The Matrix Revisited is a two-hour documentary that covers each and every aspect of the making of this ground-breaking movie in enough detail to satisfy even the most demanding of fans. There are contributions from all the principal cast and crew, who guide us from the story's inception in the minds of the Wachowski brothers right through to the preparatory work for the next two instalments. Also on the disc are: a teaser montage of behind-the-scenes footage for the follow-up movies, a section on the newly commissioned Japanimation "Animatrix" features, fight choreographer Yuen Wo Ping's blocking tapes, a piece about the fans, a breakdown of the bathroom fight and wet-wall sequence, a plug for the Web site and DVD-ROM extras. If that's not enough, there are even hidden extra "Easter eggs", including one about the woman in the red dress. Plenty, in fact, to keep fans satisfied until the second instalment arrives in cinemas. --Mark Walker
Combat veteran Carter Greene (Jane) lives alone in a rustic farmhouse where he grieves the death of his young son and the resulting failure of his marriage. Meanwhile, Bird is an orphan who's experienced too much loss for somebody so young. As Bird mourns her parents on the anniversary of their death, she watches professional assassin Sade (Fishburne) storm the graveyard and kill a group of funeral goers. Terrified, Bird springs into the woods, followed closely by the sadistic assassin. She eventually takes shelter in Carter's farmhouse, where Carter vows to protect her and avenge the murder of her family.
One Man. Two Lives. Countless Enemies. Marked for death by a biker gang ex-Marine convict Tim Kearney (Paul Walker) just got one last chance to walk out of jail alive. A scheming DEA agent (Laurence Fishburne) needs somebody to impersonate recently deceased drug-lord Bobby Z... and Tim happens to be a dead ringer. It's a risky proposition but if Tim plays his part right he may be able to claim Bobby Z's smoking hot exgirlfriend (Olivia Wilde) and a cool fortune in illegal profits. Unfortunately taking on Bobby Z's name also means taking on his bloodthirsty enemies. Caught in the crossfire Tim runs for his life as he tries to find a way out of his deadly masquerade.
Now firmly established as one of the top-rated television dramas, by its third year CSI: Crime Scene Investigation is a show positively glowing with confidence. Even when individual cases seem either too contrived or too easily resolved, the indefatigable night shift at the Las Vegas PD crime lab always look the part, solving conundrums and discovering microscopic damning evidence while, apparently, never shedding their own loose hair or skin cells all over the supposedly quarantined crime scenes. In reality, Catherine Willows' flowing blonde locks would contaminate any evidence she collected, but in the world of CSI only the bad guys leave body parts behind--the CSIs themselves are so good they're positively pristine. The 23 episodes of season 3 on this five-disc set present more deliciously bizarre situations for the problem-solving sleuths: cannibalism, snuff movies, dwarfs, death while drag racing, bodies falling from the sky, and various dismemberments all tax the team's acumen. These are all double or multiple-case episodes, though in a characteristic trick of the writing sometimes apparently unrelated murders turn out to be connected (or vice versa, as in "Blood Lust," in which a road-accident victim is not what he seems, and the death of the driver at the hands of an angry mob is made all the more tragic). The mix of genuine forensic science with the glossiest Jerry Bruckheimer production values, plus the virtues of a good ensemble cast headed by William Peterson's modern-day Sherlock Holmes, remains as compelling as ever. --Mark Walker
A group of elite warriors are hunted by members of a merciless alien race known as Predators.
Laurence Fishburne delivers an explosive performance in this career enhancing role as an Islamic terrorist who captures a Dutch civilian setting off a thrilling game of one-upsmanship punctuated by riveting suspense and a dynamite shocker ending you'll watch twice - to make sure you got it right. Martijn (Ryan Phillipe) is on a goodwill mission in Morocco when he is stabbed with a syringe and wakes up blindfolded and shackled in a hideout. His captors (Fishburne) want information - and they'll do anything to get it. So Martijn had better come up with a plan of action because he's running out of time..money.. and fingers.
