Edward Scissorhands [DVD] Full Screen 10th Anniversary Edition

• Full Screen Anniversary Edition (2005)
• Audio Commentary by Tim Burton & Danny Elfman
• Featurette & Concept Art
• Languages: English, Spanish & French. Subtitles: English & Spanish
• Original Theatrical Trailer & TV Spots

Once upon a time in a castle high on a hill lived an inventor whose greatest creation was named Edward. Although Edward had an irresistible charm, he wasn't quite perfect. The inventor's sudden death left him unfinished, with sharp shears of metal for hands. Edward lived alone in the darkness until one day a kind Avon lady took him home to live with her family. And so began Edward's fantastical adventures in a pastel paradise known as Suburbia.Edward Scissorhands achieves the nearly impossible feat of capturing the delicate flavor of a fable or fairy tale in a live-action movie. The story follows a young man named Edward (Johnny Depp! ), who was created by an inventor (Vincent Price, in one of his last roles) who died before he could give the poor creature a pair of human hands. Edward lives alone in a ruined Gothic castle that just happens to be perched above a pastel-colored suburb inhabited by breadwinning husbands and frustrated housewives straight out of the 1950s. One day, Peg (Dianne Wiest), the local Avon lady, comes calling. Finding Edward alone, she kindly invites him to come home with her, where she hopes to help him with his pasty complexion and those nasty nicks he's given himself with his razor-sharp fingers. Soon Edward's skill with topiary sculpture and hair design make him popular in the neighborhood--but the mood turns just as swiftly against the outsider when he starts to feel his own desires, particularly for Peg's daughter Kim (Winona Ryder). Most of director Tim Burton's movies (such as Pee Wee's Big Adventure, Beetlejuice, Batman) are visual spectacles with elements of fanta! sy, but Edward Scissorhands is more tender and personal! than th e others. Edward's wild black hair is much like Burton's, suggesting that the character represents the director's own feelings of estrangement and co-option. Johnny Depp, making his first successful leap from TV to film, captures Edward's childlike vulnerability even while his physical posture evokes horror icons like the vampire in Nosferatu and the sleepwalker in The Cabinet of Dr. Caligari. Classic horror films, at their heart, feel a deep sympathy for the monsters they portray; simply and affectingly, Edward Scissorhands lays that heart bare. --Bret FetzerOnce upon a time in a castle high on a hill lived an inventor whose greatest creation was named Edward. Although Edward had an irresistible charm, he wasn't quite perfect. The inventor's sudden death left him unfinished, with sharp shears of metal for hands. Edward lived alone in the darkness until one day a kind Avon lady took him home to live with her family. And so began Edward's fanta! stical adventures in a pastel paradise known as Suburbia.Edward Scissorhands achieves the nearly impossible feat of capturing the delicate flavor of a fable or fairy tale in a live-action movie. The story follows a young man named Edward (Johnny Depp), who was created by an inventor (Vincent Price, in one of his last roles) who died before he could give the poor creature a pair of human hands. Edward lives alone in a ruined Gothic castle that just happens to be perched above a pastel-colored suburb inhabited by breadwinning husbands and frustrated housewives straight out of the 1950s. One day, Peg (Dianne Wiest), the local Avon lady, comes calling. Finding Edward alone, she kindly invites him to come home with her, where she hopes to help him with his pasty complexion and those nasty nicks he's given himself with his razor-sharp fingers. Soon Edward's skill with topiary sculpture and hair design make him popular in the neighborhood--but the mood turns just as swiftly! against the outsider when he starts to feel his own desires, ! particul arly for Peg's daughter Kim (Winona Ryder). Most of director Tim Burton's movies (such as Pee Wee's Big Adventure, Beetlejuice, Batman) are visual spectacles with elements of fantasy, but Edward Scissorhands is more tender and personal than the others. Edward's wild black hair is much like Burton's, suggesting that the character represents the director's own feelings of estrangement and co-option. Johnny Depp, making his first successful leap from TV to film, captures Edward's childlike vulnerability even while his physical posture evokes horror icons like the vampire in Nosferatu and the sleepwalker in The Cabinet of Dr. Caligari. Classic horror films, at their heart, feel a deep sympathy for the monsters they portray; simply and affectingly, Edward Scissorhands lays that heart bare. --Bret FetzerOnce upon a time in a castle high on a hill lived an inventor whose greatest creation was named Edward. Although Edward had an irresistib! le charm, he wasn't quite perfect. The inventor's sudden death left him unfinished, with sharp shears of metal for hands. Edward lived alone in the darkness until one day a kind Avon lady took him home to live with her family. And so began Edward's fantastical adventures in a pastel paradise known as Suburbia.Edward Scissorhands achieves the nearly impossible feat of capturing the delicate flavor of a fable or fairy tale in a live-action movie. The story follows a young man named Edward (Johnny Depp), who was created by an inventor (Vincent Price, in one of his last roles) who died before he could give the poor creature a pair of human hands. Edward lives alone in a ruined Gothic castle that just happens to be perched above a pastel-colored suburb inhabited by breadwinning husbands and frustrated housewives straight out of the 1950s. One day, Peg (Dianne Wiest), the local Avon lady, comes