Screenwriter William Goldman's novel The Princess Bride earned its own loyal audience on the strength of its narrative voice and its gently satirical, hyperbolic spin on swashbuckled adventure... read more

Screenwriter William Goldman's novel The Princess Bride earned its own loyal audience on the strength of its narrative voice and its gently satirical, hyperbolic spin on swashbuckled adventure that seemed almost purely literary. For all its derring-do and vivid over-the-top characters, the book's joy was dictated as much by the deadpan tone of its narrator and a winking acknowledgement of the clichés being sent up. Miraculously, director Rob Reiner and Goldman himself managed to visualize this romantic fable while keeping that external voice largely intact: using a storytelling framework, avuncular Grandpa (Peter Falk) gradually seduces his skeptical grandson (Fred Savage) into the absurd, irresistible melodrama of the title story.

And what a story: a lowly stable boy, Westley (Cary Elwes), pledges his love to the beautiful Buttercup (Robin Wright), only to be abducted and reportedly killed by pirates while Buttercup is betrothed to the evil Prince Humperdinck. Even as Buttercup herself is kidnapped by a giant, a scheming criminal mastermind, and a master Spanish swordsman, a mysterious masked pirate (could it be Westley?) follows in pursuit. As they sail toward the Cliffs of Insanity...

The wild and woolly arcs of the story, the sudden twists of fate, and, above all, the cartoon-scaled characters all work because of Goldman's very funny script, Reiner's confident direction, and a terrific cast. Elwes and Wright, both sporting their best English accents, juggle romantic fervor and physical slapstick effortlessly, while supporting roles boast Mandy Patinkin (the swordsman Inigo Montoya), Wallace Shawn (the incredulous schemer Vizzini), and Christopher Guest (evil Count Rugen) with brief but funny cameos from Billy Crystal, Carol Kane, and Peter Cook. --Sam Sutherland (hide)

Somewhere between the sharp satire of Election and the rich human comedy of You Can Count On Me lies Juno, a sardonic but ultimately compassionate story of a... read more

Somewhere between the sharp satire of Election and the rich human comedy of You Can Count On Me lies Juno, a sardonic but ultimately compassionate story of a pregnant teenage girl who wants to give her baby up for adoption. Social misfit Juno (Ellen Page, Hard Candy, X-Men: The Last Stand) protects herself with a caustic wit, but when she gets pregnant by her friend Paulie (Michael Cera, Superbad), Juno finds herself unwilling to terminate the pregnancy. When she chooses a couple who place a classified ad looking to adopt, Juno gets drawn further into their lives than she anticipated. But Juno is much more than its plot; the stylized dialogue (by screenwriter Diablo Cody) seems forced at first, but soon creates a richly textured world, greatly aided by superb performances by Page, Cera, Jennifer Garner and Jason Bateman as the prospective parents, and J.K. Simmons (Spider-Man) and Allison Janney as Juno's father and stepmother. Director Jason Reitman (Thank You For Smoking) deftly keeps the movie from slipping into easy, shallow sarcasm or foundering in sentimentality. The result is smarter and funnier than you might expect from the subject matter, and warmer and more touching than you might expect from the cocky attitude. Page's performance is deceptively simple; she never asks the audience to love her, yet she effortlessly carries a movie in which she's in almost every scene. That's star power. --Bret Fetzer (hide)

Demi Moore and Patrick Swayze are the passionate lovers whose romance is undone when the latter is murdered during a bungled hit arranged by a rival. The clever... read more

Demi Moore and Patrick Swayze are the passionate lovers whose romance is undone when the latter is murdered during a bungled hit arranged by a rival. The clever concept by screenwriter Bruce Joel Rubin (director of My Life) extends outward into comedy (Swayze's character communicates through a sassy medium played by Whoopi Goldberg, who won an Oscar for this role), horror (the afterlife is populated by hell-bound demons and the like), and romantic complications (a handsome suitor, played by Tony Goldwyn, comes on to Moore while Swayze's spirit is still hanging around). Directed by Jerry Zucker, previously best known for codirecting Airplane! and similar broad comedies, Ghost is a careful balancing act of strong commercial elements, but at heart it is a timeless Hollywood tearjerker that easily gets under one's skin. --Tom Keogh (hide)

After he pushed the envelope of computer-generated special effects in The Abyss, director James Cameron turned this hotly anticipated sequel to Terminator into a well-written, action-packed showcase for... read more

