one person able to find love, while another flounders? Not a common topic for a movie, but Mike Leigh is not a common filmmaker. —Bret Fetzer

Michel Hazanavicius Winner of 5 Academy Awards® including: Best Picture, Best Actor (Jean Dujardin), Best Director, Best Original Musical Score, and Best Costume Design.The Artist is a love letter and homage to classic black-and-white silent films. The film is enormously likable and is anchored by a charming performance from Jean Dujardin, as silent movie star George Valentin. In late-1920s Hollywood, as Valentin wonders if the arrival of talking pictures will cause him to fade into oblivion, he makes an intense connection with Peppy Miller, a young dancer set for a big break. As one career declines, another flourishes, and by channeling elements of A Star Is Born and Singing in the Rain, The Artist tells the engaging story with humor, melodrama, romance, and—most importantly—silence. As wonderful as the performances by Dujardin and Bérénice Bejo (Miller) are, the real star of The Artist is cinematographer Guillaume Schiffman. Visually, the film is stunning. Crisp and beautifully contrasted, each frame is so wonderfully constructed that this sweet and unique little movie is transformed from entertaining fluff to a profound cinematic achievement. —Kira Canny

Lance Hammer SUNDANCE FILM FESTIVAL
WINNER: BEST DIRECTOR / BEST CINEMATOGRAPHY
NOMINATED: GRAND JURY PRIZE
INDEPENDENT SPIRIT AWARDS (6 NOMINATIONS)
BEST FEATURE / BEST DIRECTOR / BEST FEMALE LEAD / BEST SUPPORTING MALE / FIRST SCREENPLAY / BEST CINEMATOGRAPHY
NAACP IMAGE AWARD
NOMINATED: OUTSTANDING INDEPENDENT MOTION PICTURE
GOTHAM AWARDS
WINNER: BREAKTHROUGH DIRECTOR
NOMINATED: BEST FILM / BEST ENSEMBLE CAST / BREAKTHROUGH ACTOR
TORONTO FILM FESTIVAL
WINNER: TFCA AWARD (BEST FIRST FEATURE)
BERLIN FILM FESTIVAL
NOMINATED: GOLDEN BEAR AWARD (BEST FEATURE FILM)

A double prize winner at the Sundance Film Festival and one of the most critically acclaimed films of 2008, Ballast is a stunningly evocative story of personal catastrophe and communal redemption. In the cold winter light of the Mississippi Delta, three lonely people stumble under the weight of a shared tragedy. Lawrence (Micheal J. Smith, Sr.) is paralyzed with grief after the loss of his twin brother. Twelve-year-old James (Jim Myron Ross) drifts into the perilous orbit of local teenagers while his single mother, Marlee (Tarra Riggs), is too exhausted from her menial job to interpret the clues. When sudden violence forces mother and son to flee their home in the night, they alight desperately on Lawrence s property. Though this provides safe harbor, it rekindles the fury of a bitter, longstanding conflict. Writer-director Lance Hammer and his gifted cast of local, non-professional actors have created an unflinching, profoundly humane story of lost souls forced by circumstance to seek solace in the most unlikely of places.

SPECIAL FEATURES
- Director supervised high-definition digital transfer from the 35mm interpositive.
- Ballast Scene Development - A 37-minute making-of feature charting the evolution of several scenes through the improvisational conflict sessions and two-month rehearsal process that gave form to the final film.
- Original theatrical trailer.
- Optional English, French and Spanish subtitles.
- A new essay by film critic Amy Taubin.

The story of how an eccentric French shop-keeper and amateur film-maker attempted to locate and befriend Banksy, only to have the artist turn the camera back on its owner. The film contains footage of Banksy, Shephard Fairey, Invader and many of the world's most infamous graffiti artists at work.
- Written by Sundance Film Festival
Banksy is a graffiti artist with a global reputation whose work can be seen on walls from post-hurricane New Orleans to the separation barrier on the Palestinian West Bank. He fiercely guards his anonymity to avoid prosecution. An eccentric French shop keeper turned documentary maker attempts to locate and befriend Banksy, only to have the artist turn the camera back on its owner. Includes footage of Banksy, Shepard Fairey, Invader and many of the world's most infamous graffiti artists at work, on walls and in interview. As Banksy describes it, "It's basically the story of how one man set out to film the un-filmable. And failed."
- Written by Paranoid Pictures
Los Angeles-based French shop-keeper 'Thierry Guetta' gets the idea that he would like to film street artists in the process of creating their work. He tells them that he is making a documentary, when in reality he has no intention of editing the footage into one cohesive movie. Unaware of this latter fact, many street artists from around the world agree to participate. Thierry even gets into the act by assisting them in creating the art. One of the artists that participates is the camera-shy Briton Banksy, who refuses to be shown on screen unless he is blacked out. Banksy does convince Thierry to use the footage to make a movie. In Thierry doing so, Banksy comes to the realization that Thierry is a lousy film-maker, but he is an interesting character in an odd yet appealing way. So Banksy decides to use the footage and add additional material to make his own movie about Thierry's journey in this project. Since Thierry spent so much time involved in the process of street art, Banksy also convinces Thierry to become a street artist himself. Thierry reinvents himself as street artist M.B.W., an acronym for "Mr. Brainwash". Banksy, in the end, may regret this suggestion.
- Written by Huggo

Ron Fricke, David Aubrey, Mark Magidson FULLY RESTORED - The only movie ever transferred with an 8K HD Scan

Shot in breathtaking 70mm in 24 countries on six continents, BARAKA is a transcendent global tour that explores the sights and sounds of the human condition like nothing you ve ever seen or felt before. These are the wonders of a world without words, viewed through man and nature s own prisms of symmetry, savagery, harmony and chaos.

BARAKA produced by Mark Magidson and directed and photographed by Ron Fricke, award-winning cinematographer of KOYAANISQATSI and creators of the IMAX® sensation CHRONOS has now been fully restored from its original camera negative via state-of-the-art 8K UltraDigital mastering to create the most visually stunning Blu-ray ever made.

INCLUDES OVER 80 MINUTES OF ALL NEW BONUS FEATURES:
Baraka: A Closer Look
Baraka: Restoration

Richard J. Lewis The publication of a book accusing him of murder leads schlock television producer Barney Panofsky (Paul Giamatti) to reflect on his tumultuous life—from his troubled first marriage to his best friend sleeping with his second wife to his one true love… and how he destroyed the happiest time in his life. By turns comic and self-lacerating, Panofsky is a richly drawn character given vivid life by Giamatti, who's built a remarkable career on prickly people (Sideways, American Splendor, John Adams). Regrettably, the women in his life aren't as fully realized, but the strong performances from the actresses playing them (Rachelle Lefevre, Minnie Driver, and Rosamund Pike) do a lot to make up for the thinness of how they're written. Rounding out the cast is Dustin Hoffman as Panofsky's father, a crude but vigorous ex-cop who loves his son unreservedly. Adapted from an award-winning Canadian book, Barney's Version feels, in the best sense, like a novel; small details and incidents build up to the picture of a man's life. The movie depicts that life without judgment, never manipulating the audience for cheap laughs or sentiment—and yet it is by turns wildly funny and achingly sad, largely due to Giamatti. He holds the viewer's attention effortlessly, quietly, never showboating his emotions or flaunting his intelligence. He's simply a superb actor, and this is a superb performance. —Bret Fetzer

Robert Gordon, Morgan Neville 'Best of Enemies' is a documentary about the legendary series of nationally televised debates in 1968 between two great public intellectuals, the liberal Gore Vidal and the conservative William F. Buckley Jr. Intended as commentary on the issues of their day, these vitriolic and explosive encounters came to define the modern era of public discourse in the media, marking the big bang moment of our contemporary media landscape when spectacle trumped content and argument replaced substance. 'Best of Enemies' delves into the entangled biographies of these two great thinkers and luxuriates in the language and the theater of their debates, begging the question, 'What has television done to the way we discuss politics in our democracy today?'

Russ Meyer In 1970, 20th Century-Fox, impressed by the visual zing King of the Nudies Russ Meyer (Faster, Pussycat! Kill! Kill!) brought to bargain-basement exploitation fare, handed the director a studio budget and the title to one of its biggest hits, Valley of the Dolls. With a satirical screenplay by Roger Ebert, Beyond the Valley of the Dolls follows three young female rockers going Hollywood in hell-bent sixties style under the spell of a flamboyant producer whose decadent bashes showcase Meyer s trademark libidinal exuberance. Transgressive and outrageous, this big-studio version of a debaucherous midnight movie is an addictively entertaining romp from
one of the movies great outsider artists.

BLU-RAY SPECIAL EDITION FEATURES
- High-definition digital restoration, with uncompressed monaural soundtrack
- Audio commentary from 2003 featuring screenwriter Roger Ebert
- Audio commentary from 2006 featuring actors Dolly Read, Cynthia Myers, Harrison Page, John La Zar, and Erica Gavin
- New interview with filmmaker John Waters
- Archival interviews with writer, director, and producer Russ Meyer
- Q&A about the film from 1992 featuring Meyer, Ebert, La Zar, Read, and actors David Gurian, Charles Napier, Michael Blodgett, and Edy Williams
- Above, Beneath, and Beyond the Valley; Look On Up at the Bottom; The Best of Beyond; Sex, Drugs, Music and Murder; and Casey & Roxanne, five documentaries from 2006 about the making of the film, featuring the cast and crew
- Trailers and TV spots
- More!
- PLUS: An essay by film critic Glenn Kenny

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John Carpenter A rough-and-tumble trucker helps rescue his friend's fiancée from an ancient sorcerer in a supernatural battle beneath Chinatown.

Bjork

Bruce Beresford In the 17th century a Jesuit priest and a young companion are escorted through the wilderness of Quebec by Algonquin Indians to find a distant mission in the dead of winter. The Jesuit experiences a spiritual journey while his young companion falls in love with the Algonquin chief's beautiful daughter underneath the imposing and magnificent mountains. Dread and death follows them upriver.

Irvin Yeaworth A cult classic of gooey greatness, The Blob follows the havoc wreaked on a small town by an outer-space monster with neither soul nor vertebrae, with Steve McQueen playing the rebel teen who tries to warn the residents about the jellylike invader. Strong performances and ingenious special effects help The Blob transcend the schlock sci-fi and youth delinquency genres from which it originates. Made outside of Hollywood by a maverick film distributor and a crew whose credits mostly comprised religious and educational shorts, The Blob helped launch the careers of McQueen and composer Burt Bacharach, whose bouncy title song is just one of this film’s many unexpected pleasures.