calling. Finding Edward alone, she kindly invites him to come home with her,! where she hopes to help him with his pasty complexion and tho! se nasty nicks he's given himself with his razor-sharp fingers. Soon Edward's skill with topiary sculpture and hair design make him popular in the neighborhood--but the mood turns just as swiftly against the outsider when he starts to feel his own desires, particularly for Peg's daughter Kim (Winona Ryder). Most of director Tim Burton's movies (such as Pee Wee's Big Adventure, Beetlejuice, Batman) are visual spectacles with elements of fantasy, but Edward Scissorhands is more tender and personal than the others. Edward's wild black hair is much like Burton's, suggesting that the character represents the director's own feelings of estrangement and co-option. Johnny Depp, making his first successful leap from TV to film, captures Edward's childlike vulnerability even while his physical posture evokes horror icons like the vampire in Nosferatu and the sleepwalker in The Cabinet of Dr. Caligari. Classic horror films, at their heart, feel a deep sympathy for t! he monsters they portray; simply and affectingly, Edward Scissorhands lays that heart bare. --Bret FetzerOnce upon a time in a castle high on a hill lived an inventor whose greatest creation was named Edward. Although Edward had an irresistible charm, he wasn't quite perfect. The inventor's sudden death left him unfinished, with sharp shears of metal for hands. Edward lived alone in the darkness until one day a kind Avon lady took him home to live with her family. And so began Edward's fantastical adventures in a pastel paradise known as Suburbia.Edward Scissorhands achieves the nearly impossible feat of capturing the delicate flavor of a fable or fairy tale in a live-action movie. The story follows a young man named Edward (Johnny Depp), who was created by an inventor (Vincent Price, in one of his last roles) who died before he could give the poor creature a pair of human hands. Edward lives alone in a ruined Gothic castle that just happens to be p! erched above a pastel-colored suburb inhabited by breadwinning! husband s and frustrated housewives straight out of the 1950s. One day, Peg (Dianne Wiest), the local Avon lady, comes calling. Finding Edward alone, she kindly invites him to come home with her, where she hopes to help him with his pasty complexion and those nasty nicks he's given himself with his razor-sharp fingers. Soon Edward's skill with topiary sculpture and hair design make him popular in the neighborhood--but the mood turns just as swiftly against the outsider when he starts to feel his own desires, particularly for Peg's daughter Kim (Winona Ryder). Most of director Tim Burton's movies (such as Pee Wee's Big Adventure, Beetlejuice, Batman) are visual spectacles with elements of fantasy, but Edward Scissorhands is more tender and personal than the others. Edward's wild black hair is much like Burton's, suggesting that the character represents the director's own feelings of estrangement and co-option. Johnny Depp, making his first successful leap from TV to fil! m, captures Edward's childlike vulnerability even while his physical posture evokes horror icons like the vampire in Nosferatu and the sleepwalker in The Cabinet of Dr. Caligari. Classic horror films, at their heart, feel a deep sympathy for the monsters they portray; simply and affectingly, Edward Scissorhands lays that heart bare. --Bret FetzerOnce upon a time in a castle high on a hill lived an inventor whose greatest creation was named Edward. Although Edward had an irresistible charm, he wasn't quite perfect. The inventor's sudden death left him unfinished, with sharp shears of metal for hands. Edward lived alone in the darkness until one day a kind Avon lady took him home to live with her family. And so began Edward's fantastical adventures in a pastel paradise known as Suburbia.Edward Scissorhands achieves the nearly impossible feat of capturing the delicate flavor of a fable or fairy tale in a live-action movie. The story follo! ws a young man named Edward (Johnny Depp), who was created by ! an inven tor (Vincent Price, in one of his last roles) who died before he could give the poor creature a pair of human hands. Edward lives alone in a ruined Gothic castle that just happens to be perched above a pastel-colored suburb inhabited by breadwinning husbands and frustrated housewives straight out of the 1950s. One day, Peg (Dianne Wiest), the local Avon lady, comes calling. Finding Edward alone, she kindly invites him to come home with her, where she hopes to help him with his pasty complexion and those nasty nicks he's given himself with his razor-sharp fingers. Soon Edward's skill with topiary sculpture and hair design make him popular in the neighborhood--but the mood turns just as swiftly against the outsider when he starts to feel his own desires, particularly for Peg's daughter Kim (Winona Ryder). Most of director Tim Burton's movies (such as Pee Wee's Big Adventure, Beetlejuice, Batman) are visual spectacles with elements of fantasy, but Edward Scissorhands is more tender and personal than the others. Edward's wild black hair is much like Burton's, suggesting that the character represents the director's own feelings of estrangement and co-option. Johnny Depp, making his first successful leap from TV to film, captures Edward's childlike vulnerability even while his physical posture evokes horror icons like the vampire in Nosferatu and the sleepwalker in The Cabinet of Dr. Caligari. Classic horror films, at their heart, feel a deep sympathy for the monsters they portray; simply and affectingly, Edward Scissorhands lays that heart bare. --Bret FetzerEdward Scissorhands (Full Screen Anniversary Edition), 2005 release by 20th Century Fox Home Entertainment.

