Delicate and hypnotic, The Hours interweaves three stories with remarkable skill: in the 1920s Virginia Woolf (Nicole Kidman) grapples with her inner demons and slowly works on her... read more

Delicate and hypnotic, The Hours interweaves three stories with remarkable skill: in the 1920s Virginia Woolf (Nicole Kidman) grapples with her inner demons and slowly works on her novel Mrs. Dalloway; in 1949 housewife Laura Brown (Julianne Moore) feels her own destructive impulses; and in 1999 book editor Clarissa Vaughn (Meryl Streep)--much like the title character of Woolf's novel--prepares to throw a party, in honor of her dearest friend, a seriously ill poet (Ed Harris). Small details reverberate from story to story as a powerhouse cast (including Allison Janney, Toni Collette, Claire Danes, Jeff Daniels, John C. Reilly, Stephen Dillane, and Miranda Richardson) gives subtle and beautifully modulated performances. In the hands of director Stephen Daldry (Billy Elliot), The Hours is almost more a piece of music than a story, and like music, it may move you in unexpected ways. --Bret Fetzer (hide)

Even if the notorious 1970s porn-filmmaking milieu doesn't exactly turn you on, don't let it turn you off to this movie's extraordinary virtues, either. Boogie Nights is one... read more

Even if the notorious 1970s porn-filmmaking milieu doesn't exactly turn you on, don't let it turn you off to this movie's extraordinary virtues, either. Boogie Nights is one of the key movies of the 1990s, and among the most ambitious and exuberantly alive American movies in years. It's also the breakthrough for an amazing new director, whose dazzling kaleidoscopic style here recalls the Robert Altman of Nashville and the Martin Scorsese of GoodFellas. Although loosely based on the sleazy life and times of real-life porn legend John Holmes, at heart it's a classic Hollywood rise-and-fall fable: a naive, good-looking young busboy is discovered in a San Fernando Valley disco by a famous motion picture producer, becomes a hotshot movie star, lives the high life, and then loses everything when he gets too big for his britches, succumbs to insobriety, and is left behind by new times and new technology. Of course, it ain't exactly A Star Is Born or Singin' in the Rain. Writer-director Paul Thomas Anderson (in only his second feature!) puts his own affectionately sardonic twist on the old showbiz biopic formula: the ambitious upstart changes his name and achieves stardom in porno films as "Dirk Diggler." Instead of drinking to excess, he snorts cocaine (the classic drug of '70s hedonism); and it's the coming of home video (rather than talkies) that helps to dash his big-screen dreams. As for the britches ... well, the controversial "money shot" explains everything. And the cast is one of the great ensembles of the '90s, including Oscar nominees Burt Reynolds and Julianne Moore, Mark Wahlberg (who really can act--from the waist up, too!), Heather Graham (as Rollergirl), William H. Macy, John C. Reilly, and Ricky Jay. DVD extras include nine deleted scenes and a commentary track from Anderson. --Jim Emerson (hide)

The Coen brothers irreverent cult hit comes to DVD as a Collector's Edition, with all-new bonus material. The hilariously twisted comedy-thriller stars Jeff Bridges, John Goodman, Steve Buscemi... read more

The Coen brothers irreverent cult hit comes to DVD as a Collector's Edition, with all-new bonus material. The hilariously twisted comedy-thriller stars Jeff Bridges, John Goodman, Steve Buscemi and Julianne Moore. Join the Dude and his bowling buddies on their journey that blends unforgettable characters, kidnapping, a case of mistaken identity and White Russians. Enter the visually unique and entertaining world from the creative minds of the Coen brothers and remember: the Dude abides.

System Requirements:

Running Time 1 hr 58 Min

Format: DVD MOVIE (hide)

Yes, he's back, and he's still hungry. Ten years after The Silence of the Lambs, Dr. Hannibal "the Cannibal" Lecter (Anthony Hopkins, reprising his Oscar-winning role) is living... read more

Yes, he's back, and he's still hungry. Ten years after The Silence of the Lambs, Dr. Hannibal "the Cannibal" Lecter (Anthony Hopkins, reprising his Oscar-winning role) is living the good life in Italy, studying art and sipping espresso. FBI agent Clarice Starling (Julianne Moore, replacing Jodie Foster), on the other hand, hasn't had it so good--an outsider from the start, she's now a quiet, moody loner who doesn't play bureaucratic games and suffers for it. A botched drug raid results in her demotion--and a request from Lecter's only living victim, Mason Verger (Gary Oldman, uncredited), for a little Q and A. Little does Clarice realize that the hideously deformed Verger--who, upon suggestion from Dr. Lecter, peeled off his own face--is using her as bait to lure Dr. Lecter out of hiding, quite certain he'll capture the good doctor.

