If you crave an over-the-top historical kung fu-fantasy epic with a good dose of voluptuous nudity, bravura machismo, and passions so intense they verge on ridiculous, then Brotherhood of the Wolf is your movie. Based (loosely) on an 18th-century legend, this French film follows a hunky scientist (Samuel Le Bihan, who's sort of a second-string Christopher Lambert) and his Iroquois sidekick/spiritual partner (Mark Dacascos) as they pursue a monstrous wolf ravaging the French countryside. Along the way Le Bihan gets entwined with a beautiful noblewoman (Émilie Dequenne) and a gorgeous prostitute (Monica Belluci) with secrets. The plot grows more and more incomprehensible, but the mix of torrid emotions, outrageous action sequences, and lurid titillation is really what the movie is about. Ignore the highbrow philosophizing and confused political intrigue; just enjoy the sensual images. —Bret Fetzer

A movie that only true horror buffs could love, Army of Darkness is officially part 3 in the wild and wacky Evil Dead trilogy masterminded by the perversely inventive director Sam Raimi, who would later serve as executive producer of the popular syndicated TV series Hercules: The Legendary Journeys. Raimi's favorite actor, Bruce Campbell, returns as Ash (hero of the first two Evil Dead flicks), a hardware-store clerk who is magically transported—along with his beat-up Oldsmobile and a chainsaw attachment for his severed left forearm—to the brutal battlefields of the 14th century. He quickly assumes power (who else in the Middle Ages packs a shotgun and a chainsaw?), and unites his band of medieval knights against the dreaded Army of the Dead. Raimi gleefully subverts almost every horror-movie cliché as he serves up a nonstop parade of blood, gore, and vicious sword-bearing skeletons—an affectionate homage to animator Ray Harryhausen's classic Jason and the Argonauts. The frantic action is fun while it lasts, but even at 80 minutes Army of Darkness nearly wears out its welcome. You know that Raimi can maintain the mayhem for only so long before it grows tiresome, and fortunately this madcap movie quits while it's ahead. —Jeff Shannon

Don Coscarelli directs and Bruce Campbell stars as the King of Camp in this intentionally over-the-top schlockfest. Bubba Ho-Tep is partially about Elvis Presley and partially about the title character, an Egyptian cowboy zombie, but mostly it is about camp. The movie is equal parts story and back story. We learn through narration and flashback how Elvis didn't really die, ending up instead in a rest home in East Texas with JFK (played by Ossie Davis), who was dyed black and had his brain removed, presumably for reasons of national security. Campbell and Davis realize that something strange is going on when their rest-home compatriots start dropping off suspiciously. The whole movie leads up to a final showdown to the death with the Egyptian cowboy zombie who has been sucking the souls of their fellow residents because he thought no one would notice. The movie unfolds a bit slowly; it is, after all, a geriatrics-fight-Egyptian-cowboy-zombie movie. However, one wishes this self-conscious movie's pacing took its cue from the atypically fast-moving zombie instead of from the senior-citizen Elvis and JFK. In the end, though, Campbell is flawless as the aged King; his accent, intonations, glasses, and trademark karate are at the same time sincere and over the top. —Brian Saltzman

Innocuous, innocent, and somewhat idiotic, Disney's bubbleheaded road-movie comedy plays as a farcical remake of the 1976 cult TV-movie melodrama The Boy in the Plastic Bubble. Jake Gyllenhaal is the goodhearted innocent raised in a sort of human Habitrail of plastic rooms and rubber tunnels. To win back the girl of his dreams (Marley Shelton), he steps out of his indoor greenhouse and into a homemade Ziplock bubble suit. It's the usual story: naive innocent bounces down the highway like a beach ball with legs and wins over the wacky supporting cast of soft-hearted bikers, zombielike teenage cultists, and orphaned "freaks" through purity and pluck. The premise wears thin after a while, but Gyllenhaal keeps the film bounding along with goofy innocence and energetic eagerness. Swoosie Kurtz costars as his religious-zealot clinging mom. Watch for Fabio in an inspired cameo. —Sean Axmaker

Fran Rubel Kuzui's 1992 tongue-in-cheek vampire comedy is sugarcoated horror, an unusual mix of the cute and scary, with a splash of postmodern pop nonsense to give culture critics something to think about. Kristy Swanson plays a Valley Girl who learns she belongs to a line of ancient vampire killers. After training under the watchful eye of a mentor (Donald Sutherland), she becomes a spandex-wearing, kung-fu kicking, stake-stabbing babe and the mortal enemy of a narcissistic master vampire (Rutger Hauer). The accent is all on cheery attitude, though the action can be as authentically unnerving as any other halfway decent monster movie. Paul Reubens, formerly Pee-wee Herman, has a small role as Hauer's fanged familiar. —Tom Keogh

The tremendous charisma of Chow Yun-fat anchors this entertaining comic-book romp. Bulletproof Monk centers around a monk with no name (Chow) dedicated to protecting a sacred scroll that can give world-manipulating power to anyone who reads it. A hidden Nazi has been pursuing the scroll for 60 years and has finally caught up with the monk in present-day New York City; meanwhile, the monk suspects he may have found a disciple in a petty thief (Seann William Scott, Dude, Where's My Car?, American Pie) who's learned kung fu from watching double-feature chopsocky flicks. Don't let the presence of Chow Yun-fat lead you to expect much substance—this doesn't have the emotional scope of Crouching Tiger, Hidden Dragon or the visual panache of Hard-Boiled. But Bulletproof Monk is a cheerful, tightly edited, unpretentious action flick with flashes of humor, good for a mindless evening's entertainment. Also featuring Jaime (a.k.a. James) King (Blow). —Bret Fetzer

This fully animated series is based on the books by Richard Scarry which parents worldwide rely on to teach valuable lessons.