Up (Four-Disc Blu-ray/DVD Combo + BD Live) [Blu-ray]

• From the revolutionary minds of Pixar Animation Studios and the acclaimed director of MONSTERS, INC. comes a hilariously uplifting adventure where the sky is no longer the limit. Carl Fredricksen, a retired balloon salesman, is part rascal, part dreamer who is ready for his last chance at high-flying excitement. Tying thousands of balloons to his house, Carl sets off to the lost world of his child

Walt Disney Pictures and Pixar Animation Studios take moviegoers up, up and away on one of the funniest adventures of all time with their latest comedy-fantasy. Up follows the uplifting tale of 78-year-old balloon salesman Carl Fredricksen, who finally fulfills his lifelong dream of a great adventure when he ties thousands of balloons to his house and flies away to the wilds of South America. But he discovers all too late that his biggest nightmare has stowed away on the trip an overly opti! mistic 8-year-old Wilderness Explorer named Russell. Their journey to a lost world, where they encounter some strange, exotic and surprising characters, is filled with hilarity, emotion and wildly imaginative adventure.


At a time when too many animated films consist of anthropomorphized animals cracking sitcom one-liners and flatulence jokes, the warmth, originality, humor, and unflagging imagination of Up feel as welcome as rain in a desert. Carl Fredericksen (voice by Ed Asner) ranks among the most unlikely heroes in recent animation history. A 78- year-old curmudgeon, he enjoyed his modest life as a balloon seller because he shared it with his adventurous wife Ellie (Ellie Docter). But she died, leaving him with memories and the awareness that they never made their dream journey to Paradise Falls in South America. When well-meaning officials consign Carl to Shady Oaks Retirement Home, he rigs thousands of helium balloons to his house and floats ! to South America. The journey's scarcely begun when he discove! rs a sto waway: Russell (Jordan Nagai), a chubby, maladroit Wilderness Explorer Scout who's out to earn his Elderly Assistance Badge. In the tropical jungle, Carl and Russell find more than they bargained for: Charles Muntz (Christopher Plummer), a crazed explorer whose newsreels once inspired Carl and Ellie; Kevin, an exotic bird with a weakness for chocolate; and Dug (Bob Peterson), an endearingly dim golden retriever fitted with a voice box. More importantly, the travelers discover they need each other: Russell needs a (grand)father figure; Carl needs someone to enliven his life without Ellie. Together, they learn that sharing ice-cream cones and counting the passing cars can be more meaningful than feats of daring-do and distant horizons. Pete Docter (Monsters, Inc. ) and Bob Peterson direct the film with consummate skill and taste, allowing the poignant moments to unfold without dialogue to Michael Giacchnio's vibrant score. Building on their work in The Incredibles! and Ratatouille, the Pixar crew offers nuanced animation of the stylized characters. Even by Pixar's elevated standards, Up is an exceptional film that will appeal of audiences of all ages. Rated PG for some peril and action. --Charles Solomon

Stills from Up (Click for larger image)

