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When Bryan Singer brought Marvel's X-Men to the big screen, ... Read more

When Bryan Singer brought Marvel's X-Men to the big screen, Magneto and Professor X were elder statesmen, but Matthew Vaughn (Kick-Ass) travels back in time to present an origin story--and an alternate version of history. While Charles Xavier (Laurence Belcher) grows up privileged in New York, Erik Lehnsherr (Bill Milner) grows up underprivileged in Poland. As children, the mind-reading Charles finds a friend in the shape-shifting Raven (Jennifer Lawrence) and Erik finds an enemy in Sebastian Shaw (Kevin Bacon), an energy-absorbing Nazi scientist who treats the metal-bending lad like a lab rat. By 1962, Charles (James McAvoy) has become a swaggering genetics professor and Erik (Michael Fassbender, McAvoy's Band of Brothers costar) has become a brooding agent of revenge. CIA agent Moira (Rose Byrne) brings the two together to work for Division X. With the help of MIB (Oliver Platt) and Hank (A Single Man's Nicholas Hoult), they seek out other mutants, while fending off Shaw and Emma Frost (Mad Men's January Jones), who try to recruit them for more nefarious ends, leading to a showdown in Cuba between the United States and the Soviet Union, the good and bad mutants, and Charles and Erik, whose goals have begun to diverge. Throughout, Vaughn crisscrosses the globe, piles on the visual effects, and juices the action with a rousing score, but it's the actors who make the biggest impression as McAvoy and Fassbender prove themselves worthy successors to Patrick Stewart and Ian McKellen. The movie comes alive whenever they take centre stage, and dies a little when they don't. For the most part, though, Vaughn does right by playing up the James Bond parallels and acknowledging the debt to producer Bryan Singer through a couple of clever cameos. --Kathleen C. Fennessy Minimize

When Bryan Singer brought Marvel's X-Men to the big screen, ... Read more

When Bryan Singer brought Marvel's X-Men to the big screen, Magneto and Professor X were elder statesmen, but Matthew Vaughn (Kick-Ass) travels back in time to present an origin story--and an alternate version of history. While Charles Xavier (Laurence Belcher) grows up privileged in New York, Erik Lehnsherr (Bill Milner) grows up underprivileged in Poland. As children, the mind-reading Charles finds a friend in the shape-shifting Raven (Jennifer Lawrence) and Erik finds an enemy in Sebastian Shaw (Kevin Bacon), an energy-absorbing Nazi scientist who treats the metal-bending lad like a lab rat. By 1962, Charles (James McAvoy) has become a swaggering genetics professor and Erik (Michael Fassbender, McAvoy's Band of Brothers costar) has become a brooding agent of revenge. CIA agent Moira (Rose Byrne) brings the two together to work for Division X. With the help of MIB (Oliver Platt) and Hank (A Single Man's Nicholas Hoult), they seek out other mutants, while fending off Shaw and Emma Frost (Mad Men's January Jones), who try to recruit them for more nefarious ends, leading to a showdown in Cuba between the United States and the Soviet Union, the good and bad mutants, and Charles and Erik, whose goals have begun to diverge. Throughout, Vaughn crisscrosses the globe, piles on the visual effects, and juices the action with a rousing score, but it's the actors who make the biggest impression as McAvoy and Fassbender prove themselves worthy successors to Patrick Stewart and Ian McKellen. The movie comes alive whenever they take centre stage, and dies a little when they don't. For the most part, though, Vaughn does right by playing up the James Bond parallels and acknowledging the debt to producer Bryan Singer through a couple of clever cameos. --Kathleen C. Fennessy Minimize