Abdellatif Kechiche The colorful, electrifying romance that took the Cannes Film Festival by storm courageously dives into a young woman's experiences of first love and sexual awakening. Blue Is the Warmest Color stars the remarkable newcomer AdŠle Excharpoulos as a high schooler who, much to her own surprise, plunges into a thrilling relationship with a female twentysomething art student, played by L‚a Seydoux (Midnight in Paris). Directed by Abdellatif Kechiche (The Secret of the Grain), this finely detailed, intimate epic sensitively renders the erotic abandon of youth. It has captivated international audiences and been widely embraced as a defining love story for the new century. SPECIAL EDITION FEATURES New high-definition digital transfer, approved by director Abdellatif Kechiche, with 5.1 surround DTS-HD Master Audio soundtrack on the Blu-ray edition Trailer and TV spot New English subtitle translation PLUS: A booklet featuring an essay by critic B. Ruby Rich

David Lynch

The Tragically Hip

Ang Lee A sad, melancholy ache pervades Brokeback Mountain, Ang Lee's haunting, moving film that, like his other movies, explores societal constraints and the passions that lurk underneath. This time, however, instead of taking on ancient China, 19th-century England, or '70s suburbia, Lee uses the tableau of the American West in the early '60s to show how two lovers are bound by their expected roles, how they rebel against them, and the repercussions for each of doing so—but the romance here is between two men. Ennis Del Mar (Heath Ledger) and Jack Twist (Jake Gyllenhaal) are two itinerant ranchers looking for work in Wyoming when they meet and embark on a summer sheepherding job in the shadow of titular Brokeback Mountain. The taciturn Ennis, uncommunicative in the extreme, finds himself opening up around the gregarious Jack, and the two form a bond that surprisingly catches fire one cold night out in the wilderness. Separating at the end of the summer, each goes on to marry and have children, but a reunion years later proves that, if anything, their passion for each other has grown significantly. And while Jack harbors dreams of a life together, the tight-lipped Ennis is unable to bring himself to even consider something so revolutionary.

Its open, unforced depiction of love between two men made Brokeback an instant cultural touchstone, for both good and bad, as it was tagged derisively as the "gay cowboy movie," but also heralded as a breakthrough for mainstream cinema. Amidst all the hoopla of various agendas, though, was a quiet, heartbreaking love story that was both of its time and universal—it was the quintessential tale of star-crossed lovers, but grounded in an ever-changing America that promised both hope and despair. Adapted by Larry McMurtry and Diana Ossana from Annie Proulx's short story, the movie echoes the sparse bleakness of McMurtry's The Last Picture Show with its fading of the once-glorious West; but with Lee at the helm, it also resembles The Ice Storm, as it showed the ripple effects of a singular event over a number of people. As always, Lee's work with actors is unparalleled, as he elicits graceful, nuanced performances from Michelle Williams and Anne Hathaway as the wives affected overtly and subliminally by their husbands' affair, and Gyllenhaal brings surprising dimensions to a character that could have easily just been a puppy dog of a boy. It's Ledger, however, who's the breakthrough in the film, and his portrait of an emotionally repressed man both undone and liberated by his feelings is mesmerizing and devastating. Spare in style but rich with emotion, Brokeback Mountain earns its place as a classic modern love story. —Mark Englehart

Chang-dong Lee Jong-su bumps into a girl who used to live in the same neighborhood as him, who asks him to look after her cat while on a trip to Africa. When back, she introduces Ben, a mysterious guy she met there, who confesses his secret hobby.

George Roy Hill Paul Newman and Robert Redford set the standard for the "buddy film" with this box office smash set in the Old West. The Sundance Kid (Redford) is the frontier's fastest gun. His sidekick, Butch Cassidy (Newman), is always dreaming up new ways to get rich fast. If only they could blow open a baggage car without also blowing up the money-filled safe inside... Or remember that Sundance can't swim before they escape a posse by leaping off a cliff into rushing rapids... Times are changing in the west and life is getting tougher. So Butch and Sundance pack their guns, don new duds, and, with Sundance's girlfriend (Katharine Ross), head down to Bolivia. Never mind that they don't speak Spanish - they'll manage somehow. A winner of four Academy Awards (including best screenplay and best song), here is a thoroughly enjoyable blend of fact and fancy done with true affection for a bygone era and featuring the two flashiest, friendliest funniest outlaws who ever called out "hands up!"

Jean-Marc Vallée

A truly perfect movie, the 1942 Casablanca still wows viewers today, and for good reason. Its unique story of a love triangle set against terribly high stakes in the war against a monster is sophisticated instead of outlandish, intriguing instead of garish. Humphrey Bogart plays the allegedly apolitical club owner in unoccupied French territory that is nevertheless crawling with Nazis; Ingrid Bergman is the lover who mysteriously deserted him in Paris; and Paul Heinreid is her heroic, slightly bewildered husband. Claude Rains, Sydney Greenstreet, Peter Lorre, and Conrad Veidt are among what may be the best supporting cast in the history of Hollywood films. This is certainly among the most spirited and ennobling movies ever made.—Tom Keogh

Bob Clark

Giuseppe Tornatore Academy Award winner for Best Foreign Language Film, Cinema Paradiso is the beautiful, enchanting story of a young boy's lifelong love affair with the movies. Set in an Italian village, Salvatore finds himself enchanted by the flickering images at the Cinema Paradiso, yearning for the secret of the cinema's magic. When the projectionist, Alfredo, agrees to reveal the mysteries of moviemaking, a deep friendship is born. The day comes for Salvatore to leave the village and pursue his dream of making movies of his own. Thirty years later he receives a message that beckons him back home to a secret, beautiful discovery that awaits him in this acclaimed film from director Giuseppe Tornatore.

Laurent Cantet Teacher and novelist François Bégaudeau plays a version of himself as he negotiates a year with his racially mixed students from a tough Parisian neighborhood,

Brett Morgen Cobain - Montage of Heck invites you to experience Kurt's life, art and mind through his own unique lens, bringing you as close to the generation-defining icon as it's possible to get. Experience Kurt Cobain like never before in the first fully-authorized portrait of the famed rock music icon. Director Brett Morgen expertly blends Cobain's personal archive of art, music, and never-before-seen home movies with animation and revelatory interviews from his family and closest confidantes. Following Kurt from his earliest years in Aberdeen, WA, through the height of his fame, a visceral and detailed cinematic insight of an artist at odds with his surroundings emerges. While Cobain craved the spotlight even as he rejected the trappings of fame, his epic arc depicts a man who stayed true to his earliest punk rock convictions, always identifying with the "outsider" and ensuring the music came first. Fans and those of the Nirvana generation will learn things about Cobain they never knew while those who have recently discovered the man and his music will know what makes him the lasting icon that he is.

Werner Walcher Many Yukoners only know the Filipino community through the communities’ annual Canada Day tent and the Whitehorse businesses that employ temporary foreign workers. This film introduces us to the pioneers of the community who moved to the Yukon 20 years ago and offers a rare insight into the lives and hardships temporary foreign workers and immigrants from the Philippines face when they leave behind young children and other family members to live in a culture and climate very unfamiliar to them.

Fritz Lang Fritz Lang's expressionist science-fiction masterpiece was a film ahead of it's time telling the story of a dystopian future society where the rich live above ground in a fantastic utopia while the working class slave away underground. Featuring a new restoration of the film including 25 minutes of lost footage and the original score by Gottfried Huppertz 'Metropolis (The Complete Metropolis)' is the ultimate collector's edition of the film. The stunning Blu-ray also includes a brand new documentary on the making and restoration of the influential movie

Anton Corbijn A profile of Ian Curtis, the enigmatic singer of Joy Division whose personal, professional, and romantic troubles led him to commit suicide at the age of 23.

Francis Ford Coppola A paranoid and personally-secretive surveillance expert has a crisis of conscience when he suspects that a couple he is spying on will be murdered.

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Noah Baumbach Brand Name: CRITERION COLLECTION INC Mfg#: 715515111218, Shipping Weight: 1.00 lbs, Manufacturer: CRITERION, Genre: Comedy, All music products are properly licensed and guaranteed authentic.

If Clive Barker had written an episode of The Twilight Zone, it might have looked something like Cube. A handful of strangers wake up inside a bizarre maze, having been spirited there during the night. They quickly learn that they have to navigate their way through a series of chambers if they have any hope of escape, but the problem is that there are lethal traps awaiting if they choose their route unwisely. Having established some imaginative and grisly punishments in store for the hostages, cowriter and director Vincenzo Natali turns his attention to the characters, for whom being trapped amplifies their best and worst qualities. The film is, in fact, similar to a famous episode of Rod Serling's old television series, though Natali's explanation for why these poor people are being put through hell is a lot closer to the spirit of The X-Files. Cube has some solid moments of suspense and drama, and the sets are appropriately striking: one is tempted to believe at first the characters are lost inside a computer chip. —Tom Keogh

Zachary Heinzerling Academy-Award nominee for Best Documentary Feature! In New York City in 1969, 19-year-old art student Noriko fell in love with 41-year-old avant-garde artist Ushio Shinohara and put her career on hold to marry and support this rising star of the Manhattan art world. After 40 years, their roles shifted. Now 80 and still struggling, Ushio is consumed with reinforcing his legacy via his “boxing” paintings, while Noriko is now finding her own creative voice through a series of drawings entitled “Cutie And Bullie” that depict their chaotic relationship and her desire to escape her husband's shadow and be respected as an artist in her own right. Featuring original artwork by Noriko and Ushio Shinohara, CUTIE AND THE BOXER is a powerful and poignant documentary about creativity, sacrifice, and a love that is its own unique work of art.

Christopher Nolan 3 Disc Bluray

During the early days of World War II, the fate of Western Europe hangs on the newly-appointed British Prime Minister Winston Churchill, who must decide whether to negotiate with Adolf Hitler, or fight on against incredible odds.

Antony Gibbs, David Lynch Even more than most of David Lynch's deliberately bizarre and idiosyncratic movies, Dune is a "love-it-or-hate-it" affair. An ambitious, epic, utterly mind-boggling—and, let's admit it, all-out weird—adaptation of Frank Herbert's classic science fiction novel, Dune remains one of the most controversial films in the director's exceedingly provocative career. The story (if Dune can be said to have just one story) is complex and convoluted in the epic tradition; it has something to do with political intrigue and a planet that is home to a precious spice and gigantic sand worms. Think Shakespeare's Henry IV with a dash of Tremors, and set in another galaxy. But despite plenty of strangely whispered voice-overs that explain the characters' thoughts (and endlessly detailed exposition), storytelling is not really among the film's strong points. There are, however, a lot of memorably fantastic/grotesque images, an extraordinary cast, and a soundtrack featuring Toto. I told you it was weird. Among the stars are Kyle MacLachlan, José Ferrer, Dean Stockwell, Brad Dourif, Sting, Kenneth McMillan, Patrick Stewart, Sean Young, and Linda Hunt. The DVD contains the original release version; a shorter version cut for television has been disowned by Lynch, who insisted his name be replaced by that famous Hollywood pseudonym "Alan Smithee." —Jim Emerson

