Starring: Denzel Washington, John Goodman, Donald Sutherland, Embeth Davidtz, James Gandolfini, Elias Koteas, Gabriel Casseus, Michael J. Pagan, Robert Joy, Frank Medrano, Ronn Munro, Cynthia Hayden, Ray Xifo, Tony Michael Donnelly, Tara Carnes, Reno Wilson, Wendy Cutler, Aida Turturro, Jeff Tanner, Jerry Walsh

Summary: Although it received mixed reactions from critics and audiences alike when released in 1998, this supernatural thriller benefits from a sustained atmosphere of anticipation and dread, and its combination of detective mystery and demonic mischief is handled with ample style and intelligence. Under the direction of Gregory Hoblit (who fared better with Primal Fear), Denzel Washington plays detective John Hobbes, who witnesses the gas-chamber execution of a serial killer (Elias Koteas). But when another series of murders begins, Hobbes suspects that the killer's evil spirit has survived and is possessing the bodies of others to do its evil bidding. Even Hobbes's trusted partner (John Goodman) thinks the detective is losing his grip on reality, but the dire warnings of a noted linguist (Embeth Davidtz) confirm Hobbes's far-out theory, and his case intensifies toward a fateful showdown. Although its idea is better than its execution, and the story's film noir ambitions are never fully accomplished, this slickly directed thriller has some genuinely effective moments in which evil forces are entwined into the fabric of everyday reality. Among the highlights is a memorable scene in which Detective Hobbes must track the killer as the evil spirit is transferred between many people via physical contact. Even if the film is ultimately less than the sum of its parts, it's an intriguing hybrid that resides in the same cinematic neighborhood as Seven and The Silence of the Lambs with a cast that also includes Donald Sutherland and James Gandolfini. Included on the DVD is a full-length audio commentary by director Hoblit, screenwriter Nicholas Kazan, and producer Charles Roven. --Jeff Shannon

Starring: Michael Douglas, Robert Duvall, Barbara Hershey, Tuesday Weld, Rachel Ticotin

Summary: This film, about a downsized engineer (Michael Douglas) who goes ballistic, triggered a media avalanche of stories about middle-class white rage when it was released in 1993. In fact, it's nothing more than a manipulative, violent melodrama about one geek's meltdown. Douglas, complete with pocket protector, nerd glasses, crewcut, and short-sleeved white shirt, gets stuck in traffic one day near downtown L.A. and proceeds to just walk away from his car--and then lose it emotionally. Everyone he encounters rubs him the wrong way--and a fine lot of stereotypes they are, from threatening ghetto punks to rude convenience store owners to a creepy white supremacist--and he reacts violently in every case. As he walks across L.A. (now there's a concept), cutting a bloody swath, he's being tracked by a cop on the verge of retirement (Robert Duvall). He also spends time on the phone with his frightened ex-wife (Barbara Hershey). Though Douglas and Duvall give stellar performances, they can't disguise the fact that, as usual, this is another film from director Joel Schumacher that is about surface and sensation, rather than actual substance. --Marshall Fine

Starring: William H. Macy, Steve Buscemi, Peter Stormare, Kristin Rudrüd, Harve Presnell, Tony Denman, Gary Houston, Sally Wingert, Kurt Schweickhardt, Larissa Kokernot, Melissa Peterman, Steve Reevis, Warren Keith, Steve Edelman (III), Sharon Anderson, Larry Brandenburg, James Gaulke, J. Todd Anderson, Michelle Suzanne LeDoux, Frances McDormand

