With the fate of our planet arguably hanging in the balance, An Inconvenient Truth may prove to be one of the most important and prescient documentaries of all... read more

With the fate of our planet arguably hanging in the balance, An Inconvenient Truth may prove to be one of the most important and prescient documentaries of all time. As he jokingly refers to himself, "former President-elect" Al Gore felt an urgent personal calling to draw attention--as he had been doing throughout his political career--to the increasingly desperate crisis of global warming, and this riveting documentary is basically a filmed version (by respected TV director Davis Guggenheim) of the PowerPoint lecture that Gore has presented (by his own estimate, well over 1,000 times) to attentive audiences all over the world. Considering Gore's amiable, low-key approach to charts, graphs, statistics, and photographs that leave no room for doubt regarding the reality (not "theory") of global warming as Earth's ultimate environmental crisis, many viewers will be surprised by just how fascinating and convincing this no-frills film really is.

As we learn about the milestone events that shaped his character (including his sister's death and young son's near-fatal injuries after being struck by a car), Gore sheds the stiff demeanor of his 2000 presidential campaign and impresses us as a man with a mission, transcending partisan politics with an impassioned plea for common sense, ethical forthrightness, and passionate purpose in reversing the harmful effects of global warming through personal and political responsibility. Some may accuse Gore of exploiting global warming as a Democratic platform, but his honest conviction regarding this "inconvenient truth" (i.e. overwhelming evidence of global warming that's troublesome to those whose interests are threatened by Gore's irrefutable message) is likely to silence all but the most obtusely stubborn detractors. By taking the high road and discreetly avoiding a full-on assault against the George W. Bush administration (which has steadfastly avoided "the inconvenient truth" with obfuscating spin control and policies favoring the oil industry), Gore effectively rises above political differences with a stern but hopeful eye toward a better future for our children.--Jeff Shannon (hide)

You'll never have more fun learning and exploring the wonders of science than with these delightful animated films from beloved, Academy Award- winning director Frank Capra (It's a... read more

You'll never have more fun learning and exploring the wonders of science than with these delightful animated films from beloved, Academy Award- winning director Frank Capra (It's a Wonderful Life, It Happened One Night). First, Peabody Award-winning Dr. Frank Baxter shows the fascinating path taken by blood throughout the body in Hemo the Magnificent, a humorous tour of the body's amazing plumbing system filled with memorable characters and eye-popping microscopic photography. Then go from the inner body to the upper heights of our planet as the Unchained Goddess of weather joins Dr. Baxter for a colorful look at our atmosphere, complete with cartoon characters like Wind, Clouds and Rain. (hide)

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... read more

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 (hide)

Disc 1 Revolutions, Sentimental Journeys, Getting it Together, Whodunit? Disc 2 Something for Nothing, Echoes of the Past, Photo Finish, Separate Ways Disc 3 High Times, Deja Vu,... read more

Disc 1 Revolutions, Sentimental Journeys, Getting it Together, Whodunit?

Disc 2 Something for Nothing, Echoes of the Past, Photo Finish, Separate Ways

Disc 3 High Times, Deja Vu, New Harmony, Hot Pickle

Disc 4 The Big Spin, Bright Ideas, Making Waves, Routes

Disc 5 One Word, Sign Here, Better Than the Real Thing, Flexible Response (hide)

Extraordinary footage and eloquent narration by David Attenborough highlight the BBC's remarkable wildlife series The Blue Planet: Seas of Life. "Ocean World" begins with astonishing views of a... read more

Extraordinary footage and eloquent narration by David Attenborough highlight the BBC's remarkable wildlife series The Blue Planet: Seas of Life. "Ocean World" begins with astonishing views of a gigantic blue whale--the elusive Holy Grail of undersea photography--and the marvels continue to demonstrate the power, diversity, and profound ecological influence of Earth's oceans. "Frozen Seas" examines whales, walruses, penguins, and other creatures under the extreme conditions of the Arctic and Antarctic Circles. The next two episodes are even better. "Open Ocean" travels thousands of miles into the vast "liquid desert," where currents determine how the ocean's diverse life forms will assume their places in the food chain. More amazing, "The Deep" descends with a state-of-the-art submersible to the ocean's abyssal plain and beyond, filming such bizarre creatures as the fangtooth, bioluminescent jellies, transparent squid, the giant-mouthed gulper eel, and the never-before-seen hairy angler fish.