King of New York is a low-budget crime thriller has the feel of a major blockbuster and owes its roots to the hard-edged crime movies of the 1930s. Christopher Walken stars as a drug kingpin who is released from prison and vows to use his position and influence--and criminal enterprise--for charitable means. But a core group of New York cops are all over him and his gang, determined to go to war, whatever the cost, to bring him down. Eventually his empire--headquartered at, of all places, Donald Trump's Plaza Hotel--crumbles under the weight of double-crossing and a body count of open warfare with the cops. This is one of the most stylish films of the last decade, with a strong supporting cast (including Lawrence Fishburne, Wesley Snipes, and David Caruso) and some truly enthralling set pieces, including a stunning car chase and gunfight across a rain-soaked Queensboro Bridge. The film's tongue-in-cheek, over-the-top style offsets its nihilism; and its riveting visuals will have audiences hooked from beginning to end. --Robert Lane
Boyz N The Hood (Dir. John Singleton) (1991): Boyz N The Hood is the critically acclaimed story about three friends growing up in a South Central Los Angeles neighborhood, and of street life where friendship, pain, danger and love combine to form reality. The Hood is a place where drive-by shootings and unemployment are rampant. But it is also a place where harmony co-exists with adversity, especially for the three young men growing up there: Doughboy (Ice Cube), an unambitious drug dealer; his brother Ricky (Morris Chestnut), a college-bound teenage father; and Ricky's best friend, Tre (Cuba Gooding Jr.), who aspires to a brighter future beyond the The Hood.In a world where a trip to the store can end in death, the friends have diverse reactions to their bleak surroundings. Tre's resolve is strengthened by a strong father (Larry Fishburne) who keeps him on the right track. But the lessons Tre learns are put to the ultimate test when tragedy strikes close to home, and violence seems like the only recourse. This powerful portrait of black urban America is a film of enormous relevance and importance. --Roger Ebert, Chicago Sun-Times.8 Mile (Dir. Curtis Hanson) (2002): The people of Detroit know 8 Mile as the city limit, a border, a boundary. It is also a psychological dividing line that separates Jimmy Smith Jr. (Eminem) from where and who he wants to be...
The first big budget movie from the controversial director of Driller Killer and Bad Lieutenant features an unforgettable performance from Christopher Walken as gangland supremo Frank White. Recently released from prison White sets out to be ""King of New York"" by gaining control of a multiracial gang of drug dealers - to the horror of the Traditional Mafia - and the city's poorest area. But New York's streets have grown meaner since Frank last walked them. Enemies on both sides of the law are determined to stop him in his criminal and philanthropic ventures and the consequences can only be violent.
Jimmy Vaughn arrives at a save house to torture information out of Archie Gold. He appears to be just another simple-minded thug. Little do we know that Jimmy's real name is Kevin Cole an undercover FBI agent determined to penetrate a powerful crime syndicate led by the infamous and faceless Ziggy. Archie is accused of stealing million from Ziggy and Kevin is in charge of finding where the money is by any means necessary. Meanwhile Kevin's father FBI director Jack Cole tries to take him off the undercover assignment. Jack had worked on the Ziggy case 25 years ago and he knows the depths of evil the mans is capable of. As the interrogation methods intensify Archie reveals more and more about Ziggy to Kevin. At the same time the mission begins to take its toll on Kevin and his personal life as nightmares of Archie and his family plague Kevin. But unfortunately Archie remains Kevin's only link to the mysterious Ziggy. Soon the line between Jimmy and Kevin completely extinguishes when the FBI and Ziggy's crime syndicate collide in a bloody shootout. How far will Kevin go to unmask Ziggy? When it's all over will Kevin or Jimmy be the one who remains standing?
When The Odds Are Against You You Have To Face Them Fighting. Sometimes life throws a curve ball a fork in the road or a wall between you and what you want. For Socrates Fortlow life keeps getting in the way but nothing stays in the way of a man with his mission. Socrates is going to make it - his way on his terms - and if you aren't part of the solution then you know where you stand. If you're a killer terrorizing the neighborhood you'll have to deal with him first. If you're a beautiful woman who deserves more attention attention will be paid. If you're a witness to a murder and you need protection you're staying alive in his hands. Life's questions can be hard but the answers are easy: When it comes to trouble you look for the man who's still standing. Because the way he's fighting for his life is the way you want him fighting for yours.
The year is 2047. Years earlier the pioneering research vessel Event Horizon vanished without a trace. Now a signal from it has been detected and the United States Aerospace Command responds. Hurtling toward the signal's source are a fearless captain (Laurence Fishburne) his elite crew and the lost ship's designer (Sam Neill). Their mission: find and salvage the state-of-the-art spacecraft. What they find is state-of-the-art interstellar terror. What they must salvage are their own lives because someone or something is ready to ensnare them in a new dimension of unimaginable fear.