Steven Spielberg Steven Spielberg's 1982 hit about a stranded alien and his loving relationship with a fatherless boy (Henry Thomas) struck a chord with audiences everywhere, and it furthered Spielberg's reputation as a director of equally strong commercial sensibilities and classical leanings. Henry Thomas gives a strong, emotional performance as E.T.'s young friend, Robert MacNaughton and Drew Barrymore make a solid impression as his siblings, and Dee Wallace is lively as the kids' mother. The special effects almost look a bit quaint now with all the computer advancements that have occurred since, but they also have more heart behind them than a lot of what we see today. —Tom Keogh Bonus Features A Look Back: A special insider’s look into the making of E.T. featuring interviews with Steven Spielberg, the cast, and others intimately involved with the film (37:44)Steven Spielberg & E.T: The director reflects back on the film and discusses his experience working with children as well as his overall and current perspective on E.T.(12:30)The E.T. Reunion: The cast and filmmaker reunite to discuss their thoughts on the impact of the film (17:57)Deleted ScenesBlu-ray Special Features The E.T. Journals: Featuring behind the scenes footage from the filming of the movie (60:00)The Evolution and Creation of E.T.: From idea to screenplay, through casting and making the film (50:17)The Music of E.T.: A Discussion With John Williams: Interviews and footage of the long-standing relationship between John Williams and Steven Spielberg (10:05)The 20th Anniversary Premiere: A ebhind the scenes look at composer John William's score of E.T. live at the Shrine Auditorium for the re-release premier of E.T. (17:49)Designs, Photographs and MarketingBD-Live, My Scenes, Pocket BLU AppKey Talent Starring Henry Thomas, Drew Barrymore, Dee Wallace and Peter CoyoteDirected by Academy Award Winner Steven Spielberg (Jaws, Raiders of the Lost Ark)Music by Academy Award Winner John Williams (Star Wars)

Dennis Hopper Two cool guys head out on motorcycles in search of... well, America, but they'll settle for sex and drugs and rock & roll. There's plenty of each as Captain America (Peter Fonda) and paranoid Billy (Dennis Hopper) encounter a commune, convert a small-town drunk (Jack Nicholson) to the Grin Reefer, pick up two pretty lilies of the alley, Karen Black and Toni Basil (who hit the pop charts in the '80s—check out "Mickey"), and get shot for having long hair. Nicholson won an Oscar nomination and Best Supporting Actor nods from the National Society of Film Critics and the New York Film Critics Circle, but his acting was better than they knew: he had to pretend to be straight and gradually get plastered in many, many takes using real weed. Find out the far wilder, funnier story behind the film in the book Easy Riders, Raging Bulls and Peter Fonda's Don't Tell Dad. —Tim Appelo

Denis Villeneuve

Alex Garland English & French DTS 5.1 HD Master Audio on Feature
Creating Ava Featurette*
The Cast*
The Design Featurette*
The Story Featurette*
The Making Of (Through The Looking Glass)
SXSW Panel Discussion with Alex Garland
*Optional French Subtitles

Atom Egoyan

Wes Anderson This is the story of Mr. Fox (George Clooney) and his wild ways of hen heckling, turkey taking, and cider sipping, nocturnal, instinctive adventures. He has to put his wild days behind him and do what fathers do best: be responsible. He is too rebellious. He is too wild. He is going to try "just one more raid" on the three nastiest, meanest farmers that are Walter Boggis (Robin Hurlstone), Nathan Bunce (Hugo Guinness), and Franklin Bean (Sir Michael Gambon). It is a tale of crossing the line of family responsibilities and midnight adventure and the friendships and awakenings of this country life that is inhabited by Fantastic Mr. Fox and his friends.

Terry Gilliam An oddball journalist and his psychopathic lawyer travel to Las Vegas for a series of psychadelic escapades.

Andrew Currie Fido (2006) Welcome to Willard, a small town lost in the idyllic world of the 50s, where the sun shines every day, everybody knows their neighbor, and rotting zombies deliver the mail. Years ago, the earth passed through a cloud of space dust, causing the dead to rise with a craving for human flesh. A war began, pitting the living against the dead. In the ensuing revolution, a corporation was born: ZomCon, who defeated the legions of undead, and domesticated the zombies, making them our industrial workers, our domestic servants—a productive part of society. ZomCon would like the people of Willard to believe they have everything under control—but do they? Timmy Robinson doesn't think so. At eleven, Timmy already knows the world is phony baloney—Mom and Dad just won't admit it. Now ZomCon's head of security has moved in across the street, and Timmy's Mom refuses to be the only housewife on the block who doesn't have a zombie of her own. When she brings a zombie servant home, Timmy discovers a new best friend, and names him Fido. And even though Dad has a bad case of zombie-phobia, Timmy is determined to keep Fido, even if he does eat the odd person. Sometimes, it takes a dead man to teach us all what it means to be alive.

Carroll Ballard There are some filmmaking teams that invariably bring out the best in each other, and that's definitely the case with director Carroll Ballard and cinematographer Caleb Deschanel. They previously collaborated on The Black Stallion and Never Cry Wolf, and Fly Away Home is their third family film that deserves to be called a classic. Inspired by Bill Lishman's autobiography, the movie tells the story of a 13-year-old girl (Anna Paquin) who goes to live with her estranged, eccentric father (Jeff Daniels) following the death of her mother. At first she's withdrawn and reclusive, but finds renewed happiness when she adopts an orphaned flock of baby geese and, later, teaches them to migrate using an ultralight. Sensitively directed and stunningly photographed, the movie has flying sequences that are nothing short of astonishing, and Daniels and Paquin (Oscar winner for The Piano) make a delightful father-daughter duo. (Ironically, the digital video disc is not available in widescreen format, but the image quality is brilliant.) —Jeff Shannon

Deleted Scenes and Lost FootageTwo Follow-Up Vehicles Starring Robby the Robot:1958 MGM Feature Film The Invisible Boy and The Thin Man TV Series Episode "Robot Client" TCM Original Documentary Watch the Skies! Science Fiction, the 1950s and Us Two Featurettes: Amazing! Exploring the Far Reaches of Forbidden Planet and Robby the Robot: Engineering a Sci-Fi Icon Excerpts from The MGM Parade TV Series Theatrical Trailers of Forbidden Planet and The Invisible Boy

Guy Maddin, Evan Johnson Commentary with Guy Maddin & Evan Johnson
Endless Ectoloops
Living Posters
Once a Chicken, a séance with László Moholy-Nagy
Trailer

Noah Baumbach Theatrical Trailer

Michael Dowse

Michael Dowse The story starts in Calgary where the boys are tiRed of trying to give r while barely scraping by when their old buddy and party leader Tron (Andrew Sparacino) hooks them up with jobs in Fort McMurray. Before Long they are rolling in dough and good times. Flush with money and confidence Terry starts dating Trish (Terra Hazelton) a local waitress and things get serious in a hurry. Meanwhile Dean is playing up the part of the cancer survivor and upon hearing about the glories of workers compensation purposely bungs up his leg in an attempt to qualify. When Terry moves in with Trish Dean does his best to save his buddy from swapping the banger life for domestic captivity. Actors: David Lawrence - Gordon Skilling - Mark Meer - Paul Spence - S.C. Lim. Director: Michael Dowse. Format: Blu-ray. Runtime: 85 mins. Language: English. Subtitle: English Subtitles. Region code: Region 1 (United States Canada Bermuda U.S. territories). Discs: 2. Rating: R. Genre: Comedy. Release Year: 2010.

Jordan Peele

Mamoru Oshii In the year 2032, Batô, a cyborg detective for the anti-terrorist unit Public Security Section 9, investigates the case of a female robot—one created solely for sexual pleasure—who slaughtered her owner.

Ivan Reitman Dan Aykroyd and Harold Ramis wrote the script, but Bill Murray gets all the best lines and moments in this 1984 comedy directed by Ivan Reitman (Meatballs). The three comics, plus Ernie Hudson, play the New York City-based team that provides supernatural pest control, and Sigourney Weaver is the love interest possessed by an ancient demon. Reitman and company are full of original ideas about hobgoblins—who knew they could "slime" people with green plasma goo?—but hovering above the plot is Murray's patented ironic view of all the action. Still a lot of fun, and an obvious model for sci-fi comedies such as Men in Black. —Tom Keogh

John Fawcett Fifteen-year-old Brigitte Fitzgerald (Emily Perkins, Insomnia, Juno) and her nearly-sixteen-year-old sister Ginger (Katharine Isabelle, Freddy vs. Jason, Hannibal) are both best friends and outcasts. Obsessed with dying and bound by a childhood pact to stay together forever, they loathe their mind-numbing existence in the suburbs of Bailey Downs. One night the two girls are heading through the woods when Ginger is savagely attacked by a wild creature.

Ginger’s horrible wounds miraculously heal over, but something is not quite right about her. Ginger is irritable and in denial. But to Brigitte, it is obvious that a terrifying force has taken hold of her sister. She’s convinced that the insatiable craving her sister is experiencing can mean only one thing: Ginger is becoming something unspeakably evil and monstrous.

Also starring Mimi Rogers (Penny Dreadful),Kris Lemche (Final Destination 3) and Jesse Moss (Tucker & Dale vs. Evil), this riveting funfest was directed by John Fawcett (Orphan Black) and written by Karen Walton (Orphan Black).

Niels Arden Oplev Fans of Stieg Larsson's Men Who Hate Women may have been concerned about how the Swedish author's novel would translate to the screen, but they needn't have worried. Significant changes to the source material have been made, but director Niels Arden Opley's The Girl with the Dragon Tattoo, as it's now called, is mostly riveting. As the story begins, middle-aged investigative journalist Mikael Blomkvist (Michael Nyqvist) has just been convicted of a bogus charge of libel against a rich and corrupt corporate hotshot when he's unexpectedly offered a most unusual gig. An aging captain of industry named Henrik Vanger (Sven-Bertil Taube) wants Blomkvist to figure out what happened to Vanger's niece, who disappeared more than 40 years earlier; not only is the old man convinced that she was murdered, but he suspects that another member of his large and rather disagreeable family (which includes several former Nazis) is the culprit. Blomkvist takes the job, which includes spending at least six months on Vanger's isolated island in the middle of winter. But what he doesn't know is that he's being spied on by twentysomething Lisbeth Salander (brilliantly played by Noomi Rapace in a career-making performance), the titular Girl and the possessor of remarkable skills as a sleuth and computer hacker. With her gothlike piercings and all-black clothes, Lisbeth is a vivid character, to say the least. While we don't exactly know the details of her dark past, it's obviously still with her; indeed, she's just been assigned a new "guardian" (like a parole officer) to look after her finances and other matters. We also know that she is not someone to mess with; when the guardian turns out to be a thoroughly vile monster, Lisbeth gets back at him in one of the more satisfying revenge sequences in recent memory. That Lisbeth and Mikael should end up working together, and more, isn't especially surprising. But the horrifying details and depths of depravity they uncover while working on the case (parallels to The Silence of the Lambs are facile but appropriate) definitely are, and Opley does a nice job of keeping it all straight. At more than two and a half hours, the film is long, with its share of grim, graphic, and scary moments, but The Girl with the Dragon Tattoo is a winner. —Sam Graham

Wes Anderson

Don McKellar To survive, a dying Newfoundland fishing village must convince a young doctor to take up residence by any means necessary.

Paolo Sorrentino

Hal Ashby

David Yates As Harry, Ron and Hermione race against time and evil to destroy the Horcruxes, they uncover the existence of the three most powerful objects in the wizarding world: the Deathly Hallows.