When Bryan Singer brought Marvel's X-Men to the big screen, ... Read more

When Bryan Singer brought Marvel's X-Men to the big screen, Magneto and Professor X were elder statesmen, but Matthew Vaughn (Kick-Ass) travels back in time to present an origin story--and an alternate version of history. While Charles Xavier (Laurence Belcher) grows up privileged in New York, Erik Lehnsherr (Bill Milner) grows up underprivileged in Poland. As children, the mind-reading Charles finds a friend in the shape-shifting Raven (Jennifer Lawrence) and Erik finds an enemy in Sebastian Shaw (Kevin Bacon), an energy-absorbing Nazi scientist who treats the metal-bending lad like a lab rat. By 1962, Charles (James McAvoy) has become a swaggering genetics professor and Erik (Michael Fassbender, McAvoy's Band of Brothers costar) has become a brooding agent of revenge. CIA agent Moira (Rose Byrne) brings the two together to work for Division X. With the help of MIB (Oliver Platt) and Hank (A Single Man's Nicholas Hoult), they seek out other mutants, while fending off Shaw and Emma Frost (Mad Men's January Jones), who try to recruit them for more nefarious ends, leading to a showdown in Cuba between the United States and the Soviet Union, the good and bad mutants, and Charles and Erik, whose goals have begun to diverge. Throughout, Vaughn crisscrosses the globe, piles on the visual effects, and juices the action with a rousing score, but it's the actors who make the biggest impression as McAvoy and Fassbender prove themselves worthy successors to Patrick Stewart and Ian McKellen. The movie comes alive whenever they take centre stage, and dies a little when they don't. For the most part, though, Vaughn does right by playing up the James Bond parallels and acknowledging the debt to producer Bryan Singer through a couple of clever cameos. --Kathleen C. Fennessy Minimize

Brian Henson directs his late father's creations in the Cha ... Read more

Brian Henson directs his late father's creations in the Charles Dickens classic, the best known (and most oft-filmed) Christmas story of all time. Michael Caine plays the old miser Scrooge with Kermit as his long-suffering but ever-hopeful employee Bob Cratchit, Miss Piggy as Cratchit's wife, and a host of Muppets (including the Great Gonzo as an unlikely Charles Dickens) taking other primary roles in this bright, playful adaptation of the sombre tale. Or at least it starts brightly enough--the anarchic humour soon settles into mirthful memories and a sense of melancholy as the ghosts of Christmas past, present, and future take Scrooge on a journey of his lonely, wasted life. Michael Caine makes a wonderful Scrooge, delightfully rediscovering the meaning of life as fantastic creations from Henson's Creature Shop (developed specially for this film) take the reins as the three ghosts. While the odd mix of offbeat humour and sombre drama undercuts the power of Dickens's drama, this kid-friendly retelling makes an excellent family drama that adults and children alike can enjoy. --Sean Axmaker Minimize

When Bryan Singer brought Marvel's X-Men to the big screen, ... Read more

When Bryan Singer brought Marvel's X-Men to the big screen, Magneto and Professor X were elder statesmen, but Matthew Vaughn (Kick-Ass) travels back in time to present an origin story--and an alternate version of history. While Charles Xavier (Laurence Belcher) grows up privileged in New York, Erik Lehnsherr (Bill Milner) grows up underprivileged in Poland. As children, the mind-reading Charles finds a friend in the shape-shifting Raven (Jennifer Lawrence) and Erik finds an enemy in Sebastian Shaw (Kevin Bacon), an energy-absorbing Nazi scientist who treats the metal-bending lad like a lab rat. By 1962, Charles (James McAvoy) has become a swaggering genetics professor and Erik (Michael Fassbender, McAvoy's Band of Brothers costar) has become a brooding agent of revenge. CIA agent Moira (Rose Byrne) brings the two together to work for Division X. With the help of MIB (Oliver Platt) and Hank (A Single Man's Nicholas Hoult), they seek out other mutants, while fending off Shaw and Emma Frost (Mad Men's January Jones), who try to recruit them for more nefarious ends, leading to a showdown in Cuba between the United States and the Soviet Union, the good and bad mutants, and Charles and Erik, whose goals have begun to diverge. Throughout, Vaughn crisscrosses the globe, piles on the visual effects, and juices the action with a rousing score, but it's the actors who make the biggest impression as McAvoy and Fassbender prove themselves worthy successors to Patrick Stewart and Ian McKellen. The movie comes alive whenever they take centre stage, and dies a little when they don't. For the most part, though, Vaughn does right by playing up the James Bond parallels and acknowledging the debt to producer Bryan Singer through a couple of clever cameos. --Kathleen C. Fennessy Minimize