After he pushed the envelope of computer-generated special effects in The Abyss, director James Cameron turned this hotly anticipated sequel to Terminator into a well-written, action-packed showcase for advanced special effects and for one of the most invincible villains ever imagined. Terminator 2: Judgment Day is a legitimate sequel: there's more story to tell about a hulking, leather-clad android (Arnold Schwarzenegger) who arrives from the future to protect a rebellious teenager and future leader (Edward Furlong) from being killed by the tenacious T-1000 robot (Robert Patrick), whose liquid-metal construction makes him seemingly unstoppable. The fate of the future lies in the balance, with Linda Hamilton (who would later marry her director) reprising her role as the rugged woman whose son will change the course of history. --Jeff Shannon (hide)

The summer of 1963 innocent 17-year-old Baby (Grey) vacations with her parents at a Catskill's resort. One evening she is drawn to the staff quarters by stirring music.... read more

The summer of 1963 innocent 17-year-old Baby (Grey) vacations with her parents at a Catskill's resort. One evening she is drawn to the staff quarters by stirring music. There she meets Johnny, the hotel dance instructor, who is as experienced as Baby is naive. Baby soon becomes Johnny's pupil in dance and love. (hide)

The 2006 limited-edition two-disc release of The Empire Strikes Back is not only the first time the movie has been officially available by itself on DVD. It marks... read more

The 2006 limited-edition two-disc release of The Empire Strikes Back is not only the first time the movie has been officially available by itself on DVD. It marks the first-ever DVD release of Empire as it originally played in theaters in 1980. What does that mean exactly? The film is without the various "improvements" and enhancements George Lucas added for the theatrical rerelease in 1997 as well as the DVD premiere in 2004. So no more of Ian McDiarmid (the Emperor) replacing Clive Revill with slightly revised lines, or Temuera Morrison rerecording of Boba Fett's minimal dialogue.

What do you lose by watching the 1980 version? Dolby Digital 5.1 EX sound, for one thing (only 2.0 Surround here), and digital cleanup. But for home-theater owners, the biggest frustration will be from the non-anamorphic picture. On a widescreen TV, an anamorphically enhanced (16x9) picture at a 2.35:1 aspect ratio will fill the screen with the exception of small black bars on the top and bottom. The original edition of Empire, however, on a widescreen TV will have large black bars on the top, the bottom, and the sides unless you stretch the picture (and distort it in the process, especially considering the substandard picture quality). If you're watching on a standard square-shaped (4:3) TV, though, you won't notice a difference.

Yes, it's true that serious home-theater lovers who want spectacular sound and anamorphically enhanced picture can always watch the 2004 version of the movie also included in this set. But chances are good that they already picked up the trilogy edition of all three films, so their decision to buy the 2006 two-disc edition depends on how much they want the original film. The official LucasFilm stance is that this is an individual release of the 2004 version of The Empire Strikes Back, and the 1980 version of the film is merely a "bonus feature." Common speculation is that the only reason the original versions are seeing the official light of day at all is to undercut the booming black market for the laserdisc version. Star Wars fans will have to decide for themselves if that's worth the purchase. --David Horiuchi (hide)

Was George Lucas's Star Wars Trilogy, the most anticipated DVD release ever, worth the wait? You bet. It's a must-have for any home theater, looking great, sounding great,... read more

Was George Lucas's Star Wars Trilogy, the most anticipated DVD release ever, worth the wait? You bet. It's a must-have for any home theater, looking great, sounding great, and supplemented by generous bonus features.

The Movies

The Star Wars Trilogy had the rare distinction of becoming a cultural phenomenon, a defining event for its generation. On its surface, George Lucas's story is a rollicking and humorous space fantasy that owes debts to more influences than one can count on two hands, but filmgoers became entranced by its basic struggle of good vs. evil "a long time ago, in a galaxy far, far away," its dazzling special effects, and a mythology of Jedi knights, the Force, and droids. Over the course of three films--A New Hope (1977), The Empire Strikes Back (1980), and Return of the Jedi (1983)--Luke Skywalker (Mark Hamill), Princess Leia (Carrie Fisher), and the roguish Han Solo (Harrison Ford) join the Rebel alliance in a galactic war against the Empire, the menacing Darth Vader (David Prowse, voiced by James Earl Jones), and eventually the all-powerful Emperor (Ian McDiarmid). Empire is generally considered the best of the films and Jedi the most uneven, but all three are vastly superior to the more technologically impressive prequels that followed, Episode I, The Phantom Menace (1999) and Episode II, Attack of the Clones (2002).

How Are the Picture and Sound?