DOGMA INCLUDES BONUS DIGITAL COPY

• DVD
• comedy
• thrilling
• fantasy
• angels

When two banished angels find a loophole that will allow them back into heaven at the cost of humankind an unsuspecting mortal woman two prophets and the thirteenth apostle are the only ones who can stop them. Special features: subtitles in english spanish and french talent files and murch more. Studio: Ingram Entertainment Release Date: 07/26/2005 Starring: Ben Affleck Matt Damon Run time: 130 minutes Rating: R Director: Kevin SmithKevin Smith is a conundrum of a filmmaker: he's a writer with brilliant, clever ideas who can't set up a simple shot to save his life. It was fine back when Smith was making low-budget films like Clerks and Chasing Amy, both of which had an amiable, grungy feel to them, but now that he's a rising director who's attracting top talent and tackling bigger themes, it might behoove ! him to polish his filmmaking. That's the main problem with Dogma--it's an ambitious, funny, aggressively intelligent film about modern-day religion, but while Smith's writing has matured significantly (anyone who thinks he's not topnotch should take a look at Chasing Amy), his direction hasn't. It's too bad, because Dogma is ripe for near-classic status in its theological satire, which is hardly as blasphemous as the protests that greeted the movie would lead you to believe.

Two banished angels (Ben Affleck and Matt Damon) have discovered a loophole that would allow them back into heaven; problem is, they'd destroy civilization in the process by proving God fallible. It's up to Bethany (Linda Fiorentino), a lapsed Catholic who works in an abortion clinic, to save the day, with some help from two so-called prophets (Smith and Jason Mewes, as their perennial characters Jay and Silent Bob), the heretofore unknown 13th apostle (Chris Rock), and a sexy,! heavenly muse (the sublime Salma Hayek, who almost single-han! dedly st eals the film). In some ways Dogma is a shaggy dog of a road movie--which hits a comic peak when Affleck and Fiorentino banter drunkenly on a train to New Jersey, not realizing they're mortal enemies--and segues into a comedy-action flick as the vengeful angels (who have a taste for blood) try to make their way into heaven. Smith's cast is exceptional--with Fiorentino lending a sardonic gravity to the proceedings, and Jason Lee smirking evilly as the horned devil Azrael--and the film shuffles good-naturedly to its climax (featuring Alanis Morissette as a beatifically silent God), but it just looks so unrelentingly... subpar. Credit Smith with being a daring writer but a less-than-stellar director. --Mark EnglehartWHEN TWO BANISHED ANGELS FIND A LOOPHOLE THAT WILL ALLOW THEM BACK INTO HEAVEN AT THE COST OF HUMANKIND, AN UNSUSPECTINGMORTAL WOMAN, TWO PROPHETS AND THE THIRTEENTH APOSTLE ARE THE ONLY ONES WHO CAN STOP THEM. SPECIAL FEATURES: SUBTITLES IN EN! GLISH, SPANISH AND FRENCH, TALENT FILES AND MURCH MORE.Kevin Smith is a conundrum of a filmmaker: he's a writer with brilliant, clever ideas who can't set up a simple shot to save his life. It was fine back when Smith was making low-budget films like Clerks and Chasing Amy, both of which had an amiable, grungy feel to them, but now that he's a rising director who's attracting top talent and tackling bigger themes, it might behoove him to polish his filmmaking. That's the main problem with Dogma--it's an ambitious, funny, aggressively intelligent film about modern-day religion, but while Smith's writing has matured significantly (anyone who thinks he's not topnotch should take a look at Chasing Amy), his direction hasn't. It's too bad, because Dogma is ripe for near-classic status in its theological satire, which is hardly as blasphemous as the protests that greeted the movie would lead you to believe.