Summary: Leave it to the wildly inventive Coen brothers (Joel directs, Ethan produces, they both write) to concoct a fiendishly clever kidnap caper that's simultaneously a comedy of errors, a Midwestern satire, a taut suspense thriller, and a violent tale of criminal misfortune. It all begins when a hapless car salesman (played to perfection by William H. Macy) ineptly orchestrates the kidnapping of his own wife. The plan goes horribly awry in the hands of bumbling bad guys Steve Buscemi and Peter Stormare (one of them being described by a local girl as "kinda funny lookin'" and "not circumcised"), and the pregnant sheriff of Brainerd, Minnesota (played exquisitely by Frances McDormand in an Oscar-winning role) is suddenly faced with a case of multiple murders. Her investigation is laced with offbeat observations about life in the rural hinterland of Minnesota and North Dakota, and Fargo embraces its local yokels with affectionate humor. At times shocking and hilarious, Fargo is utterly unique and distinctly American, bearing the unmistakable stamp of its inspired creators. --Jeff Shannon

Starring: Jeff Bridges, Isabella Rossellini, Rosie Perez, Tom Hulce, John Turturro, Benicio Del Toro, Deirdre O'Connell, John de Lancie, Spencer Vrooman, Daniel Cerny, Eve Roberts, Robin Pearson Rose, Debra Monk, Cynthia Mace, Randle Mell, Kathryn Rossetter, Craig Rovere, Doug Ballard, Molly Cleator, Rance Howard

Summary: When Max Klein (Jeff Bridges) finds himself facing imminent death as his plane hurls toward the ground, he finds inner calm and release from fear in his acceptance of his own unavoidable end. His panic erased, he helps other passengers to relax, and when he survives the impact, to escape. What follows is his difficult and complex journey back to emotional and spiritual equilibrium. Along the way he helps Carla (Rosie Perez), a woman smashed by the belief that her infant son's death in the accident was the direct result of her inability to hold him tightly enough, and alienates his wife, Laura (Isabella Rossellini), who tries desperately to understand what he's experiencing. Peter Weir's film is emotionally intense in an absolutely unsentimental way (very rare), and the complexity of the protagonist's experience is refreshing (if you don't mind feeling deeply). The handling of the crash sequences is chilling in an unsensational way, and the directing in general is a triumph of story-serving restraint. Not the usual Hollywood fare, but intensely rewarding for those who are tired of mind candy. --James McGrath

Starring: Jason Robert Alderman, Louie Anderson, Stephanie Blake, Matthew Broderick, Virginia Capers

Summary: Like a soda pop left open all night, Bueller seems to have lost its effervescence over time. Sure, Matthew Broderick is still appealing as the perennial truant, Ferris, who fakes his parents out and takes one memorable day off from school. Jeffrey Jones is nasty and scheming as the principal who's out to catch him. Jennifer Grey is winning as Ferris's sister (who ends up making out in the police station with a prophetic vision of Charlie Sheen). But there's a definite sense that this film was of a particular time frame: the '80s. It's still fun, though. There's Ferris singing "Twist and Shout" during a Chicago parade, and a lovely sequence in the Art Institute. But don't get it and expect your kids to love it the way you did. Like it or not, it's yours alone. --Keith Simanton

Special Features
- Getting the Class Together - The Cast of Ferris Bueller's Day Off
- The Making of Ferris Bueller's Day Off
- Who is Ferris Bueller?
- The World According to Ben Stein
- Vintage Ferris Bueller: The Lost Tapes
- Class Album

Starring: Tom Cruise, Jack Nicholson, Demi Moore, Kevin Bacon, Kiefer Sutherland, Kevin Pollak, James Marshall, J.T. Walsh, Christopher Guest, J.A. Preston, Matt Craven, Wolfgang Bodison, Xander Berkeley, John M. Jackson, Noah Wyle, Cuba Gooding Jr., Lawrence Lowe, Joshua Malina, Oscar Jordan, John M. Mathews

Summary: A U.S. soldier is dead, and military lawyers Lieutenant Daniel Kaffee and Lieutenant Commander JoAnne Galloway want to know who killed him. "You want the truth?" snaps Colonel Jessup (Jack Nicholson). "You can't handle the truth!" Astonishingly, Jack Nicholson's legendary performance as a military tough guy in A Few Good Men really amounts to a glorified cameo: he's only in a few scenes. But they're killer scenes, and the film has much more to offer. Tom Cruise (Kaffee) shines as a lazy lawyer who rises to the occasion, and Demi Moore (Galloway) gives a command performance. Kevin Bacon, Kiefer Sutherland, J.T. Walsh, and Cuba Gooding Jr. (of Jerry Maguire fame) round out the superb cast. Director Rob Reiner poses important questions about the rights of the powerful and the responsibilities of those just following orders in this classic courtroom drama.