This 1988 comedy starred and was scripted by John Cleese an ... Read more

This 1988 comedy starred and was scripted by John Cleese and directed by Charles Crichton, veteran Ealing Comedy director. After 1986's Clockwise--in which he played a manic loser similar to Basil Fawlty--A Fish Called Wanda saw Cleese opting for a more sympathetic lead role. Cleese plays Archie Leach (Cary Grant's real name), a barrister living a typically English life of quiet desperation, who falls prey to the American charms of Jamie Lee Curtis. Posing as a law student, she's actually involved in a diamond robbery with psychotic but occasionally clueless Kevin Kline ("The London Underground is not a revolutionary movement!") and Michael Palin, an animal rights' activist. A Fish Called Wanda is, typically of Cleese, well constructed but the romantic heart of the movie softens it a little. It was intended as a satire on Anglo-American differences but most people remember it for a running joke involving squashed dogs, the chips up Palin's nose and the scene where Cleese is hung out of a window by his ankles. The same cast reassembled for 1997's vastly inferior Fierce Creatures.--David Stubbs Minimize

Brian Henson directs his late father's creations in the Cha ... Read more

Brian Henson directs his late father's creations in the Charles Dickens classic, the best known (and most oft-filmed) Christmas story of all time. Michael Caine plays the old miser Scrooge with Kermit as his long-suffering but ever-hopeful employee Bob Cratchit, Miss Piggy as Cratchit's wife, and a host of Muppets (including the Great Gonzo as an unlikely Charles Dickens) taking other primary roles in this bright, playful adaptation of the sombre tale. Or at least it starts brightly enough--the anarchic humour soon settles into mirthful memories and a sense of melancholy as the ghosts of Christmas past, present, and future take Scrooge on a journey of his lonely, wasted life. Michael Caine makes a wonderful Scrooge, delightfully rediscovering the meaning of life as fantastic creations from Henson's Creature Shop (developed specially for this film) take the reins as the three ghosts. While the odd mix of offbeat humour and sombre drama undercuts the power of Dickens's drama, this kid-friendly retelling makes an excellent family drama that adults and children alike can enjoy. --Sean Axmaker Minimize

Fans of Robert Zemeckis's brilliant special effects, and of ... Read more

Fans of Robert Zemeckis's brilliant special effects, and of Jim Carrey's transformative acting abilities, will be swept away by their collaboration in the stunning A Christmas Carol. Perhaps more surprising is that Charles Dickens purists will also be impressed and captivated by this version of the oft-told tale--which is dark, complex, and in its way, uncompromising. Which is all to say that this Christmas Carol is an instant holiday classic, easily taking its place alongside the Alistair Sim version, the Patrick Stewart version, and even the Mr. Magoo version of the tale of Ebenezer Scrooge and his ultimate holiday redemption. Carrey is dazzling as not only Scrooge, the most miserable, and miserly, man in 19th-century England, but as the Ghosts of Christmases Past, Present, and Future. As with The Polar Express, Zemeckis animates the film over the actors' physical performances onscreen, but here, the emotion is intact--even heightened by the brilliant effects. Joining Carrey in the cast are terrific players, including Gary Oldman (Bob Cratchit, Tiny Tim, and the ghost of Marley), Cary Elwes, Bob Hoskins, and Robin Wright Penn. But the heart of the film is Carrey, whose dramatic acting has shone in films like The Truman Show and Lemony Snicket's A Series of Unfortunate Events. The emotional connection Carrey makes with his characters is what brings Dickens's classic alive--and what connects the viewer with the true spirit of the holidays. "God bless us, every one". --A.T. Hurley Minimize