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David Mackenzie

Hal Hartley A garbage man becomes a poetic prodigy after a mysterious writer shows up at his house.

This product is manufactured on demand using DVD-R recordable media. Amazon.com's standard return policy will apply.

This product is expected to play back in DVD Video "play only" devices, and may not play in other DVD devices, including recorders and PC drives.

Spike Jonze

In a corrupt, greed-fueled world, a powerful alchemist leads a Christ-like character and seven materialistic figures to the Holy Mountain, where they hope to achieve enlightenment.

Hayao Miyazaki Howl's Moving Castle ~ Howl's Moving Castle

Taika Watiti

Christian Camargo The making of honest action movies has become so rare that Kathryn Bigelow's magnificent The Hurt Locker was shown mostly in art cinemas rather than multiplexes. That's fine; the picture is a work of art. But it also delivers more kinetic excitement, more breath-bating suspense, more putting-you-right-there in the danger zone than all the brain-dead, visually incoherent wrecking derbies hogging mall screens. Partly it's a matter of subject. The movie focuses on an Explosive Ordnance Disposal team, the guys whose more or less daily job is to disarm the homemade bombs that have accounted for most U.S. casualties in Iraq. But even more, the film's extraordinary tension derives from the precision and intelligence of Bigelow's direction. She gets every sweaty detail and tactical nuance in the close-up confrontation of man and bomb, while keeping us alert to the volatile wraparound reality of an ineluctably foreign environment—hot streets and blank-walled buildings full of onlookers, some merely curious and some hostile, perhaps thumbing a cellphone that could become a trigger. This is exemplary moviemaking. You don't need CGI, just a human eye, and the imagination to realize that, say, the sight of dust and scale popped off a derelict car by an explosion half a block away delivers more shock value than a pixelated fireball.
The setting may be Iraq in 2004, but it could just as well be Thermopylae; The Hurt Locker is no "Iraq War movie." Bigelow and screenwriter Mark Boal—who did time as a journalist embed with an EOD unit—align themselves with neither supporters nor opponents of the U.S. involvement. There's no politics here. War is just the job the characters in the movie do. One in particular, the supremely resourceful staff sergeant played by Jeremy Renner, is addicted to the almost nonstop adrenaline rush and the opportunity to express his esoteric, life-on-the-edge genius. The hurt locker of the title is a box he keeps under his bunk, filled with bomb parts and other signatory memorabilia of "things that could have killed me." That none of it has killed him so far is no real consolation. In this movie, you never know who's going to go and when; even high-profile talent (we won't name names here) is no guarantee. But one thing can be guaranteed, and that is that almost every sequence in the movie becomes a riveting, often fiercely enigmatic set piece. This is Kathryn Bigelow's best film since 1987's Near Dark. It could also be the best film of 2009. —Richard T. Jameson

Raoul Peck
In 1979, James Baldwin wrote a letter to his literary agent describing his next project, "Remember This House." The book was to be a revolutionary, personal account of the lives and assassinations of three of his close friends: Medgar Evers, Malcolm X and Martin Luther King, Jr. At the time of Baldwin's death in 1987, he left behind only 30 completed pages of this manuscript. Filmmaker Raoul Peck envisions the book James Baldwin never finished.

Craig Gillespie

Morten Tyldum

Denis Villeneuve This hauntingly enigmatic Canadian film and 2010 Best Foreign Language Film Oscar nominee unfolds backward and forward in time as a riveting, intricate mystery story. Clues are doled out gradually and often without the benefit of reason until shocking answers are unearthed in the final minutes. Set primarily in an unnamed Middle East country that is probably Lebanon, events are told in flashbacks and present-day scenes that run together without comment or overt transitions, employing a formal structure that requires us to pay constant attention to the shifts in perspective. It's a challenging task, but one that becomes enormously engrossing as the narrative weaves around itself against the backdrop of a bloody civil war and the equally damaging emotional battle of a family that is bound to a past ruled by equal parts devotion and horror. The primary characters are Nawal Marwan and her twin children Jeanne and Simon. A framing device set in Montreal where the grown twins hear a reading of their recently deceased mother's will sets up a quest that must be resolved before her body can be put to rest. They are each given sealed letters by the avuncular notary who was both their mother's employer and family friend (he also becomes pretty important to the extended plot, as do a number of other seemingly minor characters). As her last request, the mother has instructed Jeanne to deliver one letter to their father and Simon to deliver the other to their brother. Even though the twins believed their unknown father to be long dead and were unaware of the existence of a brother, Nawal's will assures them that both men are very much alive. With nothing more than the family name and a vague history of Nawal's early life in the strife-torn country where fighting between Christians and Muslims wrought a years-long bloodbath, both children get a crack at solving the mystery. The trails they follow each in their own turn are intercut with episodes from the young Nawal's journey of heartbreak, tension, and terror decades earlier. The children uncover incremental details in the same resolutely objective fashion that director Denis Villeneuve reels out others through the experiences of Nawal as she lived through her own ordeal. The script by Villeneuve was based on a play by Wajdi Mouawad, and there is a deeply resonant literary quality to the narrative that gives what might have otherwise seemed like an unlikely series of coincidences a profound sense of plausibility. An ultimate and entirely legitimate sense of destiny is revealed to all the characters that pass through the story, even in the most tangential way. The truths revealed by the surprise ending are truly devastating and completely unexpected, especially to those for whom the reality they thought they knew has been upended in ways that are unimaginable. —Ted Fry

Inch'Allah [Blu-ray] (Version fran?aise)

Paul Thomas Anderson Inherent Vice [Blu-ray + Digital Copy] (Bilingual)

An aspiring singer-songwriter navigates the 1960s

Sean Penn This is the true story of Christopher McCandless (Emile Hirsch). Freshly graduated from college with a promising future ahead, McCandless instead walked out of his privileged life and into the wild in search of adventure. What happened to him on the way transformed this young wanderer into an enduring symbol for countless people — a fearless risk-taker who wrestled with the precarious balance between man and nature.

Taika Waititi A World War II satire that follows a lonely German boy named Jojo (Roman Griffin Davis) whose world view is turned upside down when he discovers his single mother (Scarlett Johansson) is hiding a young Jewish girl (Thomasin McKenzie) in their attic. Aided only by his idiotic imaginary friend, Adolf Hitler (Taika Waititi), Jojo must confront his blind nationalism.

Frank Pavich

Frank Pavich

Guy Maddin In a house haunted with memories, gangster and father Ulysses Pick (Jason Patric) arrives home after a long absence tow­ing the body of a teenaged girl and a bound and gagged young man. His gang waits inside his house, having shot their way past police. There is friction in the ranks. Ulysses, however, is focused on one thing: journey­ing through the house, room by room, and reaching his wife Hyacinth (Isabella Rossellini) in her bedroom upstairs. His odyssey eventually becomes an emotional tour, as the strange nooks and crannies of the house reveal more about the mysterious Pick family.

Matthew Vaughn Dave Lizewski is an unnoticed high school student and comic book fan who one day decides to become a super-hero, even though he has no powers, training or meaningful reason to do so.

Quentin Tarantino Kill Bill: Volume 1
Quentin Tarantino's Kill Bill, Vol. 1, is trash for connoisseurs. From his opening gambit (including a "Shaw-Scope" logo and gaudy '70s-vintage "Our Feature Presentation" title card) to his cliffhanger finale (a teasing lead-in to 2004's Vol. 2), Tarantino pays loving tribute to grindhouse cinema, specifically the Hong Kong action flicks and spaghetti Westerns that fill his fervent brain—and this frequently breathtaking movie—with enough cinematic references and cleverly pilfered soundtrack cues to send cinephiles running for their reference books. Everything old is new again in Tarantino's humor-laced vision: he steals from the best while injecting his own oft-copied, never-duplicated style into what is, quite simply, a revenge flick, beginning with the near-murder of the Bride (Uma Thurman), pregnant on her wedding day and left for dead by the Deadly Viper Assassination Squad (or DiVAS)—including Lucy Liu and the unseen David Carradine (as Bill)—who become targets for the Bride's lethal vengeance. Culminating in an ultraviolent, ultra-stylized tour-de-force showdown, Tarantino's fourth film is either brilliantly (and brutally) innovative or one of the most blatant acts of plagiarism ever conceived. Either way, it's hyperkinetic eye-candy from a passionate film-lover who clearly knows what he's doing. —Jeff Shannon

Kill Bill: Volume 2
"The Bride" (Uma Thurman) gets her satisfaction—and so do we—in Quentin Tarantino's "roaring rampage of revenge," Kill Bill: Volume 2. Where Vol. 1 was a hyper-kinetic tribute to the Asian chop-socky grindhouse flicks that have been thoroughly cross-referenced in Tarantino's film-loving brain, Vol. 2—not a sequel, but Part Two of a breathtakingly cinematic epic—is Tarantino's contemporary martial-arts Western, fueled by iconic images, music, and themes lifted from any source that Tarantino holds dear, from the action-packed cheapies of William Witney (one of several filmmakers Tarantino gratefully honors in the closing credits) to the spaghetti epics of Sergio Leone. Tarantino doesn't copy so much as elevate the genres he loves, and the entirety of Kill Bill is clearly the product of a singular artistic vision, even as it careens from one influence to another. Violence erupts with dynamic impact, but unlike Vol. 1, this slower grand finale revels in Tarantino's trademark dialogue and loopy longueurs, reviving the career of David Carradine (who plays Bill for what he is: a snake charmer), and giving Thurman's Bride an outlet for maternal love and well-earned happiness. Has any actress endured so much for the sake of a unique collaboration? As the credits remind us, "The Bride" was jointly created by "Q&U," and she's become an unforgettable heroine in a pair of delirious movie-movies (Vol. 3 awaits, some 15 years hence) that Tarantino fans will study and love for decades to come. —Jeff Shannon

Jim Henson Sarah (a teenage Jennifer Connelly) rehearses the role of a fairy-tale queen, performing for her stuffed animals. She is about to discover that the time has come to leave her childhood behind. In real life she has to baby-sit her brother and contend with parents who don't understand her at all. Her petulance leads her to call the goblins to take the baby away, but when they actually do, she realizes her responsibility to rescue him. Sarah negotiates the Labyrinth to reach the City of the Goblins and the castle of their king. The king is the only other human in the film and is played by a glam-rocking David Bowie, who performs five of his songs. The rest of the cast are puppets, a wonderful array of Jim Henson's imaginative masterpieces. Henson gives credit to children's author and illustrator Maurice Sendak, and the creatures in the movie will remind Sendak fans of his drawings. The castle of the king is a living M.C. Escher set that adults will enjoy. The film combines the highest standards of art, costume, and set decoration. Like executive producer George Lucas's other fantasies, Labyrinth mixes adventure with lessons about growing up. —Lloyd Chesley

Martin Scorsese Universally acclaimed as one of the great concert films, The Last Waltz, Martin Scorsese's gorgeous account of the Band's star-studded 1976 farewell concert feels at times like a Canadian musical reunion, as Joni Mitchell and Neil Young join the Band in their celebration of a long life on the North American road. The movie captures some of the tensions between Hollywood-ready Robbie Robertson and his more inward bandmates, but its true glory is in the concert's camaraderie and good-natured one-upmanship, which drives great performances by Mitchell, Muddy Waters, the Staples Singers, and, best of all, Van Morrison's riveting "Caravan."