Thanks to a new digital transfer, you've never seen C-3PO glow so golden, and Darth Vader's helmet is as black as the Dark Side.

In a word, spectacular. Thanks to a new digital transfer, you've never seen C-3PO glow so golden, and Darth Vader's helmet is as black as the Dark Side. And at the climactic scene of A New Hope, see if the Dolby 5.1 EX sound doesn't knock you back in your chair. Other audio options are Dolby 2.0 Surround in English, Spanish, and French. (Sorry, DTS fans, but previous Star Wars DVDs didn't have DTS either.) There have been a few quibbles with the audio on A New Hope, however. A few seconds of Peter Cushing's dialogue ("Then name the system!") are distorted, and the music (but not the sound effects) is reversed in the rear channels. For example, in the final scene, the brass is in the front right channel but the back left channel (from the viewer's perspective), and the strings are in the left front and back right. The result feels like the instruments are crossing through the viewer.

What's Been Changed?
The rumors are true: Lucas made more changes to the films for their DVD debut. Hayden Christensen (Anakin Skywalker) has been added to a scene in Jedi, Ian McDiarmid (the Emperor) replaces Clive Revill with slightly revised lines in Empire, Temuera Morrison has rerecorded Boba Fett's minimal dialogue, and some other small details have been altered. Yes, these changes mean that the Star Wars films are no longer the ones you saw 20 years ago, but these brief changes hardly affect the films, and they do make sense in the overall continuity of the two trilogies. It's not like a digitized Ewan McGregor has replaced Alec Guiness's scenes, and the infamous changes made for the 1997 special-edition versions were much more intrusive (of course, those are in the DVD versions as well).

How Are the Bonus Features?

Toplining is Empire of Dreams: The Story of the Star Wars Trilogy, a 150-minute documentary incorporating not only the usual making-of nuts and bolts but also the political workings of the movie studios and the difficulties Lucas had getting his vision to the screen (for example, after resigning from the Directors' Guild, he lost his first choice for director of Jedi: Steven Spielberg). It's a little adulatory, but it has plenty to interest any fan. The three substantial featurettes are "The Characters of Star Wars" (19 min.), which discusses the development of the characters we all know and love, "The Birth of the Lightsaber" (15 min.), about the creation and evolution of a Jedi's ultimate weapon, and "The Force Is with Them: The Legacy of Star Wars" (15 min.), in which filmmakers such as Peter Jackson, Ridley Scott, and James Cameron talk about how they and the industry were affected by the films and Lucas's technological developments in visual effects, sound, and computer animation.

The bonus features are excellent and along the same lines as those created for The Phantom Menace and Attack of the Clones. Each film has a commentary track, recorded by Lucas, Ben Burtt (sound design), Dennis Muren (visual effects), and Carrie Fisher, with Irvin Kershner joining in on the film he directed, The Empire Strikes Back. Recorded separately and skillfully edited together (with supertitles to identify who is speaking), the tracks lack the energy of group commentaries, but they're enjoyable and informative, with a nice mix of overall vision (Lucas), technical details (Burtt, Muren, Kershner), and actor's perspective (Fisher). Interestingly, they discuss some of the 1997 changes (Mos Eisley creatures, the new Jabba the Hutt scene) but not those made for the DVDs.

There's also a sampler of the Xbox game Star Wars: Battlefront, which lets the player reenact classic film scenarios (blast Ewoks in the battle of Endor!); trailers and TV spots from the films' many releases; and a nine-minute preview of the last film in the series, Episode III, Revenge of the Sith (here identified by an earlier working title, The Return of Darth Vader). Small extra touches include anamorphic widescreen motion menus with dialogue, original poster artwork on the discs, and a whopping 50 chapter stops for each film.

"The Force Is Strong with This One"
The Star Wars Trilogy is an outstanding DVD set that lives up to the anticipation. There will always be resentment that the original versions of the films are not available as well, but George Lucas maintains that these are the versions he always wanted to make. If fans are able to put this debate aside, they can enjoy the adventures of Luke, Leia, and Han for years to come. --David Horiuchi (hide)

Jingoism, beefcake, military hardware, and a Giorgio Moroder rock score reign supreme over taste and logic in this Tony Scott film about a maverick trainee pilot (Tom Cruise)... read more

