This video contains a 10-minute feature including interviews with the stars of the film.

From yet another derivative science fiction novel by Michael Crichton comes this equally derivative and flaccid movie, in which three top Hollywood stars struggle to squeeze tension and excitement out of material that doesn't match their talents. You're supposed to find awe and mystery in Crichton's story about a team of scientists and scholars who discover a 300-year-old alien spacecraft deep on the ocean floor, but mostly you feel that this is all much ado about nothing. The exploration team consists of a psychologist (Dustin Hoffman), mathematician (Samuel L. Jackson), biochemist (Sharon Stone), and an astrophysicist (Liev Schreiber), and when they enter the alien ship they discover a mysterious sphere inside. What they don't know is that the sphere has the power to manipulate their thoughts and perceptions, and before long the scientists' undersea habitat is a veritable haunted house of frightening visions and creeping paranoia. Who can be trusted? What is the sphere's purpose, and why is it on the ocean floor? Spheremakes some attempt to answer these questions, but the film is a mess, and it leads to one of the most anticlimactic endings of any science fiction film ever made. There are moments of high intensity and psychological suspense, and the stellar cast works hard to boost the talky screenplay. But it's clear that this was a hurried production (Hoffman and director Barry Levinson made Wag the Dogduring an extended production delay), and as a result Spherelooks and feels like a film that wasn't quite ready for the cameras. Though it's by no means a waste of time, it's undeniably disappointing. The special edition DVD includes audio commentary by Hoffman and Jackson and a behind-the-scenes featurette, Shaping the Sphere: The Art of the Special Effects Supervisor,exploring the alien ship's design and creation by special effects technicians. —Jeff Shannon

If you're expecting bandaged-wrapped corpses and a lurching Boris Karloff-type villain, then you've come to the wrong movie. But if outrageous effects, a hunky hero, and some hearty laughs are what you're looking for, the 1999 version of The Mummyis spectacularly good fun. Yes, the critics called it "hokey,""cheesy," and "pallid." Well, the critics are unjust. Granted, the plot tends to stray, the acting is a bit of a stretch, and the characters occasionally slip into cliché, but who cares? When that action gets going, hold tight—those two hours just fly by.

The premise of the movie isn't that far off from the original. Egyptologist and general mess Evelyn (Rachel Weisz) discovers a map to the lost city of Hamunaptra, and so she hires rogue Rick O'Connell (Brendan Fraser) to lead her there. Once there, Evelyn accidentally unlocks the tomb of Imhotep (Arnold Vosloo), a man who had been buried alive a couple of millennia ago with flesh-eating bugs as punishment for sleeping with the pharaoh's girlfriend. The ancient mummy is revived, and he is determined to bring his old love back to life, which of course means much mayhem (including the unleashing of the 10 plagues) and human sacrifice. Despite the rather gory premise, this movie is fairly tame in terms of violence; most of the magic and surprise come from the special effects, which are glorious to watch, although Imhotep, before being fully reconstituted, is, as one explorer puts it, rather "juicy." Keep in mind this film is as much comedy as it is adventure—those looking for a straightforward horror pic will be disappointed. But for those who want good old-fashioned eye-candy kind of fun, The Mummyranks as one of choicest flicks of 1999. —Jenny Brown

One of Roman Polanski's more overt comedies, this 1966 monster spectacle stars Jack MacGowran and Polanski as a clunky but heroic pair of vampire killers. Called upon to rescue the beautiful and buxom daughter (Sharon Tate) of an innkeeper from a Draculalike bloodsucker, the duo muddle through all sorts of scrapes, the most intense being a scene in which a room full of dancing vampires realize the human interlopers are the only ones in the room who are reflected in a mirror. Scary and funny, the film has some unforgettable set pieces, a terrific score, one of the few records of Tate's extraordinary beauty, and vibrant performances. Not exactly Polanski in a relaxed mode, but clear evidence of his estimable skills as a director of both brilliance and polish. —Tom Keogh

À près de 80 ans, Robert Altman, mythique réalisateur de MASH, signe un 36e film complexe et substantiel. Gosford Park, dont l'intrigue est digne d'un roman d'Agatha Christie, s'est d'ailleurs vu récompensé en 2002 de l'oscar du meilleur scénario original.