Taking the basic plot contraptions from Thomas Harris's baroque novel, Hannibal is so stylistically different from its predecessor that it forces you to take it on its own terms. Director Ridley Scott gives the film a sleek, almost European look that lets you know that, unlike the first film (which was about the quintessentially American Clarice), this movie is all Hannibal. Does it work? Yes--but only up to a point. Scott adeptly sets up an atmosphere of foreboding, but it's all buildup for anticlimax, as Verger's plot for abducting Hannibal (and feeding him to man-eating wild boars) doesn't really deliver the requisite visceral thrills, and the much-ballyhooed climatic dinner sequence between Clarice, Dr. Lecter, and a third unlucky guest wobbles between parody and horror. Hopkins and Moore are both first-rate, but the film contrives to keep them as far apart as possible, when what made Silence so amazing was their interaction. When they do connect it's quite thrilling, but it's unfortunately too little too late. --Mark Englehart (hide)

Presenting a bleak, harrowing, and yet ultimately hopeful vision of humankind's not-too-distant future, Children of Men is a riveting cautionary tale of potential things to come. Set in... read more

Presenting a bleak, harrowing, and yet ultimately hopeful vision of humankind's not-too-distant future, Children of Men is a riveting cautionary tale of potential things to come. Set in the crisis-ravaged future of 2027, and based on the atypical 1993 novel by British mystery writer P.D. James, the anxiety-inducing, action-packed story is set in a dystopian England where humanity has become infertile (the last baby was born in 2009), immigration is a crime, refugees (or "fugees") are caged like animals, and the world has been torn apart by nuclear fallout, rampant terrorism, and political rebellion. In this seemingly hopeless landscape of hardscrabble survival, a jaded bureaucrat named Theo (Clive Owen) is drawn into a desperate struggle to deliver Kee (Clare-Hope Ashitey), the world's only pregnant woman, to a secret group called the Human Project that hopes to discover a cure for global infertility. As they carefully navigate between the battling forces of military police and a pro-immigration insurgency, Theo, Kee, and their secretive allies endure a death-defying ordeal of urban warfare, and director Alfonso Cuaron (with cinematographer Emmanuel Lubezki) capture the action with you-are-there intensity. There's just enough humor to balance the film's darker content (much of it coming from Michael Caine, as Theo's aging hippie cohort), and although Children of Men glosses over many of the specifics about its sociopolitical worst-case scenario (which includes Julianne Moore in a brief but pivotal role), it's still an immensely satisfying, pulse-pounding vision of a future that represents a frightening extrapolation of early 21st-century history. --Jeff Shannon (hide)

With a plot that might've been lifted from The X-Files, nothing is quite what it seems in The Forgotten, a psychological conspiracy thriller with Julianne Moore doing fine... read more

With a plot that might've been lifted from The X-Files, nothing is quite what it seems in The Forgotten, a psychological conspiracy thriller with Julianne Moore doing fine work as a grieving mother whose nine-year-old son was killed in a plane crash. At least, that's what she's been led to believe, but when even her husband (Anthony Edwards) tries to convince her that she's delusional and never had a child, things start to get very spooky indeed. Dominic West (from HBO's superb series The Wire) plays a similarly traumatized father, and when they witness some very strange events--and a mysterious man (Linus Roache) who might be indestructible--this glorified B-movie potboiler directed by Joseph Ruben (best known for Dreamscape and The Stepfather) turns into a preposterous but entertaining trip into The Twilight Zone territory. Featuring Alfre Woodard as an intuitive New York detective and Gary Sinise as a seemingly sympathetic psychiatrist, The Forgotten offers adequate shocks and an intriguing, otherworldly study of tenacious parental instinct. It deserved its mixed reviews, but it's a fun spook-fest for rainy-day viewing. --Jeff Shannon (hide)

The everyday lives of a number of Los Angeles residents are the subject of this loosely-knitted collection of short stories.