"I'm not a drinker--I'm a drunk." These words, and the seri ... Read more

"I'm not a drinker--I'm a drunk." These words, and the serious message behind them, were still potent enough in 1945 to shock audiences flocking to The Lost Weekend. The speaker is Don Birnam (Ray Milland), a handsome, talented, articulate alcoholic. The writing team of producer Charles Brackett and director Billy Wilder pull no punches in their depiction of Birnam's massive weekend bender, a tailspin that finds him reeling from his favorite watering hole to Bellevue Hospital. Location shooting in New York helps the street-level atmosphere, especially a sequence in which Birnam, a budding writer, tries to hock his typewriter for booze money. He desperately staggers past shuttered storefronts--it's Yom Kippur, and the pawnshops are closed. Milland, previously known as a lightweight leading man (he'd starred in Wilder's hilarious The Major and the Minor three years earlier), burrows convincingly under the skin of the character, whether waxing poetic about the escape of drinking or screaming his lungs out in the D.T.'s sequence. Wilder, having just made the ultra-noir Double Indemnity, brought a new kind of frankness and darkness to Hollywood's treatment of a social problem. At first the film may have seemed too bold; Paramount Pictures nearly killed the release of the picture after it tested poorly with preview audiences. But once in release, The Lost Weekend became a substantial hit, and won four Oscars: for picture, director, screenplay, and actor. --Robert Horton Minimize

"I'm not a drinker--I'm a drunk." These words, and the seri ... Read more

"I'm not a drinker--I'm a drunk." These words, and the serious message behind them, were still potent enough in 1945 to shock audiences flocking to The Lost Weekend. The speaker is Don Birnam (Ray Milland), a handsome, talented, articulate alcoholic. The writing team of producer Charles Brackett and director Billy Wilder pull no punches in their depiction of Birnam's massive weekend bender, a tailspin that finds him reeling from his favorite watering hole to Bellevue Hospital. Location shooting in New York helps the street-level atmosphere, especially a sequence in which Birnam, a budding writer, tries to hock his typewriter for booze money. He desperately staggers past shuttered storefronts--it's Yom Kippur, and the pawnshops are closed. Milland, previously known as a lightweight leading man (he'd starred in Wilder's hilarious The Major and the Minor three years earlier), burrows convincingly under the skin of the character, whether waxing poetic about the escape of drinking or screaming his lungs out in the D.T.'s sequence. Wilder, having just made the ultra-noir Double Indemnity, brought a new kind of frankness and darkness to Hollywood's treatment of a social problem. At first the film may have seemed too bold; Paramount Pictures nearly killed the release of the picture after it tested poorly with preview audiences. But once in release, The Lost Weekend became a substantial hit, and won four Oscars: for picture, director, screenplay, and actor. --Robert Horton Minimize

Back in 1991, Steven Spielberg came something of a cropper ... Read more

Back in 1991, Steven Spielberg came something of a cropper when he dug into the story of Peter Pan, and tried to establish what happened once everyone had grown up. Neverland has a lot more luck going the other way, though. It sets its story before the well known adventures of Peter Pan, and tries to find out just how he became who he was. To do this, it moves the story back to the start of the 20th Century, and crucially, pulls in a really impressive cast. Writer and director Nick Willing has brought together Charlie Rowe as Peter, along with Bob Hoskins as Smee--reprising the role he played in the aforementioned Hook. Then there's Anna Friel, Charles Dance, Keira Knightley voicing Tinkerbell, and Rhys Ifans stealing any scene he's let near as James Hook. It's Ifans who you long to see as much of on the screen, and Neverland doesn't disappoint. He does the role proud. This release sees the original mini-series brought together in one, and it's all the better for it. It's a rollicking adventure, with its ambitions firmly in entertaining a family audience. What's particularly impressive is that it finds interesting things to do with a bunch of characters familiar to most, if not all, of us to some extent. And, more than that, that familiarity adds to the fun. An excellent family adventure, with good, broad appeal. --Jon Foster Minimize

