DVDpedia : Library : Title : H

Theatrical: 1964

Studio: Miramax Entertainment

Genre: Musicals & Performing Arts

Duration: 87

Summary: The Fab Four from Liverpool--John Lennon, Paul McCartney, George Harrison, and Ringo Starr--in their first movie. Nobody expected "A Hard Day's Night" to be much more than a quick exploitation of a passing musical fad, but when the film opened it immediately seduced the world--even the stuffiest critics fell over themselves in praise (highbrow Dwight Macdonald called it "not only a gay, spontaneous, inventive comedy but it is also as good cinema as I have seen for a long time"). Wisely, screenwriter Alun Owen based his script on the Beatles' actual celebrity at the time, catching them in the delirious early rush of Beatlemania: eluding rampaging fans, killing time on trains and in hotels, appearing on a TV broadcast. American director Richard Lester, influenced by the freestyle French New Wave and British "Goon Show" humor, whips up a delightfully upbeat circus of perpetual motion. From the opening scene of the mop tops rushing through a train station mobbed by fans, the movie rarely stops for air. Some of the songs are straightforwardly presented, but others ("Can't Buy Me Love," set to the foursome gamboling around an empty field) soar with ingenuity. Above all, the Beatles express their irresistible personalities: droll, deadpan, infectiously cheeky. Better examples of pure cinematic joy are few and far between. "--Robert Horton"

Theatrical: 1997

Studio: Columbia/Tristar Studios

Genre: Drama

Duration: 102

Summary: Before hitting the big time with his second film Boogie Nights, young filmmaker Paul Thomas Anderson impressed critics with this deftly conceived, low-budget film noir chamber piece. With its minimalist plot, deliberate pacing, and brief, but shocking bursts of violence, Hard Eight won't please everyone, but Anderson and his first-rate cast were clearly working on the same authentic wavelength. It's a mystery at first why a solemn professional gambler (Philip Baker Hall in a captivating performance) cares for a down-and-out loser (John C. Reilly) and a dimwit, Reno cocktail waitress (Gwyneth Paltrow). But his motivations become clear--and the movie packs a quietly effective punch--when the gambler faces blackmail by a small-time crook (Samuel L. Jackson). This unheralded film seemed like a closely kept secret itself, until it showed up on the 1997 top-10 lists of several prominent critics. In tandem with Boogie Nights, it marked the arrival of a new filmmaker whose talent is as impressive as that of that other '90s hotshot, Quentin Tarantino. --Jeff Shannon

Theatrical: 2004

Studio: New Line Home Entertainment

Genre: Comedy

Duration: 88

Summary: From the director of "Dude, Where's My Car?" comes another crazed tale of two friends on a perilous quest--in this case, to eat burgers at the fast food restaurant White Castle. The pair--repressed Harold (John Cho, "Better Luck Tomorrow") and freewheeling Kumar (Kal Penn, "Love Don't Cost a Thing")--get extremely high and set off on the road, only to be sidetracked by skateboarding hooligans, racist cops, an inbred tow truck driver, and Neil Patrick Harris--yes, Doogie Howser, M.D. The humor is all over the map, and it would be nice if there were one female character who wasn't a caricature, but "Harold and Kumar Go to White Castle" has a loose, gregarious charm, and the movie's canniness about the cliches of the buddy-movie genre give it a sneaky subversive feel--just the fact that neither of the heroes is white puts a different spin on just about every circumstance. Surprisingly clever, cheerfully stupid. "--Bret Fetzer"

Theatrical: 1971

Studio: Paramount Studio

Genre: Comedy

Duration: 91

Summary: This movie is my official screening device for future friends and lovers. I know many kind and wonderful people who could not appreciate this film, and god bless 'em. But if I want to know right away if there's any possibility of someone "getting" me or a deeper connection between myself and them, I ask them if they like this movie. If they haven't seen it, I lend it to them.

Theatrical: 1991

Studio: Paramount Studios

Genre: Documentary

Duration: 96

Summary: Hearts of Darkness is an engrossing, unwavering look back at Francis Coppola's chaotic, catastrophe-plagued Vietnam production, Apocalypse Now. Filled with juicy gossip and a wonderful behind-the-scenes look at the stressful world of moviemaking, the documentary mixes on-location home movies shot in the Philippines by Eleanor Coppola, the director's wife, with revealing interviews with the cast and crew, shot 10 years later. Similar to Burden of Dreams, Les Blank's absorbing portrait of Werner Herzog's struggle to make Fitzcarraldo, the film chronicles Coppola's eventual decent into obsessive psychosis as everything that could go wrong does go wrong. Storms destroy sets, money evaporates, the Philippine government continually harasses the director, Coppola has romantic affairs, and he can't write the story's ending. Everything is captured on film. In the most disturbing scene, we watch Martin Sheen have a drunken nervous breakdown while his director goads him on (he eventually suffered a heart-attack, but finished the film). Other incredible footage is not visual, but aural as the film includes tapes Eleanor Coppola recorded without Francis's knowledge. In them, he truly sounds like a madman as he confesses his fears about making a bomb of a movie. But while Hearts of Darkness is an amazing, voyeuristic experience, its importance lies in the personal reflections offered by those involved. Sheen, Coppola, and Dennis Hopper speak frankly without embarrassment, offering us an essential piece of film history. --Dave McCoy