The everyday lives of a number of Los Angeles residents are the subject of this loosely-knitted collection of short stories. (hide)

Julianne Moore and Pierce Brosnan turn on the movie-star twinkle in Laws of Attraction. They're both divorce lawyers whose in-court conflicts give rise to sparks of an entirely... read more

Julianne Moore and Pierce Brosnan turn on the movie-star twinkle in Laws of Attraction. They're both divorce lawyers whose in-court conflicts give rise to sparks of an entirely different nature--and while they're in Ireland, trying to determine whether the husband or wife in a rock-star divorce deserves to keep a swank castle, they "accidentally" get married. Back in New York, they agree to keep up the pretence of marriage, lest a quickie divorce make them the laughingstocks of the legal community. Few comedies are as outright clumsy as Laws of Attraction; the plot falls apart even as you're watching it, the dialogue stumbles, the direction is graceless. Somehow Moore (Far From Heaven, The Hours) and Brosnan (Tomorrow Never Dies) sustain their charm--but if you're looking for a comedy about divorce, Intolerable Cruelty or the classic Adam's Rib provide a lot more fun. --Bret Fetzer (hide)

An intriguing and entertaining study in characters going through varying levels of crisis and introspection. This psychological drama leads you in several different directions, weaving and intersecting various... read more

An intriguing and entertaining study in characters going through varying levels of crisis and introspection. This psychological drama leads you in several different directions, weaving and intersecting various subplots and characters, from a brilliant Tom Cruise, as a self-proclaimed pied-piper, to a child forced to go on a TV game show and the pressures he faces from a ruthless father. (hide)

This uniquely beautiful film--from one of the smartest and most idiosyncratic of contemporary directors, Todd Haynes (Safe, Velvet Goldmine)--takes the lush 1950s visual style of so-called women's pictures... read more

This uniquely beautiful film--from one of the smartest and most idiosyncratic of contemporary directors, Todd Haynes (Safe, Velvet Goldmine)--takes the lush 1950s visual style of so-called women's pictures (particularly those of Douglas Sirk, director of Imitation of Life and Magnificent Obsession) to tell a story that mixes both sexual and racial prejudice. Julianne Moore, an amazing fusion of vulnerability and will power, plays a housewife whose husband (Dennis Quaid) has a secret gay life. When she finds solace in the company of a black gardener (Dennis Haysbert), rumors and peer pressure destroy any chance she has at happiness. It's astonishing how a movie with such a stylized veneer can be so emotionally compelling; the cast and filmmakers have such an impeccable command of the look and feel of the genre that every moment is simultaneously artificial and deeply felt. Far from Heaven is ingenious and completely engrossing. --Bret Fetzer (hide)

Based on the true story of Evelyn Ryan, The Prize Winner of Defiance, Ohio is one of those overlooked gems that deserves a long life on DVD. Splendidly... read more

Based on the true story of Evelyn Ryan, The Prize Winner of Defiance, Ohio is one of those overlooked gems that deserves a long life on DVD. Splendidly adapted by writer-director Jane Anderson from the memoir by Terry Ryan (one of Evelyn's daughters), the film operates on several endearing levels: as a revealing study of the housewife's plight during the Eisenhower era, an inspiring tale of tenacity and survival against formidable odds, and a charming family drama that tempers sentimental nostalgia with the emotional toll of harsh reality. As always, Julianne Moore brings subtle perfection to her role as Evelyn, the cheerfully strong-willed mother of ten who compensates for the failings of her alcoholic husband (Woody Harrelson) by becoming the most successful "contester" in the country, entering cleverly-worded poems, jingles, and slogans in corporate sponsored contests throughout the mid-1950s and early '60s. Winning everything from palm trees and pogo-sticks to sports cars and cash, she holds the financially desperate family together with happy smiles and a rock-solid defiance of her husband's volatile temper. Directing her first feature after a respected career in television, Anderson employs some delightful visual effects to liven up the period kitsch (in some cases allowing Moore, as narrator and actor, to appear with herself in the same scene), but she never compromises the emotional core of the drama, which yields an unexpectedly powerful payoff when surviving members of the real-life Ryan family appear, as themselves, in the film's touching final scene. Like Evelyn, this movie's a winner. --Jeff Shannon (hide)