"Seasonal Seas" focuses on the explosion of life that accompanies every annual blooming of plankton, numbering in the countless billions and captured here with brilliant microphotography. In "Coral Seas," miles-long reefs of living coral are explored, from deep within (requiring brief computer animation) to the surrounding environs, where you'll see white-tipped sharks in a feeding frenzy while beautiful harlequin shrimp wrestle with a starfish. "Tidal Seas" explores the myriad life forms that thrive when lunar gravity pulls the oceans offshore. "Coasts" is easily the most brutal episode, but no less mesmerizing. The most unexpected, and horrifying, sequence is the orca, earning its "killer whale" nickname by capturing, killing, and tail-tossing a seal pup--a sequence so mysteriously primal that even the most seasoned marine biologist will be utterly amazed. One of the finest wildlife programs you're ever likely to see, The Blue Planet: Seas of Life provides the privilege of visiting a truly alien world teeming with the rarest wonders of nature. The series was recut into the feature-length Deep Blue in 2005. --Jeff Shannon (hide)

Then Baxter and Eddie Albert (TV's "Green Acres") meet Old Sol and Father Time to discover how the rays from Our Mr. Sun affect the Earth, featuring incredible... read more

Then Baxter and Eddie Albert (TV's "Green Acres") meet Old Sol and Father Time to discover how the rays from Our Mr. Sun affect the Earth, featuring incredible nature footage and brilliant animation. Finally, Dr. Baxter gets to the bottom of the Strange Case of the Cosmic Rays, which unveils the secrets of atoms, gamma and ultraviolet radiation, and other tiny but vital fragments of our existence. Watched and adored for generations, these family-friendly films will entertain and educate viewers time and time again! 1957 Emmy Award for Best Editing, Frank Keller (Our Mr. Sun). (hide)

The opening and closing moments of Robert (Forrest Gump) Zemeckis's Contact astonish viewers with the sort of breathtaking conceptual imagery one hardly ever sees in movies these day--each... read more

The opening and closing moments of Robert (Forrest Gump) Zemeckis's Contact astonish viewers with the sort of breathtaking conceptual imagery one hardly ever sees in movies these day--each is an expression of the heroine's lifelong quest (both spiritual and scientific) to explore the meaning of human existence through contact with extraterrestrial life. The movie begins by soaring far out into space, then returns dizzyingly to earth until all the stars in the heavens condense into the sparkle in one little girl's eye. It ends with that same girl as an adult (Jodie Foster)--her search having taken her to places beyond her imagination--turning her gaze inward and seeing the universe in a handful of sand. Contact traces the journey between those two visual epiphanies. Based on Carl Sagan's novel, Contact is exceptionally thoughtful and provocative for a big-budget Hollywood science fiction picture, with elements that recall everything from 2001 to The Right Stuff. Foster's solid performance (and some really incredible alien hardware) keep viewers interested, even when the story skips and meanders, or when the halo around the golden locks of rising-star-of-a-different-kind Matthew McConaughey (as the pure-Hollywood-hokum love interest) reaches Milky Way-level wattage. Ambitious, ambiguous, pretentious, unpredictable--Contact is all of these things and more. Much of it remains open to speculation and interpretation, but whatever conclusions one eventually draws, Contact deserves recognition as a rare piece of big-budget studio filmmaking on a personal scale. --Jim Emerson (hide)

Jurassic Park Steven Spielberg's 1993 mega-hit rivals Jaws as the most intense and frightening film he'd ever made prior to Schindler's List, but it was also among his... read more

Jurassic Park
Steven Spielberg's 1993 mega-hit rivals Jaws as the most intense and frightening film he'd ever made prior to Schindler's List, but it was also among his weakest stories. Based on Michael Crichton's novel about an island amusement park populated by cloned dinosaurs, the film works best as a thrill ride with none of the interesting human dynamics of Spielberg's Jaws. That lapse proves unfortunate, but there's no shortage of raw terror as a rampaging T-rex and nasty raptors try to make fast food out of the cast. The effects are still astonishing (despite the fact that the computer-generated technology has since been improved upon) and at times primeval, such as the sight of a herd of whatever-they-are scampering through a valley. --Tom Keogh

The Lost World - Jurassic Park
In the low tradition of knockoff horror flicks best seen (or not seen) on a drive-in movie screen, Steven Spielberg's sequel to Jurassic Park is a poorly conceived, ill-organized film that lacks story and logic. Screenwriter David Koepp strings along a number of loose ideas while Jeff Goldblum returns as Ian Malcolm, the quirky chaos theoretician who now reluctantly agrees to go to another island where cloned dinosaurs are roaming freely. Along with his girlfriend (Julianne Moore) and daughter, Malcolm has to deal with hunters, environmentalists, and corporate swine who stupidly bring back a big dino to Southern California, where it runs amok, of course. Spielberg doesn't seem to care that the pieces of this project don't add up to a real movie, so he hams it up with big, scary moments (with none of the artfulness of those in Jurassic Park) and smart-aleck visual gags (a yapping dog in a suburb mysteriously disappears when a hungry T-rex stomps by). A complete bust.--Tom Keogh