At a time when too many animated films consist of anthropom ... Read more

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 discovers a stowaway: 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 Minimize

Back in 1991, Steven Spielberg came something of a cropper ... Read more

Back in 1991, Steven Spielberg came something of a cropper when he dug into the story of Peter Pan, and tried to establish what happened once everyone had grown up. Neverland has a lot more luck going the other way, though. It sets its story before the well known adventures of Peter Pan, and tries to find out just how he became who he was. To do this, it moves the story back to the start of the twentieth century, and crucially, pulls in a really impressive cast. Writer and director Nick Willing has brought together Charlie Rowe as Peter, along with Bob Hoskins as Smee--reprising the role he played in the aforementioned Hook. Then there's Anna Friel, Charles Dance, Keira Knightley voicing Tinkerbell, and Rhys Ifans stealing any scene he's let near as James Hook. It's Ifans who you long to see as much of on the screen, and Neverland doesn't disappoint. He does the role proud. This release sees the original mini-series brought together in one, and it's all the better for it. It's a rollicking adventure, with its ambitions firmly in entertaining a family audience. What's particularly impressive is that it finds interesting things to do with a bunch of characters familiar to most, if not all, of us to some extent. And, more than that, that familiarity adds to the fun. An excellent family adventure, with good, broad appeal. --Jon Foster Minimize

Political drama doesn't get more near the knuckle than Mich ... Read more

Political drama doesn't get more near the knuckle than Michael Dobbs' House of Cards trilogy, adapted for the screen by Andrew Davies and originally broadcast in the post-Thatcher years of the early 1990s. A splendid dissection of naked ambition, greed and rampant hypocrisy in the corridors of power, the original four-part series House of Cards documents in thrilling detail the rise of Tory Chief Whip Francis Urquhart (magnificent Ian Richardson), a man who likes to "put the stick about a bit" and has unwavering contempt for those with "no background, no bottom". With the downfall of Margaret Thatcher, a bitter internecine power struggle ensues within the Conservative Party. Urquhart schemes more devilishly than Iago to depose Thatcher's colourless John Major-style successor. And even Machiavelli would baulk at Urquhart's methods: any and every act--including murder--are legitimate as the end very much justifies the means. Idealistic journalist Matti Storin (Susannah Harker) becomes embroiled in Urquhart's nefarious plans (and ends up in his bed) as she attempts to question him about what's really going on: "You might think so, I couldn't possibly comment," is Urquhart's mantra of hypocrisy. In To Play the King, the second part of the trilogy, we find our anti-hero comfortably installed as PM at No. 10 but facing a fresh challenge in the person of the newly crowned King (Michael Kitchen in a pitch-perfect Prince Charles impersonation), who wears his social conscience on his sleeve and publicly opposes Urquhart's hardline policies. With the help of political analyst and new mistress Sarah Harding (Kitty Aldridge), as well as that of his ambitious wife Elizabeth (Diane Fletcher), Urquhart is forced to resort to still more underhand plots. Then, in The Final Cut, we find Urquhart determined to last as long in office as Mrs Thatcher (whose statue, much to his chagrin, is about to be unveiled in front of his window). But ambitions to make a mark on the world stage, as well as his wife's desire to provide themselves a comfortable retirement nest egg, lead him into the choppy international waters of the Cyprus situation. The temptations of corrupt businessmen and his wife's goading might just have pushed Urquhart's luck too far this time. Throughout, Richardson is a delight as the hypocritical, arrogant patrician who loathes the hoi polloi whose favour he must court at election time, and manipulates all his minions with a ruthless singlemindedness of purpose. However much a monster he seems, though, the viewer might just find themselves secretly admiring his determination and his lion-like strength of will: in contrast to many drab modern politicians, at least he knows what he wants, and makes sure he gets it. If it's strong leadership you want, Urquhart's your man. On the DVD: The House of Cards trilogy has the three four-part series on three double-sided discs, with two hour-long episodes on each side of each disc. The first episodes come with a commentary from Andrew Davies and Ian Richardson, who share their memories and anecdotes. --Mark Walker Minimize