Runaway Jury: The stakes are extremely high in an explosive trial when the widow of a gun massacre victim represented by attorney Wendell Rohr (Dustin Hoffman) sues the gun's powerful manufacturer. Now with millions of dollars in the balance 12 jurors must decide if the gun maker was negligent. However unscrupulous jury consultant Rankin Fitch (Gene Hackman) believes the verdict is too important to be left in the hands of a jury and will spare no expense to ensure the chosen jury remain sympathetic to his client. Tension mounts and tables are turned as it comes to light that the jury is being manipulated by one of its own Nicholas Easter (John Cusack) with the aid of a beautiful woman (Rachel Weisz) on the outside to swing the verdict in the direction of the highest bidder... Class Action: Lawyer Jebediah Ward devoted to defending victims of large corporations and the State is fighting for compensation for the victims of automobile accidents involving defective cars. However it turns out that the manufacturer in his latest case is being defended by none other than Ward's daughter...
The best daze of your life. Available on DVD for the first time! Remember back in the day? Director Spike Lee (Do The Right Thing) does igniting a battle of the sexes in School Daze his groundbreaking urban musical-comedy that dares to take a taboo-smashing look at Historical Afro-American college life like no film before or since tackling topics only talked about behind closed doors. Loaded with enough romance rivalries and rituals School Daze is
The Wachowski Brothers' The Matrix took the well-worn science fiction idea of virtual reality, added supercharged Hollywood gloss and a striking visual style and stole The Phantom Menace's thunder as the must-see movie of the summer of 1999. Laced with Star Wars-like Eastern mysticism, and featuring thrilling martial arts action choreographed by Hong Kong action director Yuen Woo Ping (Crouching Tiger, Hidden Dragon), The Matrix restored Keanu Reeves to genre stardom following virtual reality dud Johnny Mnemonic (1995), and made a star of Carrie-Anne Moss, who followed this with the challenging perception twister Memento (2000). Helping the film stand out from rivals Dark City (1998) and The Thirteenth Floor (1999) was the introduction of the celebrated "bullet time" visual effects, though otherwise the war-against-the-machines story, hard-hitting style and kinetic set-pieces such as the corporate lobby shoot-out lean heavily on Terminator 2: Judgment Day (1991). Elsewhere the influence of John Woo, from the ultra-cool near real-world SF of Face/Off (1997) to the raincoats and sunglasses look of bullet-ballet A Better Tomorrow, is clearly in evidence. The set-up isn't without its absurdities, though--quite why super-intelligent machines bother to use humans as batteries instead of something more docile like cows, for example, is never explained, nor is how they expect these living batteries to produce more energy than it takes to maintain them. The Matrix is nevertheless exhilarating high-octane entertainment, although as the first part of a trilogy it perhaps inevitably doesn't have a proper ending. On the DVD: the anamorphically enhanced 2.35:1 image is virtually flawless, exhibiting only the grain present in the theatrical print, while the Dolby Digital 5.1 sound is demonstration quality, showing off the high-impact sound effects and Don Davis' fine score to great effect. Special features are "data files" on the main stars, producer and director and "Follow the White Rabbit", which if selected while viewing the movie offers behind the scenes footage. This is interesting, but gimmicky, requires switching back from widescreen to 4:3 each time, and would be better if it could be accessed directly from one menu. There is also a standard 25-minute TV promo film which is as superficial as these things usually are. --Gary S Dalkin
Murder, and its tale-telling aftermath, is the compelling subject of CSI: Crime Scene Investigation. Since its inauguration in late 2000 CSI has been a ratings triumph, spawned two spinoffs (CSI: Miami and CSI: New York and positioning itself for long-term success. Creator Anthony Zuiker's foolproof formula was established early on, bolstered by a fine ensemble cast and requiring minimal tweaking as the seasons progressed; its Las Vegas-based "criminalists" eventually became "CSIs" steeped in the scientific minutiae of forensic investigation, but the series arrived essentially intact, with an irresistible (and seemingly inexhaustible) supply of corpses and the mysteries that surround them. Influenced by the graphic precedent of movies like Seven and Kiss the Girls, CSI matches morbidity with dispassionate methodology; viewers are so fascinated by the investigative process that they're unfazed by intimate autopsies and internal (i.e., digitally animated) views of traumatized flesh, bone, and sinew. While keeping abreast of cutting-edge