Starring: Topol, Norma Crane, Leonard Frey, Molly Picon, Paul Mann

Summary: This rousing musical, based on the stories of Shalom Aleichem, takes place in pre-revolutionary Russia and centers on the life of Tevye (Topol), a milkman who is trying to keep his family's traditions in place while marrying off his three older daughters. Yet, times are changing and the daughters want to make their own matches, breaking free of many of the constricting customs required of them by Judaism. In the background of these events, Russia is on the brink of revolution and Jews are feeling increasingly unwelcome in their villages. Tevye--who expresses his desire for sameness in the opening number, "Tradition"--is trying to keep everyone, and everything, together. The movie is strongly allegorical--Tevye represents the common man--but it does it dexterously, and the resulting film is a stunning work of art. The music is excellent (it won Oscars for the scoring and the sound), with plenty of familiar songs such as "Sunrise, Sunset" and "If I Were a Rich Man," which you'll be humming long after the movie is over. Isaac Stern's violin--he provides the music for the fiddler on the roof--is hauntingly beautiful. And despite the serious subject matter, the film is quite comedic in parts; it also well deserves the Oscar it won for cinematography. "--Jenny Brown"

Starring: Edward Norton, Brad Pitt, Meat Loaf, Helena Bonham Carter, Zach Grenier, Richmond Arquette, David Andrews, George Maguire, Eugenie Bondurant, Christina Cabot, Sydney 'Big Dawg' Colston, Rachel Singer, Christie Cronenweth, Tim De Zarn, Ezra Buzzington, Dierdre Downing-Jackson, Bob Stephenson (II), Charlie Dell, Rob Lanza, David Lee Smith

Summary: All films take a certain suspension of disbelief. Fight Club takes perhaps more than others, but if you're willing to let yourself get caught up in the anarchy, this film, based on the novel by Chuck Palahniuk, is a modern-day morality play warning of the decay of society. Edward Norton is the unnamed protagonist, a man going through life on cruise control, feeling nothing. To fill his hours, he begins attending support groups and 12-step meetings. True, he isn't actually afflicted with the problems, but he finds solace in the groups. This is destroyed, however, when he meets Marla (Helena Bonham Carter), also faking her way through groups. Spiraling back into insomnia, Norton finds his life is changed once again, by a chance encounter with Tyler Durden (Brad Pitt), whose forthright style and no-nonsense way of taking what he wants appeal to our narrator. Tyler and the protagonist find a new way to feel release: they fight. They fight each other, and then as others are attracted to their ways, they fight the men who come to join their newly formed Fight Club. Marla begins a destructive affair with Tyler, and things fly out of control, as Fight Club grows into a nationwide fascist group that escapes the protagonist's control.

Fight Club, directed by David Fincher (Seven), is not for the faint of heart; the violence is no holds barred. But the film is captivating and beautifully shot, with some thought-provoking ideas. Pitt and Norton are an unbeatable duo, and the film has some surprisingly humorous moments. The film leaves you with a sense of profound discomfort and a desire to see it again, if for no other reason than to just to take it all in. --Jenny Brown

Starring: Sylvester Stallone, Richard Crenna, Brian Dennehy, Bill McKinney, Jack Starrett, Michael Talbott, Chris Mulkey, John McLiam, Alf Humphreys, David Caruso, David L. Crowley, Don MacKay, Charles A. Tamburro, David Petersen, Craig Huston, Patrick Stack, Stephen E. Miller, Raimund Stamm, Robert Metcalfe, Stephen Dimopoulos

Summary: He Never Fought A Battle He Couldn't Win

Academy Award®-nominee Sylvester Stallone stars as war hero, ex-Green Beret John Rambo in the one that started it all! First Blood is an explosive action-thriller that will keep you on the edge of your seat until the final, powerful frame.