À l'occasion d'une partie de chasse, dans les années 30, une dizaine d'invités et leurs domestiques s'installent dans le château anglais de Sir et Lady McCordle. Comme dans Dix Petits Nègres, ce quasi huis-clos deviendra le théâtre d'un meurtre, ce qui déterrera quelques secrets de famille encombrants et fera voler en éclat les règles de bienséance et de courtoisie.

Dans une réalisation très soignée, pudique et élégante, Altman fait craquer avec ironie le vernis de bonne éducation et de luxe de cette belle société, s'amusant à mettre en scène deux mondes parallèles – celui des aristocrates et celui de leurs domestiques – pourtant empreints de la même hypocrisie. Cette multitude de personnages, parfois archétypaux, rend la construction narrative un peu assommante et occasionne quelques longueurs mais Altman, grâce à des rebondissements bien amenés et à des acteurs de talent (Stephen Fry, Kristin Scott Thomas, Emily Watson), réussit à captiver son public. —Helen Faradji

The greatest trilogy in film history, presented in the most ambitious sets in DVD history, comes to a grand conclusion with the extended edition of The Lord of the Rings: The Return of the King. Not only is the third and final installment of Peter Jackson's adaptation of the works of J.R.R. Tolkien the longest of the three, but a full 50 minutes of new material pushes the running time to a whopping 4 hours and 10 minutes. The new scenes are welcome, and the bonus features maintain the high bar set by the first two films, The Fellowship of the Ringand The Two Towers.

What's New?

One of the scenes cut from the theatrical release but included here, the resolution of the Saruman storyline, generated a lot of publicity when the movie opened, as actor Christopher Lee complained in the press about losing his only appearance. It's an excellent scene, one Jackson calls "pure Tolkien," and provides better context for Pippin to find the wizard's palantir in the water, but it's not critical to the film. In fact, "valuable but not critical" might sum up the ROTKextended edition. It's evident that Jackson made the right cuts for the theatrical run, but the extra material provides depth and ties up a number of loose ends, and for those sorry to see the trilogy end (and who isn't?) it's a welcome chance to spend another hour in Middle-earth. Some choice moments are Gandalf's (Ian McKellen) confrontation with the Witch King (we find out what happened to the wizard's staff), the chilling Mouth of Sauron at the gates of Mordor, and Frodo (Elijah Wood) and Sam (Sean Astin) being mistaken for Orc soldiers. We get to see more of Éowyn (Miranda Otto), both with Aragorn and on the battlefield, even fighting the hideously deformed Orc lieutenant, Gothmog. We also see her in one of the most anticipated new scenes, the Houses of Healing after the battle of the Pelennor Fields. It doesn't present Aragorn (Viggo Mortensen) as a savior as the book did, but it shows the initial meeting between Éowyn and Faramir (David Wenham), a relationship that received only a meaningful glance in the theatrical cut.

If you want to completely immerse yourself in Peter Jackson's marvelous and massive achievement, only the extended edition will do.

And for those who complained, no, there are no new endings, not even the scouring of the Shire, which many fans were hoping to see. Nor is there a scene of Denethor (John Noble) with the palantir, which would have better explained both his foresight and his madness. As Jackson notes, when cuts are made, the secondary characters are the first to go, so there is a new scene of Aragorn finding the palantir in Denethor's robes. Another big difference is Aragorn's confrontation with the King of the Dead. In the theatrical version, we didn't know whether the King had accepted Aragorn's offer when the pirate ships pulled into the harbor; here Jackson assumes that viewers have already experienced that tension, and instead has the army of the dead join the battle in an earlier scene (an extended cameo for Jackson). One can debate which is more effective, but that's why the film is available in both versions. If you feel like watching the relatively shorter version you saw in the theaters, you can. If you want to completely immerse yourself in Peter Jackson's marvelous and massive achievement, only the extended edition will do.

How Are the Bonus Features?