Two banished angels (Ben Affleck ! and Matt Damon) have discovered a loophole that would allow th! em back into heaven; problem is, they'd destroy civilization in the process by proving God fallible. It's up to Bethany (Linda Fiorentino), a lapsed Catholic who works in an abortion clinic, to save the day, with some help from two so-called prophets (Smith and Jason Mewes, as their perennial characters Jay and Silent Bob), the heretofore unknown 13th apostle (Chris Rock), and a sexy, heavenly muse (the sublime Salma Hayek, who almost single-handedly steals the film). In some ways Dogma is a shaggy dog of a road movie--which hits a comic peak when Affleck and Fiorentino banter drunkenly on a train to New Jersey, not realizing they're mortal enemies--and segues into a comedy-action flick as the vengeful angels (who have a taste for blood) try to make their way into heaven. Smith's cast is exceptional--with Fiorentino lending a sardonic gravity to the proceedings, and Jason Lee smirking evilly as the horned devil Azrael--and the film shuffles good-naturedly to its climax (featu! ring Alanis Morissette as a beatifically silent God), but it just looks so unrelentingly... subpar. Credit Smith with being a daring writer but a less-than-stellar director. --Mark EnglehartOne of the most talked-about movies of the year is also one of the funniest! In this hilarious comic fantasy from writer/director Kevin Smith (Clerks, Chasing Amy) two banished angels (Ben Affleck and Matt Damon) find a loophole that would get them back into Heaven. The only snag? They'll be destroying existence in the process. In an effort to stop them, The overworked Voice of God (Alan Rickman)taps cynical mortal Bethany (Linda Fiorentino) to save the world by preventing the angels from reaching their unholy destination: New Jersey! Throw in two unlikely prophets named Jay and Silent Bob (Jason Mewes and Kevin Smith), the quick-witted yet little-known thirteenth apostle (Chris Rock) and a sexy, former muse with a case of writer's block (Selma Hayek) and you! 've got an hysterical and thrilling race against time packed w! ith an a ll-star cast.Kevin Smith is a conundrum of a filmmaker: he's a writer with brilliant, clever ideas who can't set up a simple shot to save his life. It was fine back when Smith was making low-budget films like Clerks and Chasing Amy, both of which had an amiable, grungy feel to them, but now that he's a rising director who's attracting top talent and tackling bigger themes, it might behoove him to polish his filmmaking. That's the main problem with Dogma--it's an ambitious, funny, aggressively intelligent film about modern-day religion, but while Smith's writing has matured significantly (anyone who thinks he's not topnotch should take a look at Chasing Amy), his direction hasn't. It's too bad, because Dogma is ripe for near-classic status in its theological satire, which is hardly as blasphemous as the protests that greeted the movie would lead you to believe.

Two banished angels (Ben Affleck and Matt Damon) have discovered a loophole ! that would allow them back into heaven; problem is, they'd destroy civilization in the process by proving God fallible. It's up to Bethany (Linda Fiorentino), a lapsed Catholic who works in an abortion clinic, to save the day, with some help from two so-called prophets (Smith and Jason Mewes, as their perennial characters Jay and Silent Bob), the heretofore unknown 13th apostle (Chris Rock), and a sexy, heavenly muse (the sublime Salma Hayek, who almost single-handedly steals the film). In some ways Dogma is a shaggy dog of a road movie--which hits a comic peak when Affleck and Fiorentino banter drunkenly on a train to New Jersey, not realizing they're mortal enemies--and segues into a comedy-action flick as the vengeful angels (who have a taste for blood) try to make their way into heaven. Smith's cast is exceptional--with Fiorentino lending a sardonic gravity to the proceedings, and Jason Lee smirking evilly as the horned devil Azrael--and the film shuffles good-na! turedly to its climax (featuring Alanis Morissette as a beatif! ically s ilent God), but it just looks so unrelentingly... subpar. Credit Smith with being a daring writer but a less-than-stellar director. --Mark EnglehartPacked with stars including Ben Affleck (GOOD WILL HUNTING), Chris Rock (NURSE BETTY), Shannon Elizabeth (AMERICAN PIE), Jason Lee (ALMOST FAMOUS), and more, this wildly irreverent comedy is actor/director Kevin Smith's hilarious finale to the adventures of Jay and Silent Bob that began in CLERKS and ran through MALLRATS, CHASING AMY, and DOGMA! When best buddies Jay (Jason Mewes) and Silent Bob (Smith) discover that a major motion picture is being based on their likenesses, they head for Hollywood to claim the big movie money they deserve. But when the dopey duo learn that they've been cut out of the cash, they set out to sabotage the flick at all costs! Featuring a host of celebrity cameos set to a hot hit soundtrack, Jay and Silent Bob's raucous cross country road trip is a crash course in the rules of the road ! with a nonstop assortment of outrageous characters that will have you laughing out loud!With sidesplitting dialogue and rampant profanity, Jay and Silent Bob Strike Back reunites Kevin Smith's dynamic duo in supreme lowbrow style. It's the fifth comedy in Smith's celebrated New Jersey "trilogy." Here Quick-Stop potheads Jay (Jason Mewes) and Silent Bob (Smith) wreak vengeance on Hollywood, where Miramax is making a "Bluntman & Chronic" feature inspired by J. and S.B., but without their permission. En route from Jersey to La La Land, Jay and his "hetero life mate" encounter sexy jewel thieves (including the delightful Shannon Elizabeth), a precocious orangutan, a dimwit wildlife marshal (Will Ferrell), and a nonstop parade of in-jokes, harmless (yet controversial) gay jokes, and splendid celebrity cameos. While gently biting the Miramax hand that feeds him, and paying affectionate homage to the Star Wars saga, Smith sheds all inhibitions to give Jay and Sile! nt Bob a stellar sendoff that's nasty, sassy, and undeniab! ly hilar ious. --Jeff ShannonImaginative theology and a bigger-than-usual budget make Kevin Smith's (CHASING AMY, CLERKS) fourth film a kind of post-Catholic fantasy that only a comic-book enthusiast of his caliber could dream up. It concerns banished angels, Loki (Matt Damon) and Bartleby (Ben Affleck) who, after a few millennia in Wisconsin, discover a loophole in Catholic doctrine that would allow them back into heaven--but prove the fallibility of God and destroy the universe. As they make their way to New Jersey to receive a plenary indulgence, God dispatches a seraphim (Alan Rickman) to recruit lapsed-Catholic Bethany (Linda Fiorentino) to stop the angels. She finds help in muses, prophets (Jay and Silent Bob), and the forgotten 13th apostle, Rufus (Chris Rock). Before long, all hell breaks loose (literally), and God (Alanis Morrisette) has to put in an appearance of her own. Smith's controversial (and very funny) film is powered by his trademark dialogue, ripe with obse! rvations on pop culture, religion, and bodily functions Included bonus digital copy for your PC & PSP must be redeemed by 06/17/09