Jingoism, beefcake, military hardware, and a Giorgio Moroder rock score reign supreme over taste and logic in this Tony Scott film about a maverick trainee pilot (Tom Cruise) who can't follow the rules at a Navy aviation training facility. The dogfight sequences between American and Soviet jets at the end are absolutely mechanical, though audiences loved it at the time. The love story between Cruise's character and that of Kelly McGillis is like flipping through pages of advertising in a glossy magazine. This designer action movie from 1986 would be all the more appalling were it not for the canny casting of good actors in dumb parts. Standouts include Anthony Edwards--who makes a nice impression as Cruise's average-Joe pal--and the relatively unknown Meg Ryan in a small but memorable appearance. --Tom Keogh (hide)

A handful of people in the San Fernando Valley are having one hell of a day. TV mogul Earl Partridge (Jason Robards) is on his deathbed; his trophy... read more

A handful of people in the San Fernando Valley are having one hell of a day. TV mogul Earl Partridge (Jason Robards) is on his deathbed; his trophy wife (Julianne Moore) is popping pills with alarming frequency. Earl's nurse (Philip Seymour Hoffman) is trying desperately to get in touch with Earl's only son, sex guru Frank T.J. Mackey (Tom Cruise), who's about to have his carefully constructed past blown by a TV reporter (April Grace). Whiz kid Stanley (Jeremy Blackman) is being goaded by his selfish dad into breaking the record for the game show What Do Kids Know? Meanwhile, Stanley's predecessor, the grown-up quiz kid Donnie Smith (William H. Macy) has lost his job and is nursing a severe case of unrequited love. And the host of What Do Kids Know?, the affable Jimmy Gator (Philip Baker Hall), like Earl, is dying of cancer, and his attempt to reconcile with his cokehead daughter (Melora Walters) fails miserably. She, meanwhile, is running hot and cold with a cop (John C. Reilly) who would love to date her, if she can sit still for long enough. And over it all, a foreboding sky threatens to pour something more than just rain.

This third feature from Paul Thomas Anderson (Boogie Nights) is a maddening, magnificent piece of filmmaking, and it's an ensemble film to rank with the best of Robert Altman--every little piece of the film means something, and it's solidly there for a reason. Deftly juggling a breathtaking ensemble of actors, Anderson crafts a tale of neglectful parents, resentful children, and love-starved souls that's amazing in scope, both thematically and emotionally. Part of the charge of Magnolia is seeing exactly how may characters Anderson can juggle, and can he keep all those balls in air (indeed he can, even if it means throwing frogs into the mix). And it's been far too long since we've seen a filmmaker whose love of making movies is so purely joyful, and this electric energy is reflected in the actors, from Cruise's revelatory performance to Reilly's quietly powerful turn as the moral center of the story. While at three hours it's definitely not suited to everyone's taste, Magnolia is a compelling, heartbreaking, ultimately hopeful mediation on the accidents of chance that make up our lives. Featuring eight wonderful songs by Aimee Mann, including "Save Me." --Mark Englehart (hide)

When it was released during Hollywood's golden year of 1939, The Wizard of Oz didn't start out as the perennial classic it has since become. The film did... read more

When it was released during Hollywood's golden year of 1939, The Wizard of Oz didn't start out as the perennial classic it has since become. The film did respectable business, but it wasn't until its debut on television that this family favorite saw its popularity soar. And while Oz's TV broadcasts are now controlled by media mogul Ted Turner (who owns the rights), the advent of home video has made this lively musical a mainstay in the staple diet of great American films. Young Dorothy Gale (Judy Garland), her dog, Toto, and her three companions on the yellow brick road to Oz--the Tin Man (Jack Haley), the Cowardly Lion (Bert Lahr), and the Scarecrow (Ray Bolger)--have become pop-culture icons and central figures in the legacy of fantasy for children. As the Wicked Witch who covets Dorothy's enchanted ruby slippers, Margaret Hamilton has had the singular honor of scaring the wits out of children for more than six decades. The film's still as fresh, frightening, and funny as it was when first released. It may take some liberal detours from the original story by L. Frank Baum, but it's loyal to the Baum legacy while charting its own course as a spectacular film. Shot in glorious Technicolor, befitting its dynamic production design (Munchkinland alone is a psychedelic explosion of color and decor), The Wizard of Oz may not appeal to every taste as the years go by, but it's required viewing for kids of all ages. --Jeff Shannon