To complete the experience, The Return of the Kingprovides the same sprawling set of features as the previous extended editions: four commentary tracks, sharp picture and thrilling sound, and two discs of excellent documentary material far superior to the recycled material in the theatrical edition. Those who have listened to the seven hours of commentary for the first two extended editio ns may wonder if they need to hear more, but there was no commentary for the earlier ROTKDVD, so it's still entertaining to hear him break down the film (he says the beacon scene is one of his favorites), discuss differences from the book, point out cameos, and poke fun at himself and the extended-edition concept ("So this is the complete full strangulation, never seen before, here exclusively on DVD!"). The documentaries (some lasting 30 minutes or longer) are of their usual outstanding quality, and there's a riveting storyboard/animatic sequence of the climactic scene, which includes a one-on-one battle between Aragorn and Sauron.

One DVD Set to Rule Them All
Peter Jackson's trilogy has set the standard for fantasy films by adapting the Holy Grail of fantasy stories with a combination of fidelity to the original source and his own vision, supplemented by outstanding writing, near-perfect casting, glorious special effects, and evocative New Zealand locales. The extended editions without exception have set the standard for the DVD medium by providing a richer film experience that pulls the three films together and further embraces Tolkien's world, a reference-quality home theater experience, and generous, intelligent, and engrossing bonus features. —David Horiuchi

1939, Paris : la célèbre actrice Viviane Denvers tue un financier intrigant. Prise de panique, elle appelle à l'aide Frédéric, un jeune écrivain amoureux d'elle, qui finit par être accusé du meurtre à sa place. Juin 1940 : l'armée allemande marche sur Paris, le gouvernement français et le Tout-Paris se réfugient à Bordeaux. Frédéric profite de l'effervescence pour s'évader et partir à la recherche de Viviane… Jean-Paul Rappeneau s'est adjoint les services du scénariste et écrivain Patrick Modiano pour nous offrir une histoire enjouée et populaire, haute en couleur et en rebondissements, dans un 1940 peu vu au cinéma et dans des décors à couper le souffle. Le casting est pour beaucoup dans l'excellence du film (Virginie Ledoyen, Isabelle Adjani, Yvan Attal, Gérard Depardieu…), dans des rôles délicieusement clichés : l'actrice hautaine et méprisante, le délinquant au cœur d'or, le ministre corrompu… Du grand spectacle. —David Rault

The history of film comedy would have been much altered if Peter Ustinov had stayed in the role of Jacques Clouseau, the bumbling French police inspector in The Pink Panther. But Ustinov dropped out, the role went to Peter Sellers, and a classic character was born: suspicious, blundering, with a pompous little mustache and a sometimes impenetrable accent, Clouseau was always one step behind everybody else in the room. The Pink Pantherintroduced Clouseau hot on the trail of a famous jewel thief (David Niven), who may be planning to make off with an expensive gem known as the Pink Panther. Set in a European ski resort, this bubbly comedy is a wonderful dose of '60s style, from the famous Henry Mancini theme music to the presence of two of Europe's top sex symbols of the era, Claudia Cardinale and Capucine. The film also introduced the popular cartoon Pink Panther, slinking around to Mancini's music in an animated credits sequence. The film's success brought a follow-up, A Shot in the Dark, also released in 1964; after 11 years, Sellers and top comedy director Blake Edwards (10) returned with three more sequels. —Robert Horton

Two FBI agents investigate cases that seem to have paranormal connections.
Genre: Television
Rating: NR
Release Date: 31-JAN-2006
Media Type: DVD

Charge your micro-mini cell phones and whip up some orange mocha Frappuccino, 'cuz Zoolanderis on the runway, and you're gonna laugh your booty off! Based on a sketch created by writer-director Ben Stiller and cowriter Drake Sather for the 1996 VH1/Vogue Fashion Awards, Zoolanderis a delirious send-up of New York's fashion scene as epitomized by male model Derek Zoolander (Stiller), a dimwitted preener who's oblivious to a Manchurian Candidate-like plot to turn him into a brainwashed assassin. Tipped off by a reporter (Christina Taylor), Zoolander teams with rival model Hansel (Owen Wilson) to foil the poodle-haired fashion designer (Will Ferrell) who's behind the nefarious scheme. The goofy plot's only half the fun; with roles for Stiller's parents (Jerry Stiller and Anne Meara), dozens of celebrity cameos, endlessly quotable dialogue, and improvisational energy to spare, Zoolanderis very smart about being very stupid, easily matching the Austin Powersfranchise for inspired comedic lunacy. —Jeff Shannon