Jurassic Park III
Surpassing expectations to qualify as an above-average sequel, Jurassic Park III is nothing more or less than a satisfying popcorn adventure. A little cheesier than the first two Jurassic blockbusters, it's a big B movie with big B-list stars (including Laura Dern, briefly reprising her Jurassic Park role), and eight years of advancing computer-generated-image technology give it a sharp edge over its predecessors. While adopting the jungle spirit of King Kong, the movie refines Michael Crichton's original premise, and its dinosaurs are even more realistic, their behavior more detailed, and their variety--including flying pteranodons and a new villain, the spinosaurus--more dazzling and threatening than ever. These advancements justify the sequel, and its contrived plot is just clever enough to span 90 minutes without wearing out its welcome.

Posing as wealthy tourists, an adventurous couple (William H. Macy, Téa Leoni) convince paleontologist Alan Grant (Sam Neill) and his protégé (Allesandro Nivola) to act as tour guides on a flyover trip to Isla Sorna, the ill-fated "Site B" where all hell broke loose in The Lost World: Jurassic Park. In truth, they're on a search-and-rescue mission to find their missing son (Trevor Morgan), and their plane crash is just the first of several enjoyably suspenseful sequences. Director Joe Johnston (October Sky) embraces the formulaic plot as a series of atmospheric set pieces, placing new and familiar dinosaurs in misty rainforests, fiery lakes, and mysterious valleys, turning JP3 into a thrill ride with impressive highlights (including a T. rex versus spinosaurus smack-down), adequate doses of wry humor (from the cowriters of Election), and an upbeat ending that's corny but appropriate, proving that the symptoms of sequelitis needn't be fatal. --Jeff Shannon (hide)

With this powerful 1992 drama, director-producer George Miller (The Road Warrior) proved that a movie about a disease doesn't have to be a typical disease-of-the-week movie. Based on... read more

With this powerful 1992 drama, director-producer George Miller (The Road Warrior) proved that a movie about a disease doesn't have to be a typical disease-of-the-week movie. Based on the real-life case of the Odones family, the story concerns 5-year-old Lorenzo, suffering mightily from an apparently incurable and degenerative brain illness called A.L.D. His parents, an economist (Nick Nolte) and a linguist (Susan Sarandon), refuse to accept the received wisdom that there is no hope, and set about learning biochemistry to pursue a cure on their own. The film becomes an intriguing scientific mystery mixed with a story of pain, grief, and the strain on the two adults. In other words, Lorenzo's Oil is similar to all those medical-mayhem TV flicks but with some key differences: a pair of great actors in Sarandon and Nolte--who actually do some of the finest work of their careers here--and Miller's bold and typically inventive direction. Miller, a doctor himself, refuses to shirk from the chaos and horrors of a child's agony, and he makes us hear the death chains rattling behind images that would be purely sentimental in another director's hands. --Tom Keogh (hide)

Confidently conceived and brilliantly executed, Gattaca had a somewhat low profile release in 1997, but audiences and critics hailed the film's originality. It's since been recognized as one... read more

Confidently conceived and brilliantly executed, Gattaca had a somewhat low profile release in 1997, but audiences and critics hailed the film's originality. It's since been recognized as one of the most intelligent science fiction films of the 1990s. Writer-director Andrew Niccol, the talented New Zealander who also wrote the acclaimed Jim Carrey vehicle The Truman Show, depicts a near-future society in which one's personal and professional destiny is determined by one's genes. In this society, "Valids" (genetically engineered) qualify for positions at prestigious corporations, such as Gattaca, which grooms its most qualified employees for space exploration. "In-Valids" (naturally born), such as the film's protagonist, Vincent (Ethan Hawke), are deemed genetically flawed and subsequently fated to low-level occupations in a genetically caste society. With the help of a disabled "Valid" (Jude Law), Vincent subverts his society's social and biological barriers to pursue his dream of space travel; any random mistake--and an ongoing murder investigation at Gattaca--could reveal his plot. Part thriller, part futuristic drama and cautionary tale, Gattaca establishes its social structure so convincingly that the entire scenario is chillingly believable. With Uma Thurman as the woman who loves Vincent and identifies with his struggle, Gattaca is both stylish and smart, while Jude Law's performance lends the film a note of tragic and heartfelt humanity. --Jeff Shannon (hide)

"The series peels back layers of history,invention, science and archaeology to investigate the 'great paradox of the human species'... this 13-title series withstands the test of time and... read more

"The series peels back layers of history,invention, science and archaeology to investigate the 'great paradox of the human species'... this 13-title series withstands the test of time and is an excellent resource for high-school and college students." --Booklist (hide)