Theatrical: 2004

Studio: Columbia Tristar Hom

Genre: Science Fiction & Fantasy

Duration: 122

Summary: A demon, raised from infancy after being conjured by and rescued from the Nazis, grows up to become a defender against the forces of darkness.

Theatrical: 1998

Studio: Sony Pictures

Genre: Comedy

Duration: 138

Summary: Simon (James Urbaniak), a shy garbage man, lives with his sister (Parker Posey of "Party Girl" and "Waiting for Guffman", among dozens of other movies) and mother, who both treat him with minimal respect. Into Simon's life comes Henry Fool (Thomas Jay Ryan), a heavy-drinking self-proclaimed great writer who goads Simon into writing an enormous poem. The poem becomes the source of great controversy, proclaimed by some as a great work of art, denounced by others as perverse trash. As Simon's star rises, he tries to draw attention to Henry's work as well, to little avail. Though the premise seems simple, "Henry Fool" takes on something of an epic sweep as it follows the effects of fame on Simon's and Henry's lives. This rumination on art and inspiration was hailed by some critics as the best film yet by writer-director Hal Hartley ("Trust", "Simple Men", "Amateur"), while others felt it brought out his worst self-indulgences. All of Hartley's movies defy easy interpretation, and "Henry Fool" is no exception. Still, it's a rare film that even tries to tackle such subjects, let alone does so with a combination of intelligence and humor (ranging from verbal quirkiness to scatological embarrassment). Hartley's films, surprisingly enough, feel warmer and more accessible on video; perhaps watching them in one's home makes them seem more intimate and less abstract. "--Bret Fetzer"

Theatrical: 1982

Studio: BBC Video

Genre: Science Fiction & Fantasy

Duration: 110

Summary: The production values aren't the greatest here, but this adaptation does capture some of the ebullient, hilarious anarchy of Douglas Adams's book. Arthur Dent discovers that his friend, Ford Prefect, isn't human at all but an alien on assignment, writing for the "Hitchhiker's Guide to the Galaxy". Many of Adams's delicious asides are dropped off here, like the woman who figures out the meaning of life right at the moment that she gets blown up with the rest of the Earth, but it retains what it can. Sure, the book was better, and the realization of Zaphod Beeblebox and Trillian are, well, just different, but it's a great introduction to the series for the uninitiated. "--Keith Simanton"

Theatrical: 1980

Studio: Columbia/Tristar Studios

Genre: Comedy

Duration: 91

Summary: You've got to give credit to the Hollywood Knights. They may be crass, juvenile, sex-mad pranksters, but they have an open-door policy: nerds and jocks alike are welcome, as long as they show proper disrespect for authority. The Hollywood Knights, a minor 1980 cult comedy poised somewhere between the innocent nostalgia of American Graffiti and the raunchy humor of Animal House, chronicles the antics of a practical-joking high school gang on Halloween night, 1965. In tribute to the last night of their favorite hangout, a Beverly Hills drive-in marked for destruction by the snooty Chamber of Commerce, the gang's court jester Newbomb Turk (Robert Wuhl in his film debut) leads the Knights in an all-out assault on the forces of law and order, conformity, and good taste. Nestled in the parade of toilet humor, fart jokes, mooning rebels, and topless co-eds, however, are the ruminations of the end of an era: the times they are a changin'. The doo-wop and surf soundtrack gives way to Motown, the Mamas and the Papas, and the Byrds as high school sweethearts Tony Danza and Michelle Pfeiffer weather the transition from puppy love to adult romance and Vietnam looms on the horizon. It's a schizophrenic film, bopping from juvenile anarchy to thoughtful drama and back again with a sloppy but energetic drive and a rowdy rebelliousness that will never be accused of sensitivity, decency, or dignity. Fran Drescher, Gary Graham, and a hilarious Stuart Pankin also star. --Sean Axmaker