Could this be the funniest movie ever made? By any rational measure of comedy, this medieval romp from the Monty Python troupe certainly belongs on the short list of candidates. According to Leonard Maltin's Movie & Video Guide, it's "recommended for fans only," but we say hogwash to that—you could be a complete newcomer to the Python phenomenon and still find this send-up of the Arthurian legend to be wet-your-pants hilarious. It's basically a series of sketches woven together as King Arthur's quest for the Holy Grail, with Graham Chapman as the King, Terry Gilliam as his simpleton sidekick Patsy, and the rest of the Python gang filling out a variety of outrageous roles. The comedy highlights are too numerous to mention, but once you've seen Arthur's outrageously bloody encounter with the ominous Black Knight (John Cleese), you'll know that nothing's sacred in the Python school of comedy. From holy hand grenades to killer bunnies to the absurdity of the three-headed knights who say "Ni—!,—!," this is the kind of movie that will strike you as fantastically funny or just plain silly, but why stop there? It's all over the map, and the pace lags a bit here and there, but for every throwaway gag the Pythons have invented, there's a bit of subtle business or grand-scale insanity that's utterly inspired. The sum of this madness is a movie that's beloved by anyone with a pulse and an irreverent sense of humor. If this movie doesn't make you laugh, you're almost certainly dead. —Jeff Shannon

Thanks to generous funding from media mogul Ted Turner, first-time director Ronald F Maxwell was able to make an almost word-for-word adaptation of Michael Shaara's Pulitzer Prize-winning novel, The Killer Angels. Running over four hours, Gettysburg(1993) splits into two convenient parts for TV viewing (although a 70mm print was given limited theatrical release). This story of three bloody days of conflict in July, 1863 (an unimaginable 50,000 casualties), is divided equally between Union and Confederate forces. On the Union side, Jeff Daniels is the quietly heroic Colonel Joshua Chamberlain; Sam Elliott is utterly convincing as General Buford, the Union cavalryman who holds the Confederate army at bay on the first day. Martin Sheen plays an oddly subdued and vacillating General Lee—a controversial portrait of the legendary Confederate chief—while Tom Berenger, despite being almost hidden underneath an enormous authentically period-style beard, is strong and authoritative as General Longstreet (whose opposition to Lee's plans gave many in the Confederacy a reason to blame him for the disaster at Gettysburg). Chamberlain's last-ditch defence of Little Round Top, which prevented the Union forces from being flanked on the second day of battle, forms the climax to the first half; the heartbreaking Pickett's Charge—the Confederates' disastrous frontal assault on the entrenched Union lines on the third day—is the movie's greatest set piece and one of the most compelling reasons to endure a little too much stodgy dialogue (lifted directly from the novel) and an apparently over-reverential attitude to the subject-matter. But much of this movie was made in and around the actual battle site, so it's only to be expected that the cast and crew tread carefully, as if literally under the watchful eyes of the men whose lives they are re-enacting. And re-enactment is the key: with a cast of thousands in splendidly detailed period costumes, cannonades galore and massed ranks of musketry, the sheer scale of the military spectacle is endlessly impressive. If as a piece of filmmaking it has many faults, as an historical re-enactment Gettysburgis unsurpassed—even by the epic Waterloo(1970), which drafted in a large chunk of the Russian army as Napoleonic extras. —Mark Walker

Men in Blackis one movie that has been issued in so many different DVD editions it's hard to keep them straight. The latest version is the Superbit edition, which, like other DVDs in the Superbit series, offers subtle visual and audio improvements over the version of the movie included on other DVDs. The anamorphic picture in the Superbit version is cleaner than that of the anamorphic track offered in other DVDs of this movie, though in all versions occasional grain is visible in shots of the sky. Overall, though, the picture is quite impressive with its deep, rich blacks and saturated colors. The additional DTS soundtrack on the Superbit version is very similar to the Dolby Digital 5.1 tracks issued on this and other editions of the movie, though slightly more balanced throughout.

Fans of Men in Blackhave a variety of editions to choose from. This is the version for video- and audiophiles who don't mind the lack of extra goodies. —Eugene Wei