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)

Arguably the greatest of American films, Orson Welles's 1941 masterpiece, made when he was only 26, still unfurls like a dream and carries the viewer along the mysterious... read more

Arguably the greatest of American films, Orson Welles's 1941 masterpiece, made when he was only 26, still unfurls like a dream and carries the viewer along the mysterious currents of time and memory to reach a mature (if ambiguous) conclusion: people are the sum of their contradictions, and can't be known easily. Welles plays newspaper magnate Charles Foster Kane, taken from his mother as a boy and made the ward of a rich industrialist. The result is that every well-meaning or tyrannical or self-destructive move he makes for the rest of his life appears in some way to be a reaction to that deeply wounding event. Written by Welles and Herman J. Mankiewicz, and photographed by Gregg Toland, the film is the sum of Welles's awesome ambitions as an artist in Hollywood. He pushes the limits of then-available technology to create a true magic show, a visual and aural feast that almost seems to be rising up from a viewer's subconsciousness. As Kane, Welles even ushers in the influence of Bertolt Brecht on film acting. This is truly a one-of-a-kind work, and in many ways is still the most modern of modern films from the 20th century. --Tom Keogh (hide)

Star Wars Episode IV: A New Hope, 2004 release, SINGLE DISC FROM TRILOGY

Star Wars Episode IV: A New Hope, 2004 release, SINGLE DISC FROM TRILOGY (hide)

Many critics called Gigli one of the worst movies ever made, but their condemnation isn't entirely justified. The movie's got plenty of problems, such as inconsistent tone, gag-inducing... read more

Many critics called Gigli one of the worst movies ever made, but their condemnation isn't entirely justified. The movie's got plenty of problems, such as inconsistent tone, gag-inducing dialogue, and a meandering plot that fails to generate momentum over 124 minutes. And yet, this character-based vehicle for Hollywood sweethearts Ben Affleck and Jennifer Lopez is not without its charms: To begin with, there's J-Lo, whose beauty and presence flourish despite her ill-conceived role as a lesbian contract killer. Critics were also wrong in saying Lopez lacks on-screen chemistry with her off-screen beau; there are moments when they click, but director Martin Brest's screenplay maintains sexual confusion right up to an ending that's a total cop-out. Affleck (who did the lesbian-love thing in Chasing Amy) plays another good-natured killer, and their joint kidnapping job (involving the mentally disabled brother of a federal prosecutor) is destined to fail for all the right reasons, even as this anti-romantic comedy (featuring scenery-chewing cameos by Christopher Walken and Al Pacino) fails for all the wrong ones. --Jeff Shannon (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)

Generally acknowledged as a bona fide classic, this Francis Ford Coppola film is one of those rare experiences that feels perfectly right from beginning to end--almost as if... read more

Generally acknowledged as a bona fide classic, this Francis Ford Coppola film is one of those rare experiences that feels perfectly right from beginning to end--almost as if everyone involved had been born to participate in it. Based on Mario Puzo's bestselling novel about a Mafia dynasty, Coppola's Godfather extracted and enhanced the most universal themes of immigrant experience in America: the plotting-out of hopes and dreams for one's successors, the raising of children to carry on the good work, etc. In the midst of generational strife during the Vietnam years, the film somehow struck a chord with a nation fascinated by the metamorphosis of a rebellious son (Al Pacino) into the keeper of his father's dream. Marlon Brando played against Puzo's own conception of patriarch Vito Corleone, and time has certainly proven the actor correct. The rest of the cast, particularly James Caan, John Cazale, and Robert Duvall as the rest of Vito's male brood--all coping with how to take the mantle of responsibility from their father--is seamless and wonderful. --Tom Keogh (hide)

Legendary silent film director Cecil B. DeMille didn't much alter the way he made movies after sound came in, and this 1956 biblical drama is proof of that.... read more

Legendary silent film director Cecil B. DeMille didn't much alter the way he made movies after sound came in, and this 1956 biblical drama is proof of that. While graced with such 1950s niceties as VistaVision and Technicolor, The Ten Commandments (DeMille had already filmed an earlier version in 1923) has an anachronistic, impassioned style that finds lead actors Charlton Heston and Yul Brynner expressively posing while hundreds of extras writhe either in the presence of God's power or from orgiastic heat. DeMille, as always, plays both sides of the fence as far as sin goes, surrounding Heston's Moses with worshipful music and heavenly special effects while also making the sexy action around the cult of the Golden Calf look like fun. You have to see The Ten Commandments to understand its peculiar resonance as an old-new movie, complete with several still-impressive effects such as the parting of the Red Sea. --Tom Keogh (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)

This is where is the Lynchian nightmare began. Though he may have redefined surrealistic cinema in the 1980s and forever altered the face of television in the 90s,... read more