Closing the Ring

• From Academy Award-winning director Richard Attenborough (Gandhi) comes this sweeping romance starring Shirley MacLaine (Terms of Endearment), Christopher Plummer (A Beautiful Mind), Mischa Barton (TV's The O.C.), and Neve Campbell (The Company). Moving seemlessly through time, this lush epic follows a beautiful 1940's Michigan girl (Barton) secretly married to a WWII pilot who crashes in the hill

From Academy Award-winning director Richard Attenborough (Gandhi) comes this sweeping romance starring Shirley MacLaine (Terms of Endearment), Christopher Plummer (A Beautiful Mind), Mischa Barton (TV's The O.C.), and Neve Campbell (The Company). Moving seemlessly through time, this lush epic follows a beautiful 1940's Michigan girl (Barton) secretly married to a WWII pilot who crashes in the hills near Belfast, Ireland. 50 years later his wedding ring resurfaces -- along with the smoldering secrets! that have kept the widow (MacLaine), her estranged daughter (Campbell) and devoted friend (Plummer) each from finding true love.A love story spanning more than five decades, Closing the Ring may appeal to fans of The Notebook. Academy Award-winning director Richard Attenborough (Ghandi) utilizes shifting time frames to tell the story of Ethel Ann and WWII fighter pilot Teddy. The two fall madly in love and secretly marry in a sweet ceremony that is destined for tragedy. When Teddy's plane is shot down in Belfast, he is discovered by an Irish boy who makes a promise to the dying soldier--he will return the wedding band to Teddy's young widow in the United States. Flash forward to the 1990s: An elderly Ethel Ann (Shirley MacLaine) is at her husband Chuck's funeral. He was never the love of her life and Ethel Ann had always lived her life full of "what ifs." Her grieving daughter Marie (Neve Campbell) notices the void, but can't comprehend why her mother ! has never been happy. When Teddy's wedding band is finally ret! urned to Ethel Ann--50 years after his death--the memento opens up a floodgate of emotions, and Ethel Ann is able to get some closure on a part of her life that she has tried so hard to both forget and remember. As a family friend points out to Marie, "Everybody needs to cry, and your mother never did." At times slow and uneven, Closing the Ring rings true in the modern-day vignettes. MacLaine is exquisite in her role, as is Christopher Plummer as a longtime friend. But when the scenes flash back to the 1940s, the younger actors don't share the same on-screen chemistry or charisma. Mischa Barton is beautiful as the young Ethel Ann, but her moments with Stephen Amell (as Teddy) are a little forced. Campbell brings intelligence and gravity to her role, but is underused in the film. Viewers can't help wonder how different the tone of the movie may have been had she been cast as the younger Ethel Ann. --Jae-Ha Kim

Dawn of the Dead (Widescreen Unrated Director's Cut)

• The Lost Tape - 15 minutes of terrifing footage
• Special Report - Zombie Invasion
• 12+ minutes of deleted scenes
• Commentary with director Zack Snyder and producer Eric Newman

Packed with more blood, more gore, and more bone-chilling, jaw-dropping thrills, Dawn of the Dead Unrated Director's Cut is the version too terrifying to be shown in theaters! Starring Mekhi Phifer, Ving Rhames and Sarah Polley in an edgy, electrifying thrill-ride.