Starring: Bruce Lee, Maria Yi, James Tien, Malalene, Yin-Chieh Han, Tony Liu, Quin Lee, Nora Miao, San Chin, Chao Chen, Chia Ching Tu, Tso Chen, Gam Saan, Cheng Ying Tu, Pu San Cheung, Hui-yi Chen, Lung Chan, Ching-Ying Lam, Kwan Lee

Summary: Bruce Lee kicked around Hollywood for years looking in vain for an American break when Hong Kong came calling. As Kato in the TV series The Green Hornet he had become an Asian star (the series was renamed for his character when it crossed the Pacific) and ripe for his own vehicle. This raw, low-budget effort, called The Big Boss in its native Hong Kong, is a generic revenge drama enlivened by Lee's intense screen presence and martial arts prowess. He's a country boy who takes a job at a Thailand ice-packing plant and discovers it's a cover for heroin smuggling. Lee is held back through the first half of the film by a promise he made his sweet, gray-haired mom not to brawl (which means you have to wait to see him in action), but his indignation turns to fury as friends and coworkers disappear and the boss sends thugs to take care of the brooding, intense country boy. The final half of the film is a series of violent confrontations, culminating in a marvelously choreographed showdown at the ice plant. Lean, mean Lee, with a physique that looked sculpted in bronze, became an overnight sensation with this film, breaking all Asian box-office records and starting an international kung fu craze, but none of the pretenders ever touched Lee's cool cinematic charisma or his martial arts grace. Lee returned the next year in The Chinese Connection. --Sean Axmaker

Starring: Tom Hanks, Sally Field

Summary: The Academy Award winner for Best Picture, Best Director Robert Zemeckis, and Best Actor Tom Hanks, this unlikely story of a slow-witted but good-hearted man somehow at the center of the pivotal events of the 20th century is a funny and heartwarming epic. Hanks plays the title character, a shy Southern boy in love with his childhood best friend (Robin Wright) who finds that his ability to run fast takes him places. As an All-Star football player he meets John F. Kennedy; as a soldier in Vietnam he's a war hero; and as a world champion Ping-Pong player he's hailed by Richard Nixon. Becoming a successful shrimp-boat captain, he still yearns for the love of his life, who takes a quite different and much sadder path in life. The visual effects incorporating Hanks into existing newsreel footage is both funny and impressive, but the heart of the film lies in its sweet love story and in the triumphant performance of Hanks as an unassuming soul who savors the most from his life and times. --Robert Lane

Starring: Jack Lemmon, Walter Matthau, Ron Rich, Judi West, Cliff Osmond, Lurene Tuttle, Harry Holcombe, Les Tremayne, Lauren Gilbert, Marge Redmond, Noam Pitlik, Harry Davis, Ann Shoemaker, Maryesther Denver, Ned Glass, Sig Ruman, Archie Moore, Howard McNear, William Christopher, Bartlett Robinson

Summary: Billy Wilder's insurance-scam comedy, written with partner I.A.L. Diamond, is one of the legendary filmmaker's surlier efforts. Were it not for the star-making performance of Walter Matthau (which won him an Academy Award for Best Supporting Actor), it might not have registered so strongly with audiences. Shot in a grimy black and white, the story begins as CBS cameraman Harry Hinkle (Jack Lemmon) is injured on the sidelines of a football game when Cleveland Browns star Boom Boom Jackson (Ron Rich) accidentally barrels into him. Hinkle's all right, but his ambulance-chasing brother-in-law William Gingrich (Matthau), also known as "Whiplash Willie," has a lawsuit filed before Hinkle even wakes up at the hospital. Hinkle is reluctant to join in on the scheme, which involves staying in a wheelchair, until he realizes it may bring his ex-wife (Judi West) back, even though her eyes practically flash dollar signs at the thought of his case's settlement potential. Working on Hinkle's conscience, however, is a burgeoning friendship with Jackson, who feels horrible about the incident. Not as sure-footed or as brazenly funny as many other Wilder efforts, the film nevertheless boasts a comic turn by Matthau that is deliciously conniving and endlessly inventive. Wilder, Hollywood's most caustically funny blend of pessimist and optimist, doesn't even aim for balance here. He clearly loves Matthau's character above all others and lets him run the show. The Lemmon and Matthau franchise began here and would go on to include their reteaming for Wilder's films The Front Page and Buddy Buddy. --Robert Abele