This is where is the Lynchian nightmare began. Though he may have redefined surrealistic cinema in the 1980s and forever altered the face of television in the 90s, for many hardcore fans it is this infamous feature film debut that is David Lynch's crowning achievement. Many words have been used to describe Eraserhead (weird, bizarre, frustrating, enlightening, significant, unwatchable, meaningless, and momentous), but there is no denying it is completely unforgettable. As a surreal work of art, Eraserhead easily holds it own next to the works as Buñuel, Cocteau, and Dali. And like many surrealistic works, there is no clear answer on what Eraserhead "means." But, if you are trying to find a simple, linear, plot in Eraserhead, you are clearly missing the point. For Eraserhead is not simply a movie to view, but a true cinematic experience, like jumping into someone's nightmare and seeing it from their perspective. Whether you see it as a meditation on the terror of being a new parent, the suffocating feeling of living in an increasingly vapid, industrial wasteland, or a nightmare about the fear of loneliness, the film easily holds up to multiple viewings. And since this film is a dark visual ride and a supreme aural achievement, this long awaited, new transfer is an absolute blessing for David Lynch fans who will finally get to see, hear and experience Eraserhead clearly on DVD. Bizarre experiment? Surrealistic nightmare? Or a meaningless cult film? You be the judge. --Rob Bracco (hide)

When the theatrical release of James Cameron's Titanic was delayed from July to December of 1997, media pundits speculated that Cameron's $200-million disaster epic would cause the director's... read more

When the theatrical release of James Cameron's Titanic was delayed from July to December of 1997, media pundits speculated that Cameron's $200-million disaster epic would cause the director's downfall, signal the end of the blockbuster era, and sink Paramount Pictures as quickly as the ill-fated luxury liner had sunk on that fateful night of April 14, 1912. Titanic would surpass the $1-billion mark in global box-office receipts, win 11 Academy Awards including Best Picture and Director, launch the best-selling movie soundtrack of all time, and make a global superstar of Leonardo DiCaprio. A bona fide pop-cultural phenomenon, the film has all the ingredients of a blockbuster (romance, passion, luxury, grand scale, a snidely villain, and an epic, life-threatening crisis), but Cameron's alchemy of these ingredients proved more popular than anyone could have predicted. His stroke of genius was to combine absolute authenticity with a pair of fictional lovers whose tragic fate would draw viewers into the heart-wrenching reality of the Titanic disaster. As starving artist Jack Dawson and soon-to-be-married socialite Rose DeWitt Bukater, DiCaprio and Kate Winslet won the hearts of viewers around the world, and their brief, but never forgotten, love affair provides the humanity that Cameron needed to turn Titanic into a moving emotional experience. Although some of the computer-generated visual effects look artificial, others--such as the climactic splitting of the ship's sinking hull--are state-of-the-art marvels of cinematic ingenuity. It's an event film and a monument to Cameron's risk-taking audacity, blending the tragic irony of the Titanic disaster with just enough narrative invention to give the historical event its fullest and most timeless dramatic impact. --Jeff Shannon

DVD features
Perhaps James Cameron wasn't ready to dish in 1999 when his mega-hit debuted on DVD with nary an extra (no, we don't count the trailer). Now in 2005, Cameron and his magicians dish on the cutting-edge effects and the craft of the movie. The heart of the extras are over 45 minutes of deleted scenes fans will fawn over, including some dealing with historical backstory (including a scene on the nearby ship California), a great kiss between Jack and Rose, and an extended suspense scene (listen to Cameron's commentary on that one). Happily, the alternate ending was not used (no, Jack doesn't live). The sound has been upgraded (including a DTS 6.1 ES track), the color palate is richer (the interiors glow more), and the picture is anamorphically enhanced for widescreen televisions, although the film is now split onto two discs.

The three-disc set has an abundance of materials; the galleries, for example, contain 628 on-set photos, 447 personal photos from the cinematographer, 532 storyboard sketches, 148 technical drawings, and even a 72-page bibliography. The features on the sets and effects offer some great tidbits, many dealing how everything had to be made versus rented since most items were going to be destroyed on camera.

Cameron is pictured on the box art and his stamp is all over the DVD set. He narrates the deep dive footage, you can read his original "scriptment" (if you want to read though 492 page clicks; some of these extras would have been better on a CD-ROM), and his commentary track is so complete, he covers most of the items the historical experts offer on their own track (they get too caught up in the film to muster more interesting facts). He offers only one apology for a factual "guess" and clears up that "king of the world" riff at the Oscars. The third commentary with most of the key members of the cast and crew is worth a listen but, alas, Leonardo DiCaprio does not contribute to this or any other new feature. Other must-sees: a time-lapse short on the creation of the boat set, and the first-half of a salute to the staff that works as a blooper reel. One caveat: there's a four-disc Region 2 version available in Europe with parodies and other extras, but no one is offering an official reason why it's not offered in the States. --Doug Thomas (hide)