Political drama doesn't get more near the knuckle than Mich ... Read more

Political drama doesn't get more near the knuckle than Michael Dobbs' House of Cards trilogy, adapted for the screen by Andrew Davies and originally broadcast in the post-Thatcher years of the early 1990s. A splendid dissection of naked ambition, greed and rampant hypocrisy in the corridors of power, the original four-part series House of Cards documents in thrilling detail the rise of Tory Chief Whip Francis Urquhart (magnificent Ian Richardson), a man who likes to "put the stick about a bit" and has unwavering contempt for those with "no background, no bottom". With the downfall of Margaret Thatcher, a bitter internecine power struggle ensues within the Conservative Party. Urquhart schemes more devilishly than Iago to depose Thatcher's colourless John Major-style successor. And even Machiavelli would baulk at Urquhart's methods: any and every act--including murder--are legitimate as the end very much justifies the means. Idealistic journalist Matti Storin (Susannah Harker) becomes embroiled in Urquhart's nefarious plans (and ends up in his bed) as she attempts to question him about what's really going on: "You might think so, I couldn't possibly comment," is Urquhart's mantra of hypocrisy. In To Play the King, the second part of the trilogy, we find our anti-hero comfortably installed as PM at No. 10 but facing a fresh challenge in the person of the newly crowned King (Michael Kitchen in a pitch-perfect Prince Charles impersonation), who wears his social conscience on his sleeve and publicly opposes Urquhart's hardline policies. With the help of political analyst and new mistress Sarah Harding (Kitty Aldridge), as well as that of his ambitious wife Elizabeth (Diane Fletcher), Urquhart is forced to resort to still more underhand plots. Then, in The Final Cut, we find Urquhart determined to last as long in office as Mrs Thatcher (whose statue, much to his chagrin, is about to be unveiled in front of his window). But ambitions to make a mark on the world stage, as well as his wife's desire to provide themselves a comfortable retirement nest egg, lead him into the choppy international waters of the Cyprus situation. The temptations of corrupt businessmen and his wife's goading might just have pushed Urquhart's luck too far this time. Throughout, Richardson is a delight as the hypocritical, arrogant patrician who loathes the hoi polloi whose favour he must court at election time, and manipulates all his minions with a ruthless singlemindedness of purpose. However much a monster he seems, though, the viewer might just find themselves secretly admiring his determination and his lion-like strength of will: in contrast to many drab modern politicians, at least he knows what he wants, and makes sure he gets it. If it's strong leadership you want, Urquhart's your man. On the DVD: The House of Cards trilogy has the three four-part series on three double-sided discs, with two hour-long episodes on each side of each disc. The first episodes come with a commentary from Andrew Davies and Ian Richardson, who share their memories and anecdotes. --Mark Walker Minimize