Andrey Zvyagintsev

Steve James 'Life Itself' recounts the surprising and entertaining life of world-renowned film critic and social commentator Roger Ebert - a story that's by turns personal, wistful, funny, painful, and transcendent. The film explores the impact and legacy of Roger Ebert's life: from his Pulitzer Prize-winning film criticism and his nearly quarter-century run with Gene Siskel on their review show, to becoming one of the country's most influential cultural voices, and finally to Roger's inspiring battles with cancer and the resulting physical disability - how he literally and symbolically put a new face on the disease and continued to be a cultural force despite it.

Steven Spielberg Lincoln (2012) ~ Lincoln (2012)

Jonathan Dayton, Valerie Faris Take a hilarious ride with the Hoovers, one of the most endearingly fractured families in comedy history.Father Richard (Greg Kinnear) is desperately trying to sell his motivational success program... with no success. Meanwhile, pro-honesty mom Sher

Robert Altman The Long Goodbye [Blu-ray]

Jennifer Baichwal

Remi Chaye 1882, Saint Petersburg. Sasha, a young Russian aristocrat, has always been fascinated by her grandfather's life as an adventurer. A renowned explorer, he designed a magnificent arctic ship, but he hasn't returned from his last expedition to the North Pole. To save her family's honor, Sasha runs away. Headed towards the Great North, she follows her grandfather's trail in search of his famous ship.

Masaaki Yuasa New kid Kai is talented but adrift, spending his days sulking and isolated in a small fishing village after his family moves from Tokyo. When he demonstrates a proficiency at making music on his synthesizer, his classmates invite him to join their nascent garage band, but their practice sessions soon bring an unexpected guest: Lu, a young mermaid whose fins turn to feet when she hears the beats and whose singing causes humans to compulsively dance - whether they want to or not.

Alan Taylor, Andrew Bernstein, Ed Bianchi, Lesli Linka Glatter, Matthew Weiner The show succeeds on every level. HBO famously passed on Mad Men, created by former Sopranos executive producer and writer Matthew Weiner.  AMC picked it up, and thank goodness they did. From the first episode, Season One becomes an essential, utterly addictive television- watching experience. Beautifully filmed and masterfully written, the show manages to present the period honestly but with little nostalgia, and as soon as you get over the constant smoking, drinking and treatment of women as little more than "girls" who get coffee and answer the phone, the complexity of these characters (especially the dashing Jon Hamm as Creative Director Don Draper) will leave you completely captivated. Season One features clandestine office romances, shadowy pasts, a ton of adultery, closeted homosexuality and a lot more drama that seems risqué even for 2008. But again, one of the most impressive things about Mad Men is that everything is executed with absolute class, style and elegance.  And bonus for the DVD viewer: Like The Sopranos, Mad Men has a ton of little moments and hints leading up to character revelations and plot twists that make watching the episodes over and over continually rewarding.   –-Kira Canny

Alan Taylor, Andrew Bernstein, Jennifer Getzinger, Lesli Linka Glatter, Matthew Weiner Mad Men returns, and guess what?  It’s still one of the best shows on TV.  Season two continues the slow progression to absolute greatness.  The first season left us with a number of cliffhangers, and the beginning of the second season doesn’t cleanly wrap things up.  Instead, we leap forward nearly 2 years and are thrown into an even more tumultuous time where the Norman Rockwell-idealized era is only ideal on the surface (slightly below we find rampant alcoholism, marriage dissolution, casual sexism and racism).  There is resolution, eventually, for all the questions left unanswered, but in true slow-as-molasses-but-still-riveting Mad Men form, we get to wait the entire season for answers.  

A lot has changed in these two years at Sterling-Cooper and it is exciting watching the 60’s progress through the unique lens of Mad Men.  Everything that made Season one incredibly compelling television is back. The terrific acting, pitch-perfect writing, gorgeous art direction and impressive attention to detail are all the unshakeable foundation to a meandering yet precise plotline that keeps the viewer glued to the television.  Special features include extensive commentaries and featurettes that examine 1960’s fashion, the rise of women in the workplace, and defining historical events of the era.—Kira Canny

Everything about Mad Men is stylish, even when it's all falling apart. And in season 3 of this Emmy-winning drama, many things fall apart—marriages, childhood, even the ad agency itself—but the unspoolings play out delicately and tragically, making for utterly compelling television. Don Draper (Jon Hamm) appears to dedicate himself to being a devoted family man, with the impending birth of his third child with Betty (January Jones), but the premiere episode, "Out of Town," has him right back to his philandering ways. While the Drapers do enjoy a romantic interlude during a business trip to Italy that makes you wish those darn kids could just work it out, the writing's on the wall that this marriage is sputtering out. Adding to the complication is Betty's discovery of Don's identity-switching past, her own dalliance with a politician, and their oldest child Sally's growing petulance as she observes her world crumbling around her (9-year-old Kiernan Shipka is a revelation). Meanwhile, the Brits infiltrate Sterling Cooper after a merger, leaving Pete (Vincent Kartheiser) and Ken (Aaron Staton) competing for the same job; Conrad Hilton (Chelcie Ross) brings in his business and his idiosyncrasies; the closeted Sal (Bryan Batt) nearly gets pushed out of the closet by some compromising situations; Peggy (Elisabeth Moss) asserts herself in the workplace and experiments with loosening her collar (this includes a surprising fling); and Joan (Christina Hendricks, arguably the sexiest woman on television) finally leaves the agency to be a housewife, only to find herself looking for work when her doctor husband comes up short in the promotion department. As usual, the comic relief lies in the reliable hands of the razor-sharp John Slattery as agency partner Roger Sterling, whose marriage to the much-younger former secretary of Don's drives tension between the once-chummy colleagues. At the end of the season, JFK's assassination provides a tragic backdrop for people preoccupied with their own troubles. The top-drawer writing and staging feels very much like a play, especially in the way it merges Don Draper's past with his present. Each episode also includes commentary by creator Matthew Weiner, various writers and directors, and pretty much all cast members (some are entertaining, some pretty superfluous). Also included are featurettes on the history of cigarette advertising and civil-rights documentaries on Medgar Evers and the "I Have a Dream" speech. The latter features, while substantial and well made, feel curiously out of place next to the materialistic and ethically challenged characters on Madison Avenue. Although not as consistent as the first two seasons, Mad Men's third season has enough power to keep it the best series of 2009. —Ellen A. Kim

Paul Thomas Anderson Quick Shipping !!! New And Sealed !!! This Disc WILL NOT play on standard US DVD player. A multi-region PAL/NTSC DVD player is request to view it in USA/Canada. Please Review Description.

Nicolad Roeg

There is only one word that comes close to accurately describing the enchanting Mary Poppins, and that term was coined by the movie itself: supercalifragilisticexpialidocious! Even at 2 hours and 20 minutes, Disney's pioneering mixture of live action and animation (based on the books by P.L. Travers) still holds kids spellbound. Julie Andrews won an Oscar as the world's most magically idealized nanny ("practically perfect in every way," and complete with lighter-than-air umbrella), and Dick Van Dyke is her clownishly charming beau, Bert the chimney sweep. The songs are also terrific, ranging from bright and cheery ("A Spoonful of Sugar") to dark and cheery (the Oscar-winning "Chim Chim Cher-ee") to touchingly melancholy ("Feed the Birds"). Many consider Mary Poppins to be the crowning achievement of Walt Disney's career—and it was the only one of his features to be nominated for a best picture Academy Award until Beauty and the Beast in 1991. —Jim Emerson

Paul Thomas Anderson Paul Thomas Anderson's closely observed character study represents a reverse image of its predecessor, There Will Be Blood, in which a prospector (Oscar winner Daniel Day-Lewis) and his protégé (Paul Dano) engaged in an epic battle of wills. In this more tonally consistent effort, the acolyte takes center stage. Gaunt, tightly wound, and eerily reminiscent of Montgomery Clift, Joaquin Phoenix plays Freddie Quell, an ex-naval officer suffering from posttraumatic stress disorder. Since World War II, he's had difficulty holding down a job due to his hot temper and affinity for paint thinner-spiked potions, but the charismatic Lancaster Dodd (Philip Seymour Hoffman in a more subtle, but equally skillful turn) finds him irresistible as a project, a surrogate son—maybe even the shadow self that he normally keeps hidden (Dodd shares Quell's propensity for the occasional splenetic outburst). Lancaster welcomes him to join the Cause, a movement that recalls Scientology by way of Freud, since he focuses on the elimination of past trauma through a pseudo-psychoanalytic exercise called processing. If he provides Quell with a surrogate family, much like Burt Reynolds in Boogie Nights, his loyal wife (Amy Adams) and cynical son (Jesse Plemons) seem more skeptical. While participating in their rituals, Quell sails with the group from San Francisco to Pennsylvania, but it's hard to tell whether he really believes or whether he's just going through the motions. The lack of clear-cut conclusions will leave some viewers cold, but you've never seen a performance—simultaneously riveting and repellent—like Phoenix's before. —Kathleen C. Fennessy

Christopher Nolan Sony Pictures Memento (Blu-Ray)
Point blank in the head a man shoots another. In flashbacks, each one earlier in time than what we've just seen, the two men's past unfolds. Leonard, as a result of a blow to thehead during an assault on his wife, has no short-term memory. He's looking for his wife's killer, compensating for his disability by taking Polaroids, annotating them, and tattooing important facts on his body. We meet the loquacious Teddy and the seductive Natalie (a barmaid who promises to help),and we glimpse Leonard's wife through memories from before the assault. Leonard also talks about Sammy Jankis, a man he knew with a similar condition. Has Leonard found the killer? What's going on?

Jeff Nichols

Deepa Mehta A pair of children, born within moments of India gaining independence from Britain, grow up in the country that is nothing like their parent's generation.

Charles Chaplin Modern Times, Charlie Chaplin’s last outing as the Little Tramp, puts the iconic character to work as a giddily inept factory employee who becomes smitten with a gorgeous gamine (Paulette Goddard). With its barrage of unforgettable gags and sly commentary on class struggle during the Great Depression, Modern Times—though made almost a decade into the talkie era and containing moments of sound (even song!)—is a timeless showcase of Chaplin’s untouchable genius as a director of silent comedy.

Philippe Falardeau

Barry Jenkins Three time periods - young adolescence, mid-teen and young adult - in the life of black-American Chiron is presented. When a child, Chiron lives with his single, crack addict mother Paula in a crime ridden neighborhood in Miami. Chiron is a shy, withdrawn child largely due to his small size and being neglected by his mother, who is more concerned about getting her fixes and satisfying her carnal needs than taking care of him. Because of these issues, Chiron is bullied, the slurs hurled at him which he doesn't understand beyond knowing that they are meant to be hurtful. Besides his same aged Cuban-American friend Kevin, Chiron is given what little guidance he has in life from a neighborhood drug dealer named Juan, who can see that he is neglected, and Juan's caring girlfriend Teresa, whose home acts as a sanctuary away from the bullies and away from Paula's abuse. With this childhood as a foundation, Chiron may have a predetermined path in life, one that will only be magnified in terms..