When a mysterious virus turns people into mindless, flesh-eating zombies, a handful of survivors wage a desperate, last-stand battle to stay alive…and human.Are you ready to get down with the sickness? Movie logic dictates that you shouldn't remake a classic, but Zack Snyder's Dawn of the Dead defies that logic and comes up a winner. You could argue that George A. Romero's 1978 original was sacred ground for hor! ror buffs, but it was a low-budget classic, and Snyder's action-packed upgrade benefits from the same manic pacing that energized Romero's continuing zombie saga. Romero's indictment of mega-mall commercialism is lost (it's arguably outmoded anyway), so Snyder and screenwriter James Gunn compensate with the same setting--in this case, a Milwaukee shopping mall under siege by cannibalistic zombies in the wake of a devastating viral outbreak--a well-chosen cast (led by Sarah Polley, Ving Rhames, Jake Weber, and Mekhi Phifer), some outrageously morbid humor, and a no-frills plot that keeps tension high and blood splattering by the bucketful. Horror buffs will catch plenty of tributes to Romero's film (including cameos by three of its cast members, including gore-makeup wizard Tom Savini), and shocking images are abundant enough to qualify this Dawn as an excellent zombie-flick double-feature with 28 Days Later, its de facto British counterpart. --Jeff S! hannon

Bounce Fabric Softener Sheets, Outdoor Fresh Scent, 120-Count Box (Pack of 2)

• Time-released fresh scent
• Helps in preventing static cling
• Provides a softness you can feel

6.4 x 9 in. Bounce gives you time-release freshness. Fresh Now: clothes towel, and bedding smell fresh out of the dryer. Fresh later: Clean-smelling freshness continues to release over time. Made in Canada.

The Great New Wonderful

• Maggie Gyllenhaal, Edie Falco, Tony Shaloub, Stephen Colbert and Olympia Dukakis star in this lighthearted comedy about life in New York City one year following 9/11. It s a comedy about starting over. Format: DVD MOVIE Genre: COMEDY Rating: R Age: 855280001670 UPC: 855280001670 Manufacturer No: FI0167DVD

Maggie Gyllenhaal, Edie Falco, Tony Shaloub, Stephen Colbert and Olympia Dukakis star in this lighthearted comedy about life in New York City one year following 9/11. It’s a comedy about starting over.A rich portrait of life in New York in the wake of disaster, The Great New Wonderful offers a kind of compassion rare in film. Five storylines intertwine--including competitive pastry chefs (Maggie Gyllenhaal, Secretary, and Edie Falco, The Sopranos), an elderly woman (Olympia Dukakis, Moonstruck) realizing she can't stand her lumpish husband, and a middle-cl! ass parents (Judy Greer, Arrested Development, and Tom McCarthy, Syriana) coping with their increasingly sociopathic child--all of them thick with brilliantly observed social tension. As a therapist (Tony Shalhoub, Big Night) questions a patient (Jim Gaffigan), it's ambiguous whether he's diagnosing the patient's anger or actually causing it. The Great New Wonderful makes compelling drama out of the subtle discords of commonplace life, the kind of frustration and hostility that rises up constantly but has to be tamped back down in order to get through the day--but in the aftermath of a catastrophe like 9/11, the smallest things become unbearable. The Great New Wonderful doesn't rise to the scope of Robert Altman's best work (like Nashville), but it successfully avoids the forced pretensions of other ensemble pieces like Magnolia. Subtlety is too often invoked to excuse a lack of substance, but this movie genuinely makes small! nuances tangible and compelling. --Bret Fetzer

I Sell the Dead

• I SELL THE DEAD (DVD MOVIE)