Starring: Hugh Jackman, Rachel Weisz, Sean Patrick Thomas, Ellen Burstyn, Mark Margolis

Summary: Science fiction and romance collide in "The Fountain", the ambitious third feature from director Darren Aronofsky ("Pi, Requiem for a Dream"), who labored for four years to complete this epic-sized love story that stretches across centuries and galaxies. Hugh Jackman and Rachel Weisz (Aronofsky's real-life companion) play lovers in each of the film's three settings--16th century Europe and America (Jackman is a Spanish explorer searching for Incan magic), the present day (Jackman is a doctor attempting to cure his dying wife), and the 26th century (Jackman is a space traveler seeking a gateway to the afterlife)-–who struggle mightily to stay united, only to lose each other time and again. Aronofsky may not have chosen the easiest presentation for audiences to absorb his theories on the lasting qualities of life and the transformative powers of death-–the final sequence, in particular, with a bald Jackman floating through space in a bubble, harks back uncomfortably to "head movies" of the late '60s-–but his leads have considerable chemistry (and look terrific to boot), which goes a long way towards securing viewers' hopes for a happy ending. Critical reception for "The Fountain" has been nothing short of bloodthirsty, with Cannes audiences booing, but there are elements to enjoy here, even if the premise throws one for a loop. Ellen Burstyn (who earned an Oscar nomination for "Requiem") delivers a typically solid performance as Jackman's boss in the present day sequence, and special effects (most done without the benefit of CGI) are also impressive given the film's low budget (spurred by a mid-production shutdown after original stars Brad Pitt and Cate Blanchett ankled the picture). And science-fiction fans whose tastes run towards the metaphysical (Asimov, Le Guin) will appreciate the attempt to present the genre in a serious light. "--Paul Gaita"

Starring: Frank Langella, Michael Sheen

Summary: Sounds like a good match: a historical drama from the author of The Queen, but with an American subject in the generational wheelhouse of director Ron Howard. And so Peter Morgan's Tony-winning play morphs into a Hollywood movie under the wing of the Apollo 13 guy. Morgan's subject is a curious moment of post-Watergate shakeout: British TV host David Frost's long-form interviews with ex-President Richard Nixon, conducted in 1977. It was a big ratings success at the time, justifying the somewhat controversial decision to cut an enormous check for Nixon's services. The movie adds a mockumentary note to the otherwise straightforward style, having direct-to-camera addresses from various aides to Frost and Nixon (played by the likes of Oliver Platt, Sam Rockwell, and Kevin Bacon); these basically tell us things we already glean from the rest of the movie, adding unnecessary melodrama and upping the stakes. In this curious scheme, the success of Frost's career, which could bellyflop if he doesn't get something worthwhile out of the cagey, long-winded Nixon, is given somewhat more weight than the actual revelations of the interviews. Even with these questionable storytelling decisions, there's still the spectacle of two actors going at it hammer and tongs, and on that level the movie offers some heat. Michael Sheen, who played Tony Blair not only in The Queen but also in another Morgan-scripted project, The Deal, is adept at catching David Frost's blow-dried charm, as well as the determination beneath it. Frank Langella's physical performance as Nixon is superb, and he certainly can be a commanding actor, though veteran Nixon-watchers might find that he misses a certain depth of self-pity in the man. Both actors were retained from the original stage production, a rare thing in Hollywood--and probably Howard's best decision of the project. --Robert Horton

Starring: Harrison Ford, Tommy Lee Jones, Sela Ward, Julianne Moore, Joe Pantoliano