Wes Anderson Set on an island off the coast of New England in the summer of 1965, Moonrise Kingdom tells the story of two 12-year-olds who fall in love, make a secret pact, and run away together into the wilderness. As various authorities try to hunt them down, a violent storm is brewing off-shore - and the peaceful island community is turned upside down in every which way. Bruce Willis plays the local sheriff, Captain Sharp. Edward Norton is a Khaki Scout troop leader, Scout Master Ward. Bill Murray and Frances McDormand portray the young girl's parents, Mr. and Mrs. Bishop. The cast also includes Tilda Swinton, Jason Schwartzman, and Bob Balaban; and introduces Jared Gilman and Kara Hayward as Sam and Suzy, the boy and girl.

Located alongside the Tennessee River, Muscle Shoals, Alabama has helped create some of the most important and resonant songs of all time. Overcoming crushing poverty and staggering tragedies, Rick Hall brought black and white together to create music for the generations. He is responsible for creating the "Muscle Shoals sound" and The Swampers, the house band at FAME Studios that eventually left to start its own successful studio known as Muscle Shoals Sound. Gregg Allman and others bear witness to Muscle Shoals' magnetism, mystery and why it remains influential today.

Simon Curtis Anyone doubting the layered, nuanced, and heartbreaking acting abilities of Michelle Williams will find My Week with Marilyn a tremendous revelation. And Williams fans will enjoy it even more. In My Week with Marilyn Williams takes on the formidable challenge of playing Marilyn Monroe, and does so with depth and assuredness, and without resorting to caricature. Williams's Marilyn commands the screen with pain and delicacy, and doesn't let go until the final credits. My Week with Marilyn focuses on a small time frame in Monroe's life, right after her marriage to Arthur Miller. Monroe, already "the world's most famous woman," still feels the need for validation as an actress. What better way to achieve that, she believes, than committing to costarring with Laurence Olivier in The Prince and the Showgirl, a film she firmly believed would finally cement her reputation as a serious actress. My Week with Marilyn is based on the short memoir of Colin Clark, a crew member on The Prince and the Showgirl, who quickly became the confidant of the wildly insecure Monroe and watched a train wreck of egos—mostly Olivier's and Monroe's—collide in a fiery near-disaster. Kenneth Branagh gives an uncharacteristically restrained performance as the exasperated Olivier, resentful of the "new blood" in Hollywood that the young Monroe represents, and disdainful of her cult-like devotion to Method acting. (And of Monroe's chronic tardiness, which threatens to undermine the veddy, veddy strict British work schedule.) Eddie Redmayne plays Clark with a sweet, gentle veneer, someone who grows to care genuinely about the complex Monroe. Julia Ormond is clipped and proper as Olivier's then-wife, Vivien Leigh, and Emma Watson shows a lovely gravitas as Lucy, Monroe's acting coach. But it's Williams who gives the revelatory performance, capturing with painful intensity the insecurity that begins to seep out of Monroe like a fearful sweat. "Excuse my horrible face," she blurts out, while looking nothing less than her usual radiant self. Where does this tragic insecurity come from? My Week with Marilyn doesn't attempt to answer the unanswerable, but instead shines a light on the very real woman who became lost in the giant shadow of legend. —A.T. Hurley

Alexander Payne

Ethan Coen, Joel Coen The Coen brothers make their finest thriller since Fargo with a restrained adaptation of Cormac McCarthy's novel. Not that there aren't moments of intense violence, but No Country for Old Men is their quietest, most existential film yet. In this modern-day Western, Llewelyn Moss (Josh Brolin) is a Vietnam vet who could use a break. One morning while hunting antelope, he spies several trucks surrounded by dead bodies (both human and canine). In examining the site, he finds a case filled with $2 million. Moss takes it with him, tells his wife (Kelly Macdonald) he's going away for awhile, and hits the road until he can determine his next move. On the way from El Paso to Mexico, he discovers he's being followed by ex-special ops agent Chigurh (an eerily calm Javier Bardem). Chigurh's weapon of choice is a cattle gun, and he uses it on everyone who gets in his way—or loses a coin toss (as far as he's concerned, bad luck is grounds for death). Just as Sheriff Bell (Tommy Lee Jones), a World War II vet, is on Moss's trail, Chigurh's former colleague, Wells (Woody Harrelson), is on his. For most of the movie, Moss remains one step ahead of his nemesis. Both men are clever and resourceful—except Moss has a conscience, Chigurh does not (he is, as McCarthy puts it, "a prophet of destruction"). At times, the film plays like an old horror movie, with Chigurh as its lumbering Frankenstein monster. Like the taciturn terminator, No Country for Old Men doesn't move quickly, but the tension never dissipates. This minimalist masterwork represents Joel and Ethan Coen and their entire cast, particularly Brolin and Jones, at the peak of their powers. —Kathleen C. Fennessy

F.W. Murnau Nosferatu: Kino Classics 2-Disc Deluxe Remastered Edition [Blu-ray]

Louis Leterrier

Dan Debrabandere, Chad Ellis, Jarrod Saunders, Charles Wilkinson Oil Sands Karaoke is a documentary about five oil patch workers vying to win a karaoke contest in one of the most controversial places on the planet - Northern Alberta's infamous Oil Sands. These five characters know they're at the center of a global controversy and yet they continue to work there under extremely arduous physical conditions for long hours for extended periods without a single day off. Why? Obviously for the high wages. But what could motivate a person in this situation to sing karaoke, let alone take it seriously? A documentary unlike any other, Oil Sands Karaoke will make us laugh, sing along, and perhaps re-examine our biases.

Jim Jarmusch

Billy Weber, Tim Burton Former animator Tim Burton (Beetlejuice, Edward Scissorhands, Ed Wood, Batman, Mars Attacks!) made his feature directorial debut with this delightful comedy, coscripted by the late Phil Hartman (who also appears briefly as a reporter). Wisely, they keep the story simple so as to concentrate on the characters: Pee-wee's most prized possession, his shiny new bicycle, is stolen, and he sets off on an obsessive cross-country journey, determined to recover it. Pee-wee's awkward and childish attempts to be cool and mature ("I meant to do that!!") are hysterical, as when he tells his girlfriend (Elizabeth Daly): "There's things about me you don't know, Dottie. Things you wouldn't understand. Things you couldn't understand. Things you shouldn't understand.... I'm a loner, Dottie. A rebel." Look for Saturday Night Live vet Jan Hooks in a hilarious bit as a tour guide at the Alamo. And beware of Large Marge! —Jim Emerson

Brian De Palma Phantom Of The Paradise is a ground-breaking cult film favorite from acclaimed writer/director Brian De Palma (Carrie, Dressed To Kill).

Paul Williams wrote the acclaimed score for this musical horror classic, and stars as an evil record tycoon haunted and taunted by the disfigured composer Winslow Leach (William Finley, Sisters) he once wronged. Cheered by the Los Angeles Times as a delightful, outrageous…visual triumph, and also starring Jessica Harper (Suspiria, Shock Treatment) and Gerrit Graham (Used Cars, Terrorvision), this hilarious send-up of the glam rock era is pure entertainment from beginning to end.

Isao Takahata A community of magical shape-shifting raccoon dogs struggle to prevent their forest home from being destroyed by urban development.

Isao Takahata

Hayao Miyazaki Welcome to a world where anything is possible! Academy Award winning director Hayao Miyazaki (2002, Best Animated Feature, Spirited Away) and legendary filmmaker John Lasseter together with Disney bring to life a heartwarming and imaginative telling of Hans Christian Andersen s classic fairy tale The Little Mermaid. A young boy named Sosuke rescues a goldfish named Ponyo, and they embark on a fantastic journey of friendship and discovery before Ponyo s father, a powerful sorcerer, forces her to return to her home in the sea. But Ponyo s desire to be human upsets the delicate balance of nature and triggers a gigantic storm. Only Ponyo s mother, a beautiful sea goddess, can restore nature s balance and make Ponyo s dreams come true. Ponyo will delight your family with its magnificent animation and timeless story.

Hayao Miyazaki Ponyo (Two-Disc Blu-ray/DVD Combo)

Previously Enjoyed & Fully Guaranteed

Nicole ?

Alfred Hitchcock Rebecca [Blu-ray]

Quick Shipping !!! New And Sealed !!! This Disc WILL NOT play on standard US DVD player. A multi-region PAL/NTSC DVD player is request to view it in USA/Canada. Please Review Description.

Renoir Set on the French Riviera in the summer of 1915, Jean Renoir — son of the Impressionist painter, Pierre-Auguste — returns home to convalesce after being wounded in World War I. At his side is Andr‚e, a young woman who rejuvenates, enchants, and inspires both father and son. RENOIR locates a fascinating moment of change, with one century's way of thinking giving way to the next.

Rob Stewart

Rodney Ascher In 1980 Stanley Kubrick released his masterpiece of modern horror, The Shining. Over 30 years later we re still struggling to understand its hidden meanings. Rodney Ascher s wry and provocative documentary ROOM 237 fuses fact and fiction through interviews with both fanatics and scholars, creating a kaleidoscopic deconstruction of Kubrick s still-controversial classic.

Special Features: The mstrmnd Speaks: Feature Commentary with Kevin McLeod,
Secrets of The Shining: Panel Discussion from the First Annual Stanley Film Festival,
11 Deleted Scenes,
The Making of the Music Featurette,
Mondo Poster Design Discussion with Artist Aled Lewis,
Trailers

Andrey Tarkovsky

Ron Fricke Filmed over nearly five years in twenty-five countries on five continents, and shot on seventy-millimetre film, Samsara transports us to the varied worlds of sacred grounds, disaster zones, industrial complexes, and natural wonders.

Malik Bendjelloul

Quick Shipping !!! New And Sealed !!! This Disc WILL NOT play on standard US DVD player. A multi-region PAL/NTSC DVD player is request to view it in USA/Canada. Please Review Description.

Tomm Moore Brand Name: NEW VIDEO GROUP Mfg#: 767685229033, Shipping Weight: 1.00 lbs, Manufacturer: NEW VIDEO GROUP, Genre: Sci-Fi/Fantasy, All music products are properly licensed and guaranteed authentic.

Ava DuVernay From the Oscar-winning producers of 12 Years a Slave and acclaimed director Ava DuVernay comes the true story of courage and hope that changed the world forever. The unforgettable true story chronicles the tumultuous three-month period in 1965, when Dr. Martin Luther King, Jr. led a dangerous campaign to secure equal voting rights in the face of violent opposition. The epic march from Selma to Montgomery culminated in President Johnson signing the Voting Rights Act of 1965, one of the most significant victories for the civil rights movement. Director Ava DuVernay's "Selma" tells the story of how the revered leader and visionary Dr. Martin Luther King, Jr and his brothers and sisters in the movement prompted change that forever altered history.