Although it's not as bold as Oscar darling Chicago, The Pha ... Read more

Although it's not as bold as Oscar darling Chicago, The Phantom of the Opera continues the resuscitation of the movie musical with a faithful adaptation of Andrew Lloyd Webber's blockbuster stage musical. Emmy Rossum glows in a breakout role as opera ingénue Christine Daae, and if phantom Gerard Butler isn't Rossum's match vocally, he does convey menace and sensuality in such numbers as "The Music of the Night." The most experienced musical theater veteran in the cast, romantic lead Patrick Wilson, sings sweetly but seems wooden. The biggest name in the cast, Minnie Driver, hams it up as diva Carlotta, and she's the only principal whose voice was dubbed (though she does sing the closing-credit number, "Learn to Be Lonely," which is also the only new song). Director Joel Schumacher, no stranger to visual spectacle, seems to have found a good match in Lloyd Webber's larger-than-life vision of Gaston LeRoux's Gothic horror-romance. His weakness is cuing too many audience-reaction shots and showing too much of the lurking Phantom, but when he calms down and lets Rossum sings "Wishing You Were Somehow Here Again" alone in a silent graveyard, it's exquisite. Those who consider the stage musical shallow and overblown probably won't have their minds changed by the movie, and devotees will forever rue that the movie took the better part of two decades to develop, which prevented the casting of original principals Michael Crawford and Sarah Brightman. Still, The Phantom of the Opera is a welcome exception to the long line of ill-conceived Broadway-to-movie travesties. DVD Features The two-disc edition of The Phantom of the Opera has two major extras. "Behind the Mask: The Story of The Phantom of the Opera" is an hourlong documentary tracing the genesis of the stage show, with interviews by composer Andrew Lloyd Webber, director Harold Prince, producer Cameron Macintosh, lyricists Richard Stilgoe and Charles Hart, choreographer Gillian Lynne, and others. Conspicuously absent are stars Sarah Brightman and Michael Crawford. Both do appear in video clips, including Brightman performing with Colm Wilkinson at an early workshop, and Crawford is the subject of a casting segment. Other brief scenes from the show are represented by a 2001 production. The other major feature is the 45-minute making-of focusing on the movie, including casting and the selection of director Joel Schumacher Both are well-done productions by Lloyd Webber's Really Useful Group. The deleted scene is a new song written by Lloyd Webber and Charles Hart, "No One Would Listen," sung by the Phantom toward the end of the movie. It's a beautiful song that, along with Madame Giry's story, makes him a more sympathetic character. But because that bit of backstory already slowed down the ending, it was probably a good move to cut the song. --David Horiuchi Important note: Initial playback of this DVD defaults to the DTS (Digital Theatre System) soundtrack, therefore customers without such equipment will not hear any sound. Please note that this is NOT a fault with the DVD. If you are not in possession of a DTS compatible sound amplifier, you need to change the film's soundtrack type from the main menu. In order to do this, please follow the instructions below: 1. Click the "set-up" option. 2. Select either Dolby Digital Surround Sound or Dolby Digital Stereo as appropriate. 3. Select "Play Movie". The film will now play with a universal audible soundtrack. Minimize

United Kingdom released, PAL/Region 2.4 DVD: LANGUAGES: Eng ... Read more

United Kingdom released, PAL/Region 2.4 DVD: LANGUAGES: English ( Dolby Digital Stereo ), English ( Subtitles ), WIDESCREEN (1.78:1), SPECIAL FEATURES: 2-DVD Set, Interactive Menu, Scene Access, SYNOPSIS: Created by some of Britain's finest comedy talents, Horrible Histories tells children about all the best bits of history and brings it to life with brilliant sketches, songs, cartoons and quizzes. Containing all 13 episodes from Series 2, this fantastic DVD is packed full of your Horrible Histories favourites including 'Stupid Deaths', the 'Bob Reports', 'Ready Steady Feast', and 'Historical Hospital'. Along with fantastic new features - 'D.I Bones, the Historical Detective', 'Vincent Larfoff' and his 'Scary Stories', find out about the fashions of yesteryear in 'Historical Fashion Fix', and see what it would have been like if the characters from history had access to the internet in 'Historical Desktops'! With loads more terrific musical numbers, including Spartan High School Musical, the Viking Rock Band, punky Queen Boudicca, posh rapper Charles II and World War 2 girl power, this really is the funniest, fastest, nastiest and daftest ride through history you're ever likely to see... ...Horrible Histories - Series 2 - 2-DVD Set ( Horrible Histories - Series Two ) Minimize