This special DVD collection features 10, half-hour television episodes adapted from his beloved Busytown book series.

Busytown is an enchanting place thats abuzz with energy and life. Young audiences love to sing and laugh along, as Huckle Cat and Lowly Worm make their way through the day. Always concerned for each other, the residents of Busytown make time for a song and a smile.

Each episode is an innovative blend of humor and learning based around six unforgettable friends and many other colorful characters from the amazing world of Richard Scarry s books. Viewers follow the friends as they scour Busytown looking for the answer to the episode s mystery. Every time looking for fun and adventure and with everyone driving their own unique vehicle, getting there is half the fun!

Despite box-office dominance during its opening weekend, The Butterfly Effect is better suited to guilty-pleasure viewing at home. When writer-directors Eric Bress and J. Mackye Gruber (who penned Final Destination 2) aren't breaking their own haphazard rules of logic, they're filling this sordid thriller with enough unpleasantness to make eternal damnation seem like an attractive alternative. In a role-reversal from his That '70s Show persona, Ashton Kutcher plays a college-age psychology student who discovers, by re-reading his childhood journals, that he can revisit his past and alter traumatic events, hoping to improve their previously unfortunate outcomes. Instead, this foolhardy experiment in chaos theory (the titular "butterfly effect," popularized by Jeff Goldblum in Jurassic Park) results in a variety of nightmarish permutations, each having dire consequences for him and/or his friends. This intriguing premise is explored with a few interesting twists and turns, but with subplots involving child pornography, animal cruelty, and profanely violent children, it's a stretch to call it entertainment. —Jeff Shannon

No Description Available
No Track Information Available
Media Type: DVD
Artist: HEARD/STERN/CURRY
Title: C.H.U.D.
Street Release Date: 05/04/2004
Domestic
Genre: HORROR

Murder, and its tale-telling aftermath, is the compelling subject of CSI: Crime Scene Investigation. Since it premiered on CBS on October 6, 2000, CSI was a ratings triumph, spawning a spinoff (CSI: Miami) and positioning itself for long-term success. As the first season demonstrates, creator Anthony Zuiker's foolproof formula was established early on, bolstered by a fine ensemble cast and requiring minimal tweaking as the season progressed; its Las Vegas-based "criminalists" eventually became "CSI" 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 coproducer 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's inaugural season remains addictively worthy of its lofty reputation. —Jeff Shannon

In this highly successful CBS series, Detective Gil Grissom (William Peterson) leads the Las Vegas Police Department's night shift Crime Scene Investigations Unit, one of the top-ranked crime labs in the country. Grissom, along with his tough Captain, Jim Brass (Paul Guilfoyle), takes on a series of cases which would be untouchable by other labs, in a city with a constant influx of visitors and a series of increasingly baffling crimes. This 6-DVD set includes all 23 episodes from the second season.

Format: DVD MOVIE

AS A LAST HURRAH AFTER COLLEGE, FRIENDS JEFF,KAREN,PAUL,MARCY AND BERT EMBARK ON A VACATION DEEP INTO THE MOUNTAINS. WITH THE TOP DOWN AND THE MUSIC UP THEY DRIVE TO A REMOTE CABIN TO ENJOY THEIR LAST DAYS OF DECADENCE BEFORE ENTERING THE WORKING WORLD. THEN SOMBODY GETS SICK.

Joshua Logan's 1967 film of the hit Broadway musical about the love triangle between King Arthur (Richard Harris), Guenevere (Vanessa Redgrave), and Sir Lancelot (Franco Nero) is strong on star emphasis and weak on such fundamentals as story and sets. Except for a handful of solidly dramatic scenes—such as Guenevere grieving, late in the film, for the ruination she and Lancelot have caused—there's not a lot to get excited about. (The story's theme of a lost, great society, however, certainly struck a chord in the 1960s.) The Lerner-Loewe songs ("If Ever I Would Leave You,""Camelot") pretty much sell themselves, even if they are, at best, only proficiently performed in this movie. —Tom Keogh

Alferd Packer was the only man in the United States ever convicted of cannibalism—what better hero for fellow Coloradan and future South Park creator Trey Parker to celebrate in music? Blue-eyed and boyish Parker was still in college when he wrote, directed, composed the songs for, and took the starring role as the innocent young Packer in this film, giving a gee- whiz performance as an ambitious pioneer who joins an ill-fated trek west that ends up stranded in the mountains. At times resembling a perverse community theater parody of Rodgers and Hammerstein ("My heart's as full as a baked po-ta-to!"), Parker bounces back and forth between cheery production numbers and goony songs ("Let's build a snowman," sings one starving-mad hiker) and grotesque gore (bloody body parts, festering sores, human hors d'oeuvres). It lacks in style and consistency and the juvenile gags and fart jokes wear thin over the course of a feature film, but Parker's sheer energy and inventiveness carry the overlong picture to a rousing conclusion. Regular Parker collaborators Matt Stone and Dian Bachar costar in this tuneful barbecue. —Sean Axmaker