David Fincher SEVEN - Blu-Ray Movie

Lennart Wallén, Ingmar Bergman, Marie Nyreröd Few films have had as large a cultural impact as Ingmar Bergman's The Seventh Seal (Det sjunde inseglet). Disillusioned and exhausted after a decade of battling in the Crusades; a knight (Max von Sydow) encounters Death on a desolate beach and challenges him to a fateful game of chess. Much studied; imitated; even parodied; but never outdone; Bergman's stunning allegory of man's search for meaning was one of the benchmark foreign imports of America's 1950s art house heyday; pushing cinema's boundaries and ushering in a new era of moviegoing.

Guillermo del Toro At a top secret research facility in the 1960s, a lonely janitor forms a unique relationship with an amphibious creature that is being held in captivity.

Billy Bob Thornton wrote, directed, and starred in this mesmerizing drama with haunting overtones of To Kill a Mockingbird. Thornton plays a mentally retarded man who has spent 20 years in a psychiatric hospital for killing his mother and her lover. Released into the community from which he came, he befriends and protects a lonely boy regularly harassed and abused by his mom's boyfriend (a terrific performance by Dwight Yoakam). The story is ultimately about sacrifice, but Thornton certainly doesn't get twinkly about it. Some of the best material concerns the hero's no-big-deal efforts to integrate into a "normal" life: working, eating fast food, earning admiration for his handyman skills, and attaining a semblance of community among other damaged souls. John Ritter has a great part as a gay shopkeeper who tries to assuage his own loneliness by spilling his guts out to Thornton's uncomprehending character. —Tom Keogh

Boots Riley

· Blu-ray Disc 1: o Feature Film Remastered in 1080p Hi-Def with 7.1 DTS-HD Sound o Your Favorite Things: An Interactive Celebration - All-New Immersive Viewing Experience with Behind-the-Scenes Images, On-Screen Lyrics, Trivia Track and Location Quiz o Music Machine Sing-Along o Audio Commentaries with Julie Andrews, Christopher Plummer and Director Robert Wise · Blu-ray Disc 2: o NEW hour-long documentary THE SOUND OF A CITY: JULIE ANDREWS RETURNS TO SALZBURG · DHD

Hayao Miyazaki During her family's move to the suburbs, a sullen 10-year-old girl wanders into a world ruled by gods, witches, and spirits, and where humans are changed into beasts.

Andrei Tarkovsky A guide leads two men through an area known as the Zone to find a room that grants wishes.

Michael McGowan Optional French Dub.

Jonathan Demme The GREATEST CONCERT MOVIE OF ALL TIME... Rolling Stone Magazine
Talking Heads WILDLY ENTERTAINING concert SPECTACULAR is among the GREATEST music films EVER MADE... Entertainment Weekly
The movie rates with Woodstock as the GREATEST ROCK CONCERT FILM one that can be watched as frequently as an aerobics tape. - USA Today
Palm Pictures is proud to present the Blu-ray premiere of the groundbreaking Talking Heads concert film STOP MAKING SENSE directed by Academy Award ® Winner Jonathan Demme (Silence of the Lambs). Entertainment Weekly described, the DVD s generous extras go a long way toward explaining the film s visual appeal: David Byrne and director Jonathan Demme contribute a smart audio commentary. The film has been remastered from the original 35mm source, allowing the brilliance of the visuals to take full advantage of Blu-ray technology.

One of Sam Peckinpah's most controversial efforts, this film came out at a critical moment in the early 1970s, released in the same month as both Dirty Harry and A Clockwork Orange, causing a furor over film violence. Based on a little-known British novel, the film casts Dustin Hoffman as a bookish American mathematician on sabbatical in rural England, in the town where his young bride (Susan George) grew up. He finds himself forced to defend his home against an assault by local toughs, and discovers a frighteningly feral and vicious side to himself. Though Straw Dogs has a reputation for graphic violence, it actually looks tame by contemporary standards. Instead, the violence is psychological, and the suspense and shocks are induced by the editing—you're more terrified by what you think you see than by what you are actually shown. —Marshall Fine

James Frawley This simply irresistible first feature from the Muppets has Kermit the frog going from the swamps to Hollywood to be a star. As he travels and picks up his usual friends (Miss Piggy, Fozzie the Bear), Doc Hopper (Charles Durning) is in pursuit, looking for Kermit to be the spokesman for his frog-leg cuisine. A loose rendition of The Wizard of Oz, the film incorporates the same cagey humor as their breakout syndicated TV series The Muppet Show. This is one of the few times that a human cast (notably Steve Martin, Orson Welles, and Carol Kane) are integrated seamlessly with nonhumans. Worth noting is Paul Williams's score, which includes the Oscar-nominated "The Rainbow Connection." Williams's music, much like Howard Ashman's work on The Little Mermaid and other Disney films, provides more than atmosphere; there's a degree of magic here. Williams did not work on the future Muppet films until A Muppet Christmas Carol. His contributions made these films the best of the Muppet series. —Doug Thomas

James Frawley This simply irresistible first feature from the Muppets has Kermit the frog going from the swamps to Hollywood to be a star. As he travels and picks up his usual friends (Miss Piggy, Fozzie the Bear), Doc Hopper (Charles Durning) is in pursuit, looking for Kermit to be the spokesman for his frog-leg cuisine. A loose rendition of The Wizard of Oz, the film incorporates the same cagey humor as their breakout syndicated TV series The Muppet Show. This is one of the few times that a human cast (notably Steve Martin, Orson Welles, and Carol Kane) are integrated seamlessly with nonhumans. Worth noting is Paul Williams's score, which includes the Oscar-nominated "The Rainbow Connection." Williams's music, much like Howard Ashman's work on The Little Mermaid and other Disney films, provides more than atmosphere; there's a degree of magic here. Williams did not work on the future Muppet films until A Muppet Christmas Carol. His contributions made these films the best of the Muppet series. —Doug Thomas

Genre: Action/Adventure
Rating: NR
Release Date: 7-OCT-2008
Media Type: Blu-Ray

Frank Darabont When this popular prison drama was released in 1994, some critics complained that the movie was too long (142 minutes) to sustain its story. Those complaints miss the point, because the passage of time is crucial to this story about patience, the squeaky wheels of justice, and the growth of a life-long friendship. Only when the film reaches its final, emotionally satisfying scene do you fully understand why writer-director Frank Darabont (adapting a novella by Stephen King) allows the story to unfold at its necessary pace, and the effect is dramatically rewarding. Tim Robbins plays a banker named Andy who's sent to Shawshank Prison on a murder charge, but as he gets to know a life-term prisoner named Red (Morgan Freeman), we realize there's reason to believe the banker's crime was justifiable. We also realize that Andy's calm, quiet exterior hides a great reserve of patience and fortitude, and Red comes to admire this mild-mannered man who first struck him as weak and unfit for prison life. So it is that The Shawshank Redemption builds considerable impact as a prison drama that defies the conventions of the genre (violence, brutality, riots) to illustrate its theme of faith, friendship, and survival. Nominated for seven Academy Awards including Best Picture, Actor, and Screenplay, it's a remarkable film that signaled the arrival of a promising new filmmaker—a film that many movie lovers count among their all-time favorites. —Jeff Shannon

Wolfgang Reitherman Based upon T.H. White's beloved novel, this Disney-fied version chronicles the tutoring of the Once and Future King, Arthur, as handled by the magician Merlin. Sword was a portent of things to come, with slapstick upbraiding storytelling, and cultural in-jokes substituting for wonder. But there's much to enjoy here as Merlin shows Newt, the young Arthur, things that will help him become the ruler of the Britons. The transformation sequences, where the boy is turned into a fish, a bird, and a squirrel are vintage Disney. The oft-repeated scene of Merlin battling it out with the mean old Madame Mim still is worth a few chuckles, but it belies the problem with most of the film—the scenes are only there for the chuckles. References by Merlin to television and other items of modern life also mar the generally innocuous landscape. Children will like it, but they won't cherish it. —Keith Simanton

Paul Thomas Anderson

Kent Beyda, Rob Reiner The comedic genius of This Is Spinal Tap is confirmed by the fact that a majority of studio executives were utterly clueless about its brilliance. As a first-time director and cowriter, Rob Reiner must have felt simultaneously frustrated and elated, knowing that the obtuseness of movie executives was a clue to his debut project's potential greatness. Now, of course, the clarity of hindsight and the rarity of superior satire have turned This Is Spinal Tap into one of the funniest documentary spoofs of all time. Reiner and the members of "Tap" (Christopher Guest, Michael McKean, Harry Shearer) couldn't have picked a better target for their satire, because heavy metal music in the early 1980s was already a borderline case of self-parody. From the bizarre, premature deaths of the band's drummers to the backstage squabbles over sexist cover art and meddling groupies, this movie scores about a hundred comedic bull's-eyes for lampooning every possible aspect of rock pomposity in the age of Kiss. It's a virtual bible of rock & roll irreverence, so accurate in its observations that it's become a tour-bus classic for real bands around the world. On the one-to-ten scale of satirical inspiration, This Is Spinal Tap is like the modified amplifiers that Christopher Guest so hilariously demonstrates: this one goes to 11. —Jeff Shannon

Taika Waititi Thor is imprisoned on the planet Sakaar, and must race against time to return to Asgard and stop Ragnarök, the destruction of his world, at the hands of the powerful and ruthless villain Hela.

John Lasseter Toy Story ~ Toy Story

John Curran

Masahiro Hirakubo, Danny Boyle With its hallucinatory visions of crawling dead babies and a grungy plunge into the filthiest toilet in Scotland, you might not think Trainspotting could have been one of the best movies of 1996, but Danny Boyle's film about unrepentant heroin addicts in Edinburgh is all that and more. That doesn't make it everybody's cup of tea (so unsuspecting viewers beware), but the film's blend of hyperkinetic humor and real-life horror is constantly fascinating, and the entire cast (led by Ewan McGregor and Full Monty star Robert Carlyle) bursts off of the screen in a supernova of outrageous energy. Adapted by John Hodge from the acclaimed novel by Irving Welsh, the film was a phenomenal hit in England, Scotland, and (to a lesser extent) the U.S. For all of its comedic vitality and invigorating filmmaking, the movie is no ode to heroin, nor is it a straight-laced cautionary tale. Trainspotting is just a very honest and well-made film about the nature of addiction, and it doesn't pull any punches when it is time to show the alternating pleasure and pain of substance abuse.

Terrence Mallick The long front lawns of summer afternoons, the flicker of sunlight as it sprays through tree branches, the volcanic surge of the Earth's interior as the planet heaves itself into being—you certainly can't say Terrence Malick lacks for visual expressiveness. The Tree of Life is Malick's long-cherished project, a film that centers on a family in 1950s Waco, Texas, yet also reaches for cosmic significance in the creation of the universe itself. The Texas memories belong to Jack (Sean Penn), a modern man seemingly ground down by the soulless glass-and-metal corporate world that surrounds him. We learn early in the film of a family loss that happened at a later time, but the flashbacks concern only the dark Eden of Jack's childhood: his games with his two younger brothers, his frustrated, bullying father (Brad Pitt), his one-dimensionally radiant mother (Jessica Chastain). None of which unfolds in anything like a conventional narrative, but in a series of disconnected scenes that conjure, with poetry and specificity, a particular childhood realm. The contributions of cinematographer Emmanuel Lubezki and production designer Jack Fisk cannot be underestimated in that regard, and it should be noted that Brad Pitt contributes his best performance: strong yet haunted.