United Kingdom released, PAL/Region 2.4 DVD: LANGUAGES: Eng ... Read more

United Kingdom released, PAL/Region 2.4 DVD: LANGUAGES: English ( Dolby Digital Stereo ), English ( Subtitles ), WIDESCREEN (1.78:1), SPECIAL FEATURES: 2-DVD Set, Interactive Menu, Scene Access, SYNOPSIS: Created by some of Britain's finest comedy talents, Horrible Histories tells children about all the best bits of history and brings it to life with brilliant sketches, songs, cartoons and quizzes. Containing all 13 episodes from Series 2, this fantastic DVD is packed full of your Horrible Histories favourites including 'Stupid Deaths', the 'Bob Reports', 'Ready Steady Feast', and 'Historical Hospital'. Along with fantastic new features - 'D.I Bones, the Historical Detective', 'Vincent Larfoff' and his 'Scary Stories', find out about the fashions of yesteryear in 'Historical Fashion Fix', and see what it would have been like if the characters from history had access to the internet in 'Historical Desktops'! With loads more terrific musical numbers, including Spartan High School Musical, the Viking Rock Band, punky Queen Boudicca, posh rapper Charles II and World War 2 girl power, this really is the funniest, fastest, nastiest and daftest ride through history you're ever likely to see... ...Horrible Histories - Series 2 - 2-DVD Set ( Horrible Histories - Series Two ) Minimize

Although it's not as bold as Oscar darling Chicago, The Pha ... Read more

Although it's not as bold as Oscar darling Chicago, The Phantom of the Opera continues the resuscitation of the movie musical with a faithful adaptation of Andrew Lloyd Webber's blockbuster stage musical. Emmy Rossum glows in a breakout role as opera ingénue Christine Daae, and if phantom Gerard Butler isn't Rossum's match vocally, he does convey menace and sensuality in such numbers as "The Music of the Night." The most experienced musical theater veteran in the cast, romantic lead Patrick Wilson, sings sweetly but seems wooden. The biggest name in the cast, Minnie Driver, hams it up as diva Carlotta, and she's the only principal whose voice was dubbed (though she does sing the closing-credit number, "Learn to Be Lonely," which is also the only new song). Director Joel Schumacher, no stranger to visual spectacle, seems to have found a good match in Lloyd Webber's larger-than-life vision of Gaston LeRoux's Gothic horror-romance. His weakness is cuing too many audience-reaction shots and showing too much of the lurking Phantom, but when he calms down and lets Rossum sings "Wishing You Were Somehow Here Again" alone in a silent graveyard, it's exquisite. Those who consider the stage musical shallow and overblown probably won't have their minds changed by the movie, and devotees will forever rue that the movie took the better part of two decades to develop, which prevented the casting of original principals Michael Crawford and Sarah Brightman. Still, The Phantom of the Opera is a welcome exception to the long line of ill-conceived Broadway-to-movie travesties. DVD Features The two-disc edition of The Phantom of the Opera has two major extras. "Behind the Mask: The Story of The Phantom of the Opera" is an hourlong documentary tracing the genesis of the stage show, with interviews by composer Andrew Lloyd Webber, director Harold Prince, producer Cameron Macintosh, lyricists Richard Stilgoe and Charles Hart, choreographer Gillian Lynne, and others. Conspicuously absent are stars Sarah Brightman and Michael Crawford. Both do appear in video clips, including Brightman performing with Colm Wilkinson at an early workshop, and Crawford is the subject of a casting segment. Other brief scenes from the show are represented by a 2001 production. The other major feature is the 45-minute making-of focusing on the movie, including casting and the selection of director Joel Schumacher Both are well-done productions by Lloyd Webber's Really Useful Group. The deleted scene is a new song written by Lloyd Webber and Charles Hart, "No One Would Listen," sung by the Phantom toward the end of the movie. It's a beautiful song that, along with Madame Giry's story, makes him a more sympathetic character. But because that bit of backstory already slowed down the ending, it was probably a good move to cut the song. --David Horiuchi Important note: Initial playback of this DVD defaults to the DTS (Digital Theatre System) soundtrack, therefore customers without such equipment will not hear any sound. Please note that this is NOT a fault with the DVD. If you are not in possession of a DTS compatible sound amplifier, you need to change the film's soundtrack type from the main menu. In order to do this, please follow the instructions below: 1. Click the "set-up" option. 2. Select either Dolby Digital Surround Sound or Dolby Digital Stereo as appropriate. 3. Select "Play Movie". The film will now play with a universal audible soundtrack. Minimize