Summary: Do you know anyone who hasn't seen this movie? A box-office smash when released in 1993, this spectacular update of the popular 1960s TV series stars Harrison Ford as a surgeon wrongly accused of the murder of his wife. He escapes from a prison transport bus (in one of the most spectacular stunt-action sequences ever filmed) and embarks on a frantic quest for the true killer's identity, while a tenacious U.S. marshal (Tommy Lee Jones, in an Oscar-winning role) remains hot on his trail. Director Andrew Davis hit the big time with this expert display of polished style and escalating suspense, but it's the antagonistic chemistry between Jones and Ford that keeps this thriller cooking to the very end. In roles that seem custom-fit to their screen personas, the two stars maintain a sharply human focus to the grand-scale manhunt, and the intelligent screenplay never resorts to convenient escapes or narrative shortcuts. Equally effective as a thriller and a character study, this is a Hollywood blockbuster that truly deserves its ongoing popularity. "--Jeff Shannon"

Starring: Adam Baldwin, Bruce Boa, Tim Colceri, Vincent D'Onofrio, Peter Edmund, R. Lee Ermey, Dorian Harewood, Arliss Howard, Kevyn Major Howard, Kieron Jecchinis, Sal Lopez, Gary Landon Mills, Matthew Modine, Ed O'Ross, Papillon Soo, Jon Stafford, Kirk Taylor, John Terry, Ian Tyler

Summary: Stanley Kubrick's 1987, penultimate film seemed to a lot of people to be contrived and out of touch with the '80s vogue for such intensely realistic portrayals of the Vietnam War as Platoon and The Deer Hunter. Certainly, Kubrick gave audiences plenty of reason to wonder why he made the film at all: essentially a two-part drama that begins on a Parris Island boot camp for rookie Marines and abruptly switches to Vietnam (actually shot on sound stages and locations near London), Full Metal Jacket comes across as a series of self-contained chapters in a story whose logical and thematic development is oblique at best. Then again, much the same was said about Kubrick's 2001: A Space Odyssey, a masterwork both enthralled with and satiric about the future's role in the unfinished business of human evolution. In a way, Full Metal Jacket is the wholly grim counterpart of 2001. While the latter is a truly 1960s film, both wide-eyed and wary, about the intertwining of progress and isolation (ending in our redemption, finally, by death), Full Metal Jacket is a cynical, Reagan-era view of the 1960s' hunger for experience and consciousness that fulfilled itself in violence. Lee Ermey made film history as the Marine drill instructor whose ritualized debasement of men in the name of tribal uniformity creates its darkest angel in a murderous half-wit (Vincent D'Onofrio). Matthew Modine gives a smart and savvy performance as Private Joker, the clowning, military journalist who yearns to get away from the propaganda machine and know firsthand the horrific revelation of the front line. In Full Metal Jacket, depravity and fulfillment go hand in hand, and it's no wonder Kubrick kept his steely distance from the material to make the point. --Tom Keogh

Starring: Robert Carlyle, Mark Addy, William Snape, Steve Huison, Tom Wilkinson, Paul Barber, Hugo Speer, Lesley Sharp, Emily Woof, Deirdre Costello, Paul Butterworth, Dave Hill, Bruce Jones, Andrew Livingston, Vinny Dhillon, Kate Layden, Joanna Swain, Diane Lane (II), Kate Rutter, June Broughton

Summary: A group of unemployed Yorkshire steelworkers hopes to replenish their empty wallets and boost their flagging morale by following in the footsteps of the Chippendale's strippers. These guys are hardly what you would think of as buff, and few can even dance. They simply take these problems in stride, because these are men with a plan--displaced, unemployed, and feeling suffocated by the women in their lives, they just want to earn a little respect. The dialogue and interaction between these men will have you screeching with laughter, but of equal importance is their sense of camaraderie and caring. First-time director Peter Cattaneo is a name to watch for; he easily conveys the sheer humanity of these people in their small town with their sad stories and irresistible sense of optimism. --Rochelle O'Gorman