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You still can't beat Errol Flynn as the quintessential Robin
Hood, the dashing gentleman robber-hero of old England battling the corrupt
forces of the despotic Prince John with swashbuckling flair. Flynn's confidence
and cocky charm makes for a perfect Robin Hood, and he's paired with luminous
leading lady Olivia de Havilland as Maid Marian. The regal Basil Rathbone as the
haughty aristocratic Sir Guy of Gisbourne and a smoothly conniving Claude Rains
as the decadent Prince John are a pair so oily they inspire Robin to form a
medieval guerrilla rebel outfit (he calls them his Merry Men) and to "steal
from the rich and give to the poor" (a cliche coined by the film). Filmed in the
rich hues of 1938 Technicolor, which seems to glow from within, directed by the
quintessential Hollywood artisan Michael Curtiz (who gets co-director credit
with William Keighley), and set to the rousing strains of Erich Wolfgang
Korngold's Oscar-winning score, this is a celebration of studio filmmaking and
old-fashioned craftsmanship at its most stirring. Film historian Rudy
Behlmer effortlessly packs a lot of history and backstory into his
conversational commentary track, and joins in on the chorus of the accompanying
hour-long "Welcome to Sherwood: The Story of the Adventures of Robin Hood," a
well-made documentary on the landmark production (the most expensive film that
Warner Bros. had produced to date). Also features the 1998 documentary " Glorious Technicolor," an excellent history of the development
and use through the decades. The documentaries are presented in standard
definition but the three accompanying cartoons (including the 1948 Bugs Bunny
short " Rabbit Hood" and the great 1958 Daffy Duck/Porky Pig pairing
" Robin Hood Daffy") are mastered, like the feature, in 1080p HD.
And that's not all, folks: Among the wealth of bonus supplements (in standard
definition) are home movies from the set of the film, outtakes, the audio-only
'The Robin Hood Radio Show' from 1938 featuring the stars, Korngold piano
sessions (also audio-only), and plenty of archival goodies.
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| Justice League: Season One |
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The first season of the animated superhero series developed by
Bruce Timm ("Batman: The Animated Series") for the Cartoon Network lands on the
high-definition standard for home video. This is no happy-go-lucky group of
"Super Friends" saving the world with a smile and chummy sense of togetherness.
Choppy relationships, clashing personalities (the grim Green Lantern;
happy-go-lucky jester the Flash; grim, haunted Martian Manhunter; and, of
course, loner Batman) and lots of suspicion make these teammates a contentious
group. Each adventure spans multiple episodes, giving the series a scope larger
than most such shows. Among the stories in the debut season: the three-part
pilot "Secret Origins" that establishes the fellowship; "In Blackest Night,"
with Green Lantern on trial for destroying a planet; "The Enemy Below," in which
the Justice League clashes with Aquaman (reborn as a warrior king and looking
more like Neptune than the genial version in old comics and cartoons); "Paradise
Lost" with Superman, Flash, and Martian Manhunter helping Wonder Woman save her
Amazon home; "War World" with Superman and Martian Manhunter captured by aliens
and sent to the gladiator planet; and the three-part season finale "The Savage
Time," in which they travel back in time to World War II and team up with Sgt.
Rock to stop the villain Vandal Savage from changing Earth's history.
All
26 episodes on three discs; plus, commentary on three episodes by producers
Timm, James Tucker, Glen Murakami and Rich Fogel and director Dan Riba; and
bonus featurettes. The series creators discuss the development of the show in
the panel discussion taped for "Inside Justice League," and "The Look of the
League" explores the production design. Also features storyboards, a
never-before-seen promo and a music video.
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| Maximun Risk |
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Jean-Claude Van Damme was never much of an actor, but he had a
good head for choosing directors. He followed John Woo's American debut, "Hard
Target," by bringing over another Hong Kong action superstar, Ringo Lam, a
director with a grittier, edgier, less epic approach to action cinema. "Maximum
Risk" is the kind of solid B action thriller that the American cinema used to be
so good at producing, a lean thriller that casts Van Damme as a cop from Nice
who finds out that a recent murder victim was a twin brother he never knew, then
sends him to New York and back to find his brother's killers. Van Damme still
isn't much of an actor, but Lam strips his performance down to an austere focus
and makes him an efficient, fierce dynamo of a scrapper. Natasha Henstridge
provides the personality as the tough American girl who loved his brother and
ends up on the run from the Russian mob and corrupt FBI agents trying to kill
them both. Lam keeps the story tight and the action taut, building to an
impressive conclusion in which half a dozen characters make their move in a
chaotic crowd. Jean-Hugues Anglade, Zach Grenier and Paul Ben-Victor co-star. No
supplements beyond the usual trailers.