technologies, CSI combines the ingenuity (and fallibility) of villains with the appealing humanity of its heroes. CSI director and entomologist Gil Grissom (played by series co-producer William Petersen) is introverted but ethically intense; he's both mentor and moral compass for his night-shift team, including a former stripper-turned-CSI (Marg Helgenberger); a recovering gambler (Gary Dourdan); an eager ace (George Eads) with room for improvement; a workaholic (Jorja Fox) who can't always remain emotionally detached from her cases; and a chief detective (Paul Guilfoyle) who's a necessary link to police procedure. Like The X-Files, CSI supports its characters with feature-film production values, employing a Rashomon structure that turns murder into a progressively accurate study of cause and effect. Script quality is consistently high ("Blood Drops" and "Unfriendly Skies" are exceptional), direction is slick and sophisticated, and the mysteries are complex enough to invite multiple viewings. Despite a regrettable shortage of DVD features, CSI remains addictively worthy of its lofty reputation. --Jeff Shannon
The opening reels of Matrix Revolutions do nothing to dispel the feeling of exhausted disappointment that set in during the second half of The Matrix Reloaded. There's plenty more talky guff combined with the picking-up of hard-to-remember plot threads as Neo (Keanu Reeves) lies in a coma in the "real" world and is stranded on a tube station in a limbo "beyond the Matrix" while his allies do a reprise of the shooting-their-way-past-the-bodyguards bit from the last film (this time, the baddies can walk on the ceiling). A new Oracle (Mary Alice) makes some pronouncements about the end being near and more things happen--including the evil Agent Smith (Hugo Weaving) manifesting in reality by possessing a minor character and perfidiously blinding our hero, who wears a becoming ribbon over his wounded eyes and perceives the world in an impressive "flaming truth vision". What about the action? The equivalent of the last film's freeway chase scene is a huge face-off as the Sentinels (robot squids) finally breach the caverns of Zion, "the last human city", and swarm against a battalion of pilot-manipulated giant robots: here, the effects are seamless and the images astonishing, though the fact that none of the major characters are involved and the whole thing goes on so long as if designed to top any previous robot-on-robot screen carnage means that it becomes monotonously amazing, like watching someone else play a great computer game. After a too-easily-managed major realignment of the enmities, the film--and the series--finally delivers a sign-off sequence that's everything you could want as Neo and Smith get into a kung fu one-on-one in a rain-drenched virtual city, flying as high as Superman and Brainiac in smart suits. It comes too late to save the day and the wrap-up is both banal and incoherent, but at least this single combat is a reward for hardy veterans who've sat through seven hours of build-up. --Kim NewmanOn the DVD: when the first Matrix DVD was released, with never-before-seen features such as the "Follow the White Rabbit" option, it set a benchmark against which subsequent discs were judged. But neither sequel has lived up to the original's high standards. The Matrix Revolutions two-disc set is an unexceptional package, with a routine "making of" featurette being the main bonus item. Amid all the usual backslapping guff about how great everyone is and what a great time they've all had, it's possible to glean some nuggets of useful information about the baffling plot--though cast and crew can't repress a note of weariness creeping in when discussing the horribly protracted shooting schedule. The feature on the CG Revolution is the most informative for people who like to know how everything was done, and, in the same vein, there's also a multi-angle breakdown of the Super Burly Brawl. A 3-D timeline gives a handy summary of the story so far, and there's a plug for The Matrix Online game. The anamorphic 2.40:1 picture is, of course, a real treat to look at, even if the movie is mostly shades of dark grey and dark green; soundwise the dynamic range of the Dolby Digital surround is extreme: all conversations are conducted in throaty whispers, while the action sequences will push your speakers to the limit. No DTS option, though. And as with Reloaded, there's no audio commentary either: the Wachowski's policy of not talking about their creation begins to seem like a ploy to avoid answering awkward questions. --Mark Walker
Neo and the leaders of the human resistance discover that Sentinels are burrowing their way towards Zion. Estimating they have perhaps just 72 hours until an all-out assault Neo must return back into the Matrix and find the keymaker to gain access to the mainframe to ensure human survival...
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