DVD features
The Wizard of Oz DVD released in 1999 was loaded with extra features, but it's now safe to throw away that version in all its cardboard-package glory in favor of this new two-disc edition. First things first: All the bonus material from the earlier disc is there (with one small exception). That includes the Angela Lansbury-hosted documentary The Making of a Movie Classic; the outtakes and deleted scenes, including Judy Garland's "Over the Rainbow" reprise and the home-movie recording of "The Jitterbug"; the sketches and stills and composer Harold Arlen's home movies; the audio underscores and radio programs; the 1979 interviews with Margaret Hamilton, Ray Bolger, and Jack Haley; and other items too numerous to mention. (Some text introductions to the features have been replaced by narration by Lansbury, for whatever reason.) Brand-new to the 2005 edition is a sharp restoration using Warner's Ultra Resolution process and an accompanying featurette on how it's done. The technicians also discuss how the sound was remixed, though that would have been more effective had it included surround-sound demonstrations (the featurette is in 2.0). Other features on the new set include a commentary track by critic John Fricke supplemented by vintage cast interviews (he offers a lot of trivia, and debunks the myth that Shirley Temple was ever close to getting the Dorothy role); profiles of nine cast members and clips of other movies they appeared in (including Toto); a lightly animated 10-minute storybook again narrated by Lansbury; 2001 and 2005 behind-the-scenes featurettes; and a 1950 Lux Radio Theater broadcast. Oh, and if you were still wondering about the missing material mentioned above--the 1999 disc included one-minute excerpts of three early treatments of The Wizard of Oz. Those excerpts are not included in the two-disc special edition, but the third disc of the three-disc collector's edition includes the complete versions of those treatments and more. --David Horiuchi (hide)

Nora Ephron wrote the brisk screenplay for this 1989 romantic comedy, director Rob Reiner made a nicely glossy New York story (very much in a Woody Allen vein)... read more

Nora Ephron wrote the brisk screenplay for this 1989 romantic comedy, director Rob Reiner made a nicely glossy New York story (very much in a Woody Allen vein) out of it, and Billy Crystal's unstoppable charm made it something really special. Crystal and Meg Ryan play longtime platonic friends who keep dancing around their deeper feelings for one another, and Bruno Kirby and Carrie Fisher are their respective pals who fall in love and get married. Ryan doesn't get a lot of funny material, but her performance is typically alive and intuitive, and she more than holds her own with Crystal's comic motor mouth and sweet sentimentality. Reiner is on comfortable ground, liberated from the burden of making serious statements in the lead-footed manner of subsequent features. --Tom Keogh (hide)

After creating one of the breakthrough movies of the American independent cinema, Stranger than Paradise, Jim Jarmusch stayed right in the same minimalist, oddball, black-and-white groove. Down by... read more

After creating one of the breakthrough movies of the American independent cinema, Stranger than Paradise, Jim Jarmusch stayed right in the same minimalist, oddball, black-and-white groove. Down by Law takes place in Louisiana, where two losers (musicians Tom Waits and John Lurie) find themselves stuck in a jail cell together. One day they are joined by a boisterous Italian (Roberto Benigni), and the chemistry changes--suddenly an escape attempt is on the horizon. Conventional drama is not Jarmusch's intention; one of the emotional high points of this movie is the three guys marching around their prison cell shouting, "I scream, you scream, we all scream for ice cream!" Yet the deadpan style creates its own humorous mood, underscored by melancholy (also underscored by the music of Lurie and the gravel-voiced songs of Waits). This was the first American film for Roberto Benigni, the Italian comedian (Life Is Beautiful), and he lights it up with his effervescent clowning. Jarmusch has said that Down by Law forms a loose trilogy with Stranger than Paradise and the subsequent Mystery Train, a triptych of disaffected, drifting life in the United States. Few filmmakers have ever surveyed ennui so entertainingly. --Robert Horton (hide)

David O. Selznick wanted Gone with the Wind to be somehow more than a movie, a film that would broaden the very idea of what a film could... read more

David O. Selznick wanted Gone with the Wind to be somehow more than a movie, a film that would broaden the very idea of what a film could be and do and look like. In many respects he got what he worked so hard to achieve in this 1939 epic (and all-time box-office champ in terms of tickets sold), and in some respects he fell far short of the goal. While the first half of this Civil War drama is taut and suspenseful and nostalgic, the second is ramshackle and arbitrary. But there's no question that the film is an enormous achievement in terms of its every resource--art direction, color, sound, cinematography--being pushed to new limits for the greater glory of telling an American story as fully as possible. Vivien Leigh is still magnificently narcissistic, Olivia de Havilland angelic and lovely, Leslie Howard reckless and aristocratic. As for Clark Gable: we're talking one of the most vital, masculine performances ever committed to film. --Tom Keogh (hide)

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... read more

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 (hide)