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| Lonesome Dove |
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The American Western, once a vibrant film genre but long out of
favor on the big screen, found a new home on TV in the late 1970s. This
magnificent miniseries, adapted from a sprawling novel by Larry McMurtry (who
had originally developed the story as a big-screen last hurrah for John Wayne,
James Stewart and Henry Fonda), is arguably the greatest TV Western ever made.
Robert Duvall and Tommy Lee Jones saddle up as aging cowboys and former Texas
Rangers Gus McCrae and Woodrow Call with easy authority for one last big cattle
drive from Texas to Montana. They take the reins of a posse of dynamic
characters on their odyssey through the gorgeous landscape of the American
Southwest, battling horse thieves, angry Indian tribes, and a renegade
half-breed killer named Blue Duck (Frederic Forrest) along the way. Robert
Urich, Anjelica Huston, Danny Glover, Ricky Schroder, Diane Lane, Chris Cooper
and D.B. Sweeney co-star in supporting (but by no means small) roles. The
miniseries proved to be the ideal format for the story. Australian director
Simon Wincer gives it a grandly epic feel and visual sweep while capturing an
engrossing intimacy with leathery authenticity. The Western's finest hour (or
rather, eight hours) on television, this cattle drive epic won seven Emmy Awards
and spawned sequels, prequels, a TV series, and a veritable cottage industry of
McMurtry TV Westerns.
The 1989 miniseries was produced in the squarish
Academy aspect ratio of all TV shows of its era but the Blu-ray release has been
mastered in the wide-screen ratio of HD TVs. It looks like it was made for the
format and the wide-screen image emphasizes the scope of the landscape. The
picture is generally sharp and clear, though it reflects the limitations of its
source material, such as film grain from a faster stock than is generally used
for feature films, and there's minor video noise in some scenes. The set
features the 1991 documentary "The Making of an Epic," archival interviews with
the cast and with novelist McMurtry, and original sketches and concept drawings.
New to this release is a retrospective interview with Wincer looking back on the
production and giving his blessing to this new wide-screen release.
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| The Hunt for Red October/The Jack Ryan Chronicles |
Alec Baldwin was the original screen incarnation of novelist Tom
Clancy's CIA analyst Jack Ryan, a desk man who finds himself thrust into the
field when a Soviet commander (Sean Connery) hijacks a Russian sub. The nuclear
submarine ends up under fire from both sides until Ryan convinces the Americans
of the Russian rebel's true intentions: He's defecting and bringing a military
prize with him. John McTiernan turns the sprawling novel into a riveting
thriller and a solid screen adventure. The Blu-ray debut features the director
commentary and documentary featurette "Beneath the Surface" that were originally
produced for the DVD special edition of the 1990 hit. All four Jack Ryan
military thrillers are released on Blu-ray this week. Harrison Ford took over
the role, playing an older Ryan with a family at stake in " Patriot Games," directed by Phillip Noyce. Retired from the
CIA, he thwarts a terrorist attack on the royal family while on vacation in
London and is forced to rejoin the agency to protect his family (Anne Archer and
little Thora Birch). Director Noyce and star Ford are back for " Clear and Present Danger," where desk man Ryan goes into the
field to rescue covert agents (including a memorable Willem Dafoe) abandoned by
a government unwilling to risk revealing their illegal dealings. James Earl
Jones plays his boss in all three films. After a break of about a decade, " The Sum of All Fears" takes the series back in time (sort of) to
give us a younger Ryan (played by Ben Affleck) just starting out as an analyst
under the tutelage of CIA director Morgan Freeman. And what a crash course he
gets when neo-Nazi terrorists plot to make the cold war hot with a terrorist
attack made to look like a Russian first strike. The latter features two
commentary tracks and a handful of featurettes.
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In addition to his regular contributions to MSN Movies, Sean Axmaker is a
film critic for the Seattle Post-Intelligencer and a DVD columnist for MSN
Entertainment. He is also a contributing writer for GreenCine.com, Turner
Classic Movies Online and Asian Cult Cinema, among other publications.
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Get Smart! Please!In honor of bumbling Maxwell
Smart, a brief history of our favorite clueless detectives On the RocksWith 'Iron Man' and 'Hancock' featuring
heavy-drinking protagonists, we reflect on the most memorable drunks in movie
history UnclassicsThough they may be listed among the
greatest films of all time, these 10 movies deserve to be
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