Theatrical: 2006

Studio: Universal Studios

Genre: Drama

Duration: 127

Summary: The fact-based mystery of "Hollywoodland" takes place in 1959, when the death of "Adventures of Superman" TV star George Reeves cast a pall over the waning days of golden-age Hollywood. As written by Paul Bernbaum, this intriguing whodunit effectively evokes the tainted atmosphere that surrounded Reeves' death (officially ruled a suicide but never conclusively solved), and speculates on circumstances to suggest that Reeves may have been murdered. In combining the melancholy course of Reeves' career with the investigation of a down-and-out private detective into the possible causes of Reeves' death, the film evolves into an engrossing study of parallels between lives on either side of the Hollywood dream. Building upon a distinguished career in TV including episodes of HBO's "The Sopranos", "Rome" and "Six Feet Under", director Allen Coulter finds a satisfying balance between the tragic overtones of the Reeves case and the time-honored elements of the gumshoe genre, with Adrien Brody doing fine work as private eye Louis Simo, a fictional composite character who is our conduit to the desperate yearnings of Reeves' final months.
In a critically acclaimed performance, Ben Affleck plays Reeves in moody flashbacks, caught between "Superman" stardom and financial dependence on his lover Toni Mannix (Diane Lane), the somewhat predatory wife of Hollywood "fixer" and MGM honcho Eddie Mannix (Bob Hoskins), whose mob connections suggest foul play as Simo's investigation progresses. Reeves' subsequent lover (played by Robin Tunney) may also be culpable, and as Simo's own personal life unravels, his empathy for Reeves takes on added significance. In presenting its mystery as a set of plausible scenarios, "Hollywoodland" holds interest as a mystery that's refreshingly compassionate toward the fate of its characters. Warts and all, they're likable dreamers in a town where dreams don't always come true. "--Jeff Shannon"

Theatrical: 2008

Studio:

Genre: Music Video & Concerts

Duration: 150

Summary: After playing to capacity crowds throughout 2006 and 2007, Blue Man Group's How to Be a Megastar Tour hits the road again in 2008. The live rock show takes the audience through a satirical workshop on how to create the perfect rock concert experience. In the process, they celebrate, skewer and otherwise deconstruct rock stardom in all of its narcissistic glory. Expanding on the Rock Concert Manual concept from The Complex Rock Tour, this time around the Blue Men download a new how-to manual that takes the audience through a uniquely clever and interactive show that guarantees to deliver hypnotic entertainment for all ages. CD/DVD of Blue Man Group's live concert that is currently touring the world. It will feature a live concert on DVD, a distilled version of that show on CD as well as the documentary Inside The Tube and the video I Feel Love as bonus features.

Theatrical: 1994

Studio: Warner Studios

Genre: Comedy

Summary: The Coen brothers (Raising Arizona, Fargo) have become the most consistently original filmmakers in the land. In a salute/reworking of the fast-talking comedies of the '40s, we follow Norville Barnes (Tim Robbins) and his amazing rise to the top. But he's only a puppet for the evil Sidney J. Mussburger (Paul Newman), who wants the company for himself. The Coens' design is the real star, and their first big-budget film will stimulate movie fans. The story weakens in the middle, but you will find very few films that move with this much imagination. As a Kate Hepburn hybrid, Jennifer Jason Leigh is wonderful in an almost unplayable role. The less you know about the film, the better it plays, so just think of it as How to Succeed in Business Without Really Trying mixed with Brazil and every journalistic drama made before 1960. Cowritten by Sam Raimi. --Doug Thomas

Theatrical: 2001

Studio: New Line Home Entertainment

Genre: Comedy

Duration: 96

Summary: This fascinating comedy questions what we mean when we use words like "nature" and "civilization." Lila (Patricia Arquette, Lost Highway, True Romance), a nature writer who grows hair all over her body, falls in love with Nathan (Tim Robbins, The Player, The Hudsucker Proxy), a scientist attempting to teach table manners to mice. While hiking in the woods, they discover Puff (Rhys Ifans, Notting Hill), a man raised in the wild since childhood, whom Nathan seizes as a test subject for his experiments--and soon these three, along with Nathan's French lab assistant (Miranda Otto) are embroiled in criss-crossed love affairs as they (and the audience) attempt to figure out what it means to be true to one's own nature. Though Human Nature isn't as surefooted as Being John Malkovich (which was also written by distinctive screenwriter Charlie Kaufman), it has moments of startling comic genius. --Bret Fetzer

Theatrical: 1990

Studio: Paramount Studio

Genre: Action & Adventure

Duration: 134

Summary: Before Harrison Ford assumed the mantle of playing Tom Clancy's Jack Ryan hero in Patriot Games, Alec Baldwin took a swing at the character in this John McTiernan film and hit one to the fence. If less instantly sympathetic than Ford, Baldwin is in some respects more interesting and nuanced as Ryan, and drawing comparisons between both actors' performances can make for some interesting postmovie discussion. That aside, The Hunt for Red October stands alone as a uniquely exciting adventure with a fantastic costar: Sean Connery as a Russian nuclear submarine captain attempting to defect to the West on his ship. Ryan must figure out his true motives for approaching the U.S. McTiernan (Predator, Die Hard) made an exceptionally handsome movie here with action sequences that really do take one's breath away. --Tom Keogh