"This is a diary of hate," pounds out novelist Maurice Bendrix (Ralph Fiennes) on his typewriter as he recounts the lost love of his life in this spiritual... read more

"This is a diary of hate," pounds out novelist Maurice Bendrix (Ralph Fiennes) on his typewriter as he recounts the lost love of his life in this spiritual memoir (based on Graham Greene's novel) with a startling twist. It's London 1946, and Maurice runs into his achingly dull school friend Henry (Stephen Rea with a perpetually gloomy hangdog expression). Their meeting is brittle, all small talk and chilly, mannered civility beautifully captured by director-screenwriter Neil Jordan (The Crying Game), and it only barely thaws when Henry suggests that his wife, Sarah (the luminous Julianne Moore), may be having an affair. Maurice's mind reels back to his passionate affair with Sarah during the war years, which she abruptly broke off two years ago. Gripped with a jealousy that hasn't abated, he hires a private detective (a mousy, marvelous Ian Hart) to shadow her movements. He prepares himself for the revelation of a rival but instead finds a deeper, more profound secret: "I tempted fate," she writes in her diary, "and fate accepted."

Jordan's cool remove captures the unease beneath formal manners but never warms into intimacy during the scenes between the lovers, even while Fiennes and Moore almost explode in repressed emotions, their faces cracking under their masks of civility and their resolve shaking through jittery body language. There's more thought than feeling behind this collision of passion and spirituality, but it's a sincere, richly realized portrait of ennui and rage against God energized by brief moments of shattering drama. --Sean Axmaker (hide)

The weirdness of actor Nicolas Cage and the weirdness of science-fiction author Philip K. Dick seem like a natural fit. The premise, taken from a short story by... read more

The weirdness of actor Nicolas Cage and the weirdness of science-fiction author Philip K. Dick seem like a natural fit. The premise, taken from a short story by Dick, is a good one: A mediocre Las Vegas magician named Chris Johnson (Cage) can see into the future--but only about two minutes at the most. Just enough to pull off his act and to make some money at the gambling tables, so long as he's discreet. Unfortunately, he hasn't been discreet enough; a government agent (Julianne Moore) has sussed out his precognitive talent and wants to use him to track down terrorists. But all Johnson cares about is a beautiful young woman (Jessica Biel, The Illusionist) that he can see in his future--much further in his future than he's ever seen before. Next has flashes that point to a much, much better movie than it turned out to be. A sequence in which Johnson, clairvoyantly explores all the different permutations of how he might approach his mystery woman is both funny and thought-provoking, and when Johnson avoids pursuers by knowing just the right moment to turn a corner or duck his head, it's smart and suspenseful. Unfortunately, the terrorist part of the plot is utterly perfunctory and precognition is reduced to an action movie gimmick. Somewhere in there is the kernel of a romantic comedy about precognition that's just waiting to be made. Cage gives a solid if unsurprising performance, Moore is basically earning a paycheck, but Biel is unexpectedly good (and her part is considerably better-written than your usual romantic interest); her performance suggests a better future than anyone might have predicted. --Bret Fetzer

Beyond Next

More Nick Cage on DVD

The Author that Inspired the Movie

The Soundtrack

Stills from Next (click for larger image)

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An oddball love story about a fey loner named Sam (Johnny Depp), who falls in love with the mentally unbalanced Joon (Mary Stuart Masterson), who lives in the... read more

An oddball love story about a fey loner named Sam (Johnny Depp), who falls in love with the mentally unbalanced Joon (Mary Stuart Masterson), who lives in the care of her protective brother Benny (Aidan Quinn). This 1993 story is hard to swallow, with its message that love can conquer a brand of mental illness that manifests itself in pyromania: Joon has a bad habit of going a bit around the bend and setting fires, but Sam's tender care apparently has the cure for what ails her. Still, if you want proof that Depp has significant chops as a physical comedian, give this film a try: He does note-perfect renditions of slapstick routines made famous by Charlie Chaplin and Buster Keaton. --Marshall Fine (hide)