With an additional 20 minutes of material added to the original theatrical edition (including scenes not included in the augmented version previously released on DVD), Donnie Darko: The... read more

With an additional 20 minutes of material added to the original theatrical edition (including scenes not included in the augmented version previously released on DVD), Donnie Darko: The Director's Cut has a slower, more reflective pace than its first edit, and many more moments of emotional and tonal complexity. The film also has a fuller soundtrack (INXS' "Never Tear Us Apart" is featured prominently in writer-director Richard Kelly's mysterious opening) and new, startling special effects that underscore Donnie's ambiguous experience of time travel and cross-dimensional encounters with Frank, the 6-foot provocateur in a terrifying bunny costume. (Of course, new f/x or not, Donnie could still be a paranoid schizophrenic immersed in violent delusions.) Purists might find some of these changes to Kelly's 2001 cult hit about a troubled teen (Jake Gyllenhaal) trapped in alternative, apocalyptic destinies troubling. But overall the film is an even more haunting experience, impossible to shake.

An audio commentary track features a conversation between Kelly and Kevin Smith (Clerks) outlining the former's reasons for making a director's cut. Kelly says his intention was to amplify a science fiction and comic book element in Donnie Darko, re-design the sound (actually, Kelly claims, there never was a sound design for the original release), and purchase rights to various songs (including Joy Division's "Love Will Tear Us Apart") that were lost between the film's premiere at the Sundance Film Festival and the film's theatrical release. Kelly says he also wanted to give something new to the film's fans as thanks for their crucial, early support. Other features in this two-disc set include a highly entertaining production diary (including video of pre-production locations research) as well as a short film about the meaning of "Donnie Darko" as understood by some of the movie's British fans. --Tom Keogh (hide)

If a musical sci-fi satire about an alien transvestite named Frank-n-Furter, who is building the perfect man while playing sexual games with his virginal visitors, sounds like an... read more

If a musical sci-fi satire about an alien transvestite named Frank-n-Furter, who is building the perfect man while playing sexual games with his virginal visitors, sounds like an intriguing premise for a movie, then you're in for a treat. Not only is The Rocky Horror Picture all this and more, but it stars the surprising cast of Susan Sarandon and Barry Bostwick (as the demure Janet and uptight Brad, who get lost in a storm and find themselves stranded at Frank-n-Furter's mansion), Meat Loaf (as the rebel Eddie), Charles Gray (as our criminologist and narrator), and, of course, the inimitable Tim Curry as our "sweet transvestite from Transsexual, Transylvania."

Upon its release in 1975, the film was an astounding flop. But a few devotees persuaded a New York theater to show it at midnight, and thus was born one of the ultimate cult films of all time. The songs are addictive (just try getting "The Time Warp" or "Toucha Toucha Touch Me" out of your head), the raunchiness amusing, and the plot line utterly ridiculous--in other words, this film is simply tremendous good fun. The downfall, however, is that much of the amusement is found in the audience participation that is obviously missing from a video version (viewers in theaters shout lines at the screen and use props--such as holding up newspapers and shooting water guns during the storm, and throwing rice during a wedding scene). Watched alone as a straight movie, Rocky Horror loses a tremendous amount of its charm. Yet, for those who wish to perfect their lip-synching techniques for movie theater performances or for those who want to gather a crowd around the TV at home for some good, old-fashioned, rowdy fun, this film can't be beat. --Jenny Brown (hide)

Divimax is a High Definition (HD) film transfer process that provides state-of-the-art picture quality--and can be viewed on any home entertainment system.

Divimax is a High Definition (HD) film transfer process that provides state-of-the-art picture quality--and can be viewed on any home entertainment system. (hide)

a couple of nice homebody ghosts, trying to rid their house of afamily of trendsetting human beings, is hell-bent on making theirhome unlivable -- even for the dead.

a couple of nice homebody ghosts, trying to rid their house of afamily of trendsetting human beings, is hell-bent on making theirhome unlivable -- even for the dead. (hide)

With the knockout one-two punch of 1992's Reservoir Dogs and 1994's Pulp Fiction writer-director Quentin Tarantino stunned the filmmaking world, exploding into prominence as a cinematic heavyweight contender.... read more

With the knockout one-two punch of 1992's Reservoir Dogs and 1994's Pulp Fiction writer-director Quentin Tarantino stunned the filmmaking world, exploding into prominence as a cinematic heavyweight contender. But Pulp Fiction was more than just the follow-up to an impressive first feature, or the winner of the Palme d'Or at Cannes Film Festival, or a script stuffed with the sort of juicy bubblegum dialogue actors just love to chew, or the vehicle that reestablished John Travolta on the A-list, or the relatively low-budget ($8 million) independent showcase for an ultrahip mixture of established marquee names and rising stars from the indie scene (among them Samuel L. Jackson, Uma Thurman, Bruce Willis, Ving Rhames, Harvey Keitel, Christopher Walken, Tim Roth, Amanda Plummer, Julia Sweeney, Kathy Griffin, and Phil Lamar). It was more, even, than an unprecedented $100-million-plus hit for indie distributor Miramax. Pulp Fiction was a sensation. No, it was not the Second Coming (I actually think Reservoir Dogs is a more substantial film; and P.T. Anderson outdid Tarantino in 1997 by making his directorial debut with two even more mature and accomplished pictures, Hard Eight and Boogie Nights). But Pulp Fiction packs so much energy and invention into telling its nonchronologically interwoven short stories (all about temptation, corruption, and redemption amongst modern criminals, large and small) it leaves viewers both exhilarated and exhausted--hearts racing and knuckles white from the ride. (Oh, and the infectious, surf-guitar-based soundtrack is tastier than a Royale with Cheese.) --Jim Emerson (hide)