And how does the Big Bang material (especially a long, trippy sequence in the film's first hour) tie into this material? Yes, well, the answer to that question will determine whether you find Malick's film a profound exploration of existence or crazy-ambitious failure full of beautiful things. Malick's sincerity is winning (and so is his exceptional touch with the child actors), yet many of the movie's touches are simultaneously gaseous (amongst the bits of whispered narration is the war between nature and grace, roles assigned to mother and father) and all-too-literal (a dinosaur retreats from nearly killing a fellow creature—the first moments of species kindness, or anthropomorphic poppycock?). The Tree of Life premiered at the Cannes Film Festival and won the Palme d'Or there after receiving boos at its press screening. The debate continues, unabated, from that point. —Robert Horton

Krzystof Kieslowski

Jacob Tierney Leon Bronstein is not your average Montreal West high school student. For one thing none of his peers can claim to be the reincarnation of early 20th century Soviet iconoclast and Red Army hero Leon Trotsky. When his father sends Leon to public school as punishment for starting a hunger strike at Papa s clothing factory Leon quickly lends new meaning to the term student union determined as he is to live out his pre-ordained destiny to the fullest and change the world. Actors: Anne-Marie Cadieux - Colm Feore - Emily Hampshire - Genevieve Bujold - Jay Baruchel. Director: Jacob Tierney. Format: Blu-ray. Format Size: Widescreen. Runtime: 113 mins. Language: English. Subtitle: English Subtitles. Region code: Region 1 (United States Canada Bermuda U.S. territories). Discs: 1. Rating: PG-13. Genre: Comedy. Release Year: 2009.

Hal Hartley The Unbelievable Truth [Blu-ray]

Phillip Baribeau

Jonathan Glazer The Making of Under the Skin production featurettes

Clint Eastwood Clint Eastwood and Morgan Freeman play retired, down-on-their-luck outlaws who pick up their guns one last time to collect a bounty offered by the vengeful prostitutes of the remote Wyoming town of Big Whiskey. Richard Harris is an ill-fated interloper, a colorful killer-for-hire called English Bob. And Best Supporting Actor Oscar winner Gene Hackman is the sly and brutal local sheriff whose brand of law enforcement ranges from unconventional to ruthless.

Pete Docter, Bob Peterson At a time when too many animated films consist of anthropomorphized animals cracking sitcom one-liners and flatulence jokes, the warmth, originality, humor, and unflagging imagination of Up feel as welcome as rain in a desert. Carl Fredericksen (voice by Ed Asner) ranks among the most unlikely heroes in recent animation history. A 78- year-old curmudgeon, he enjoyed his modest life as a balloon seller because he shared it with his adventurous wife Ellie (Ellie Docter). But she died, leaving him with memories and the awareness that they never made their dream journey to Paradise Falls in South America. When well-meaning officials consign Carl to Shady Oaks Retirement Home, he rigs thousands of helium balloons to his house and floats to South America. The journey's scarcely begun when he discovers a stowaway: Russell (Jordan Nagai), a chubby, maladroit Wilderness Explorer Scout who's out to earn his Elderly Assistance Badge. In the tropical jungle, Carl and Russell find more than they bargained for: Charles Muntz (Christopher Plummer), a crazed explorer whose newsreels once inspired Carl and Ellie; Kevin, an exotic bird with a weakness for chocolate; and Dug (Bob Peterson), an endearingly dim golden retriever fitted with a voice box. More importantly, the travelers discover they need each other: Russell needs a (grand)father figure; Carl needs someone to enliven his life without Ellie. Together, they learn that sharing ice-cream cones and counting the passing cars can be more meaningful than feats of daring-do and distant horizons. Pete Docter (Monsters, Inc. ) and Bob Peterson direct the film with consummate skill and taste, allowing the poignant moments to unfold without dialogue to Michael Giacchnio's vibrant score. Building on their work in The Incredibles and Ratatouille, the Pixar crew offers nuanced animation of the stylized characters. Even by Pixar's elevated standards, Up is an exceptional film that will appeal of audiences of all ages. Rated PG for some peril and action. —Charles Solomon

Stills from Up (Click for larger image)

Bryan Singer Four small-time criminals and a crooked former New York cop, brought together in a police lineup, team up for a multi-million-dollar heist. The caper lands them in California and in the grip of feared and enigmatic crime boss Keyser Soze, who blackmails the quintet into pulling a job that turns into a bloodbath. Wonderfully complex thriller from director Bryan Singer stars Stephen Baldwin, Gabriel Byrne, Benicio Del Toro, Chazz Palminteri, Kevin Pollak, Kevin Spacey. 106 min.

Park Chan-Wook Contains 3 great films Old Boy Sympathy for Mr. Vengeance Lady Vengeance

Jennifer Baichwal, Edward Burtynsky Blu-ray/DVD combo pack includes Making Of, Deleted Scenes, In Discussion with Ed Burtynsky and Jennifer Baichwal, Picture Gallery Narrated by Ed Burtynsky, and Theatrical Trailer.

Also includes entry to win an Edward Burtynsky print!

Damien Chazelle

Emmett Malloy 92 minute documentary film containing footage from the 2007 Canadian tour shot and directed by Emmett Malloy.

In the summer of 2007, shortly after the release of their 6th album 'Icky Thump', The White Stripes headed
north of their hometown of Detroit to embark on an ambitious journey across Canada. The plan was to play a show in every province and territory in Canada, from B.C. to Newfoundland to Nunavut. 'Having never done a tour of Canada, Meg and I thought it was high time to go whole hog... from the ocean to the permafrost' says Jack White. 'We wanted to play out of the way towns that don't usually get shows... the shows are better, it's better for the people, it's a better experience, it's way more unique, something interesting is going to happen... hopefully.'
White called upon filmmaker Emmett Malloy to come and document this trek for the band. Malloy had directed videos for
the band in the past, and seemed eager to hit the road with them. Equipped with a couple of 16mm cameras, and a few other documenting devices, the band and crew all headed north. The end result was 'Under Great White Northern Lights'.
'Under Great White Northern Lights' is a visual and emotional feature length film documenting The White Stripes making their way through Canada and culminating with their 10th anniversary show in Nova Scotia. The film documents the band playing shows all over Canada; from local bowling alleys, to city buses, and onward to the legendary Savoy Theater for the
10th Anniversary show. A show that turned out to be the longest show the band had ever done on stage together.
The film captures intimate moments of Jack and Meg both on and off stage as they travel through some of the most
remote parts of the northern Yukon Territory. Along the way, they have some nice casual conversations about their ten years together, fire cannons, play some of their biggest songs together on stage, and even play a 'one note show.' The cameras were there to capture every waking moment.
What 'Northern Lights' does best, is document one of the biggest bands in the world, playing to local crowds in small towns. Some of these towns were so small that many of the locals had no idea who The White Stripes were - they just knew something big was going on in their town. This forced a band that had been together for a decade to go back to a place reminiscent of the first shows they ever played together. For the first time in a long time, no one knew who they were and they had to make a first impression with their music. The live footage captured in this film shows that Jack and Meg were clearly ready for this.
Beyond the live footage, some of the films most memorable moments happen off-stage - offering an insightful look into the very private and complex world that is The White Stripes. It was shortly after this tour that The White Stripes canceled
their fall tour of the United States - making the ten year anniversary a truly pivotal milestone for this legendary band.

Blu-Ray track-listing:
1. Let's Shake Hands
2. Black Jack Davey
3. Black Math
4. Little Ghost
5. Blue Orchid
6. The Union Forever
7. Icky Thump [Version from Film]
8. Apple Blossom
9. Wheels On The Bus
10. We Are Going To Be Friends
11. Let's Build A Home
12. Catfish Blues
13. Hello Operator
14. Screwdriver
15. Cold Cold Night
16. Slowly Turning Into You
17. Lord Send Me An Angel
18. Jolene
19. I Want To Be The Boy To Warm Your Mother's Heart
20. Catch Hell Blues
21. I Just Don't Know What To Do With Myself
22. Death Letter
23. Prickly Thorn, But Sweetly Worn
24. Fell In Love With A Girl
25. When I Hear My Name
26. Wasting My Time
27. My Doorbell
28. Seven Nation Army
29. White Moon

Hayao Miyazaki A look at the life of Jiro Horikoshi, the man who designed Japanese fighter planes during World War II.

Acerbic and irresistibly self-destructive Withnail (Richard E. Grant) and neurotic Marwood (Paul McGann) are down-at-the-heels actors in 1960s London living in self-inflicted squalor and drowning their artistic frustrations with booze and any drugs they can get their hands on. Fleeing the doldrums — and unpaid bills — of the city the pair finds themselves stuck in the less than idyllic country cottage of Withnails lascivious uncle Monty. The boundaries of friendship are outrageously tested by hunger the hostile locals and Montys amorous advances in Director Bruce Robinsons semi-autobiographical cult favorite. Runtime: 107 mins. Language: English. Subtitle: English Subtitles. Region code: Region 1 (United States Canada Bermuda U.S. territories). Discs: 1. Genre: Drama. Release Year: 1986.

When a nasty neighbor tries to have her dog put to sleep, Dorothy takes her dog Toto, to run away. A tornado appears and carries her to the magical land of oz. Wishing to return, she begins to travel to the city of Oz where a great wizard lives.

Stéphane Lafleur

Lynn Shelton Director Lynn Shelton (Humpday) proves a worthy heir to the fresh, improvisational style of John Cassavetes in Your Sister's Sister, a charming, offbeat drama that feels like a true snapshot of the lives of real people. The cast is excellent, including Emily Blunt as Iris, a longtime good friend of Jack (the quirky and appealing Mark Duplass). The premise of Your Sister's Sister is simple: Iris insists that Jack go off to her family's cabin on a picturesque island in Puget Sound, Washington, to recuperate from his grief over the death of his brother (Iris's boyfriend). Unexpectedly, Iris's sister, Hannah (the touching Rosemarie DeWitt of United States of Tara and Rachel Getting Married), arrives at the cabin with a broken heart of her own. The final touch is Iris's surprise visit the next morning—so that the three characters, all bruised in their own ways, seek solace yet unintentionally crash even harder into each other in the process. Shelton's direction is deft and light, perfectly suited to this kind of character study. All three characters are thoroughly relatable, if not always completely likable. Their chemistry suggests true relationships of many years—a testament to the actors' talents as well as to Shelton's direction. Shelton has been called an "indie darling" for her intimate filmmaking style, but the truth is, she is an honest, captivating director whose work has more impact than most blockbusters with several times her films' budgets. And that is a treat, rare or not, for film lovers. —A.T. Hurley