Ein! Zwei! Die!
Get ready for the film that shocked Sundance, rocked Europe and knocked American horror fans out of their seats: When a group of medical students take a sex-and-booze-fueled ski vacation to a remote cabin in the Norwegian Alps, they uncover a dark secret from WWII that resurrects a battalion of uncontrollable, unstoppable and extremely undead Nazis. What follows is a blitzkrieg of bloodshed, body parts and action-packed zombie carnage that The New York Observer hails as relentless thrills, unimaginable horrors and a shock ending guaranteed to make you scream out loud! Writer/director Tommy Wirkola spares no amount of flesh-chomping, intestine-ripping, and chainsaw-slicing to deliver perhaps the finest Nazi Zombie movie of our time and one of the most ferocious, outrageous and over-the-top horror hits of the year!Let us begin with two words: "Nazi! zombies." Let us add two more: "Hitler's gold." Yes, it's true. These are the elements of Dead Snow, a Norwegian horror picture that unleashes an undead blitzkrieg across an otherwise inviting winter landscape. The five vacationing med students who have blundered into this backcountry in search of fun have no idea that their actions will draw the attention of the aforesaid zombies of the Third Reich (what these reanimated corpses are doing in the mountains of Norway will be explained in good time). It would be nice to report that Dead Snow lives up to the outrageousness of its concept, but far too much of this thing is taken up with standard-issue slasher tropes: self-conscious dialogue about the plot's resemblance to an Evil Dead scenario, gross-out moments for their own sake (a sequence in an outhouse is especially regrettable), and decidedly uneven acting. The movie earns a few points for a grabby nighttime opening sequence and its unhealthy devotio! n to the art of entrails stretching (which, when it comes to p! eople ha nging off snowy cliffs, can have practical applications you probably never even thought about). The enthusiastic mayhem can't be denied, so if a sheer body count is your yardstick, Dead Snow comes across. But given the proximity of Nazi gold and the possibilities suggested by Hitler's minions returning from their snowy graves, this movie disappoints. --Robert HortonEin! Zwei! Die!
Get ready for the film that shocked Sundance, rocked Europe and knocked American horror fans out of their seats: When a group of medical students take a sex-and-booze-fueled ski vacation to a remote cabin in the Norwegian Alps, they uncover a dark secret from WWII that resurrects a battalion of uncontrollable, unstoppable and extremely undead Nazis. What follows is a blitzkrieg of bloodshed, body parts and action-packed zombie carnage that The New York Observer hails as relentless thrills, unimaginable horrors and a shock ending guaranteed to make you scream out loud! Writer/direct! or Tommy Wirkola spares no amount of flesh-chomping, intestine-ripping, and chainsaw-slicing to deliver perhaps the finest Nazi Zombie movie of our time and one of the most ferocious, outrageous and over-the-top horror hits of the year!Let us begin with two words: "Nazi zombies." Let us add two more: "Hitler's gold." Yes, it's true. These are the elements of Dead Snow, a Norwegian horror picture that unleashes an undead blitzkrieg across an otherwise inviting winter landscape. The five vacationing med students who have blundered into this backcountry in search of fun have no idea that their actions will draw the attention of the aforesaid zombies of the Third Reich (what these reanimated corpses are doing in the mountains of Norway will be explained in good time). It would be nice to report that Dead Snow lives up to the outrageousness of its concept, but far too much of this thing is taken up with standard-issue slasher tropes: self-conscious dialogue about t! he plot's resemblance to an Evil Dead scenario, gross-o! ut momen ts for their own sake (a sequence in an outhouse is especially regrettable), and decidedly uneven acting. The movie earns a few points for a grabby nighttime opening sequence and its unhealthy devotion to the art of entrails stretching (which, when it comes to people hanging off snowy cliffs, can have practical applications you probably never even thought about). The enthusiastic mayhem can't be denied, so if a sheer body count is your yardstick, Dead Snow comes across. But given the proximity of Nazi gold and the possibilities suggested by Hitler's minions returning from their snowy graves, this movie disappoints. --Robert HortonNever Trust A Corpse
It was a time of ghouls, ghosts and most ghastly of all, the fine art of grave robbing. Dominic Monaghan of LORD OF THE RINGS and LOST stars as 19th century corpse snatcher Arthur Blake, who pilfered the cemeteries and coffins of England until his capture by police. But just before Blake is to meet the hangman s! noose, he will confess to a peculiar priest (Ron Perlman of HELLBOY and SONS OF ANARCHY) his gruesome tale of vampires, zombies and cadaver dealing that takes him from the savagery of the criminal underworld to the terrors of the undead. Producer Larry Fessenden (WENDIGO, THE LAST WINTER) and Angus Scrimm (PHANTASM) co-star in this deliriously grisly and hilarious homage to foggy graveyards, bloody mayhem and the golden age gothic horror.