For earthbound humans, Winged Migration is as close as any of us will get to sharing the sky with our fine feathered friends. It's as if French director... read more

For earthbound humans, Winged Migration is as close as any of us will get to sharing the sky with our fine feathered friends. It's as if French director Jacques Perrin and his international crew of dedicated filmmakers had been given a full-access pass by Mother Nature herself, with the complete "cooperation" of countless species of migrating birds, all answering to eons of migratory instinct. The film is utterly simple in purpose, with minimal narration and on-screen titles to identify the wondrous varieties of flying wildlife, but its visceral effect is humbling, awesome and magnificently profound. Technically, Perrin surpasses the achievement of his earlier film Microcosmos (which did for insects what this film does for birds), and apart from a few digital skyscapes for poetic effect, this astonishing film uses no special effects whatsoever, with soaring, seemingly miraculous camera work that blesses the viewer with, quite literally, a bird's-eye view. A brief but important hunting scene may upset sensitive viewers and children, but doesn't stop Winged Migration from being essential all-ages viewing. --Jeff Shannon (hide)

NASA's worst nightmare turned into one of the space agency's most heroic moments in 1970, when the Apollo 13 crew was forced to hobble home in a disabled... read more

NASA's worst nightmare turned into one of the space agency's most heroic moments in 1970, when the Apollo 13 crew was forced to hobble home in a disabled capsule after an explosion seriously damaged the moon-bound spacecraft. Tom Hanks, Kevin Bacon, and Bill Paxton play (respectively) astronauts Jim Lovell, Jack Swigert, and Fred Haise in director Ron Howard's intense, painstakingly authentic docudrama. The Apollo 13 crew and Houston-based mission controllers race against time and heavy odds to return the damaged spacecraft safely to Earth from a distance of 205,500 miles. Using state-of-the-art special effects and ingenious filmmaking techniques, Howard and his stellar cast and crew build nail-biting tension while maintaining close fidelity to the facts. The result is a fitting tribute to the Apollo 13 mission and one of the biggest box-office hits of 1995. --Jeff Shannon (hide)

The Dish, a good-natured and effortlessly funny Australian drama-comedy directed by Rob Sitch (The Castle), is filled with warm-hearted characters and has a factual hook that's irresistibly inspiring.... read more

The Dish, a good-natured and effortlessly funny Australian drama-comedy directed by Rob Sitch (The Castle), is filled with warm-hearted characters and has a factual hook that's irresistibly inspiring. This cumulative goodwill springs forth from the rural town of Parkes in New South Wales, where a 1,000-ton radio observatory dish is recruited to relay telemetry, voice, and television signals from the historic Apollo 11 moon landing in July 1969. To make sure the dish delivers Neil Armstrong's "giant leap for mankind" to 600 million eager viewers, site director Cliff Buxton (Sam Neill, at his gentle best) relies on a three-man crew consisting of an American NASA watchdog (Patrick Warburton, resembling a bearish Clark Kent), a sarcastic engineer (Kevin Harrington), and a lovestruck math whiz (Tom Long) who's pining for the sister of the dish's rather dimly overzealous security guard (Taylor Kane).

Numerous other supporting characters add color to the proceedings, and crises arise (albeit briefly) when power outage, signal loss, and windstorms threaten to spoil Parkes's proudest hour. It all rates a bit high on the cuteness meter, but The Dish is so smoothly amusing that you won't object to its eagerness to please. By focusing on the Aussie locals, the film reminds us that the moon landing was an occasion of global unity, and pride in all humanity is reflected in the wondrous smiles of Cliff, his crew, and the citizens of Parkes. That they played such a small but pivotal role in this historical milestone is just one of many joys to be discovered in this delightful little movie. --Jeff Shannon (hide)

Filmmaker Morgan Spurlock, rejected five times by the USC film school, won the best director award at the 2004 Sundance Film Festival for this alarmingly personal investigation into... read more

Filmmaker Morgan Spurlock, rejected five times by the USC film school, won the best director award at the 2004 Sundance Film Festival for this alarmingly personal investigation into the health hazards wreaked by our fast food nation. Under extensive medical supervision, Spurlock subjects himself to a steady diet of McDonald's cuisine for 30 days just to see what happens. In less than a week, his ordinarily fit body and equilibrium undergo dark and ugly changes: Spurlock grows fat, his cholesterol rockets north, his organs take a beating, and he becomes subject to headaches, mood swings, symptoms of addiction, and lessened sexual energy. The gimmick is too obvious to sustain a feature documentary; Spurlock actually spends most of the film probing insidious ways that fast food companies worm their way into school lunchrooms and the hearts of young children who spend hours in McDonald's playrooms. French fries never looked more nauseating. --Tom Keogh (hide)