Studio: Lions Gate Home Ent. Release Date: 01/27/2009

Studio: Lions Gate Home Ent. Release Date: 03/06/2007

Studio: Lions Gate Home Ent. Release Date: 03/06/2007

Based on the autobiographical novels of children's author Laura Ingalls Wilder the beloved 1970s television drama Little House On The Prairie chronicles the trials and tribulations of a loving family on the American frontier during the late 1800s. Centered around farmer Charles Ingalls (Michael Landon) his wife Caroline (Karen Grassle) and their three daughters Mary (Melissa Sue Anderson) Laura (Melissa Gilbert) and Carrie (twins Lindsay and Sidney Greenbush) the series also features a strong supporting cast of characters that make up the town of Walnut Grove providing a warm and textured portrait of 19th-century frontier life. This collection includes all 18 episodes of the family drama's seventh season which includes Laura's marriage to Almanzo Wilder (Dean Butler).Little House On The Prairie Debuted on NBC on September 11th 1974. Based on the best-selling books by Laura Ingalls Wilder this classic television series was nominated for 17 Emmy Awards and 3 Golden Globes. The series captured the hearts of viewers around the world by telling the dramatic and gripping story of a young pioneer family's struggle to build a new life for themselves on the American Frontier of the 1870's.System Requirements: Running Time 1200 MinFormat: DVD MOVIE Genre: TELEVISION/SERIES & SEQUELS UPC: 069458121637 Manufacturer No: A021434

From the moment that Prince Eric's ship emerged from the fog in the opening credits it was apparent that Disney had somehow, suddenly recaptured that "magic" that had been dormant for thirty years. In the tale of a headstrong young mermaid who yearns to "spend a day, warm on the sand," Ariel trades her voice to Ursula, the Sea Witch (classically voiced by Pat Carroll), for a pair of legs. Ariel can only succeed if she receives true love's kiss in a few day's time and she needs all the help she can from a singing crab named Sebastian, a loudmouth seagull, and a flounder. The lyrics and music by Howard Ashman and Alan Menken are top form: witty and relevant, and they advance the story (go on, hum a few bars of "Under the Sea"). Mermaid put animation back on the studio's "to do" list and was responsible for ushering Beauty and the Beast to theaters. A modern Disney classic. —Keith Simanton

Studio: New Line Home Video Release Date: 01/08/2008

The greatest trilogy in film history, presented in the most ambitious sets in DVD history, comes to a grand conclusion with the extended edition of The Lord of the Rings: The Return of the King. Not only is the third and final installment of Peter Jackson's adaptation of the works of J.R.R. Tolkien the longest of the three, but a full 50 minutes of new material pushes the running time to a whopping 4 hours and 10 minutes. The new scenes are welcome, and the bonus features maintain the high bar set by the first two films, The Fellowship of the Ring and The Two Towers.

What's New?
One of the scenes cut from the theatrical release but included here, the resolution of the Saruman storyline, generated a lot of publicity when the movie opened, as actor Christopher Lee complained in the press about losing his only appearance. It's an excellent scene, one Jackson calls "pure Tolkien," and provides better context for Pippin to find the wizard's palantir in the water, but it's not critical to the film. In fact, "valuable but not critical" might sum up the ROTK extended edition. It's evident that Jackson made the right cuts for the theatrical run, but the extra material provides depth and ties up a number of loose ends, and for those sorry to see the trilogy end (and who isn't?) it's a welcome chance to spend another hour in Middle-earth. Some choice moments are Gandalf's (Ian McKellen) confrontation with the Witch King (we find out what happened to the wizard's staff), the chilling Mouth of Sauron at the gates of Mordor, and Frodo (Elijah Wood) and Sam (Sean Astin) being mistaken for Orc soldiers. We get to see more of Éowyn (Miranda Otto), both with Aragorn and on the battlefield, even fighting the hideously deformed Orc lieutenant, Gothmog. We also see her in one of the most anticipated new scenes, the Houses of Healing after the battle of the Pelennor Fields. It doesn't present Aragorn (Viggo Mortensen) as a savior as the book did, but it shows the initial meeting between Éowyn and Faramir (David Wenham), a relationship that received only a meaningful glance in the theatrical cut.

If you want to completely immerse yourself in Peter Jackson's marvelous and massive achievement, only the extended edition will do.
And for those who complained, no, there are no new endings, not even the scouring of the Shire, which many fans were hoping to see. Nor is there a scene of Denethor (John Noble) with the palantir, which would have better explained both his foresight and his madness. As Jackson notes, when cuts are made, the secondary characters are the first to go, so there is a new scene of Aragorn finding the palantir in Denethor's robes. Another big difference is Aragorn's confrontation with the King of the Dead. In the theatrical version, we didn't know whether the King had accepted Aragorn's offer when the pirate ships pulled into the harbor; here Jackson assumes that viewers have already experienced that tension, and instead has the army of the dead join the battle in an earlier scene (an extended cameo for Jackson). One can debate which is more effective, but that's why the film is available in both versions. If you feel like watching the relatively shorter version you saw in the theaters, you can. If you want to completely immerse yourself in Peter Jackson's marvelous and massive achievement, only the extended edition will do.

How Are the Bonus Features?
To complete the experience, The Return of the King provides the same sprawling set of features as the previous extended editions: four commentary tracks, sharp picture and thrilling sound, and two discs of excellent documentary material far superior to the recycled material in the theatrical edition. Those who have listened to the seven hours of commentary for the first two extended editions may wonder if they need to hear more, but there was no commentary for the earlier ROTK DVD, so it's still entertaining to hear Jackson break down the film (he says the beacon scene is one of his favorites), discuss differences from the book, point out cameos, and poke fun at himself and the extended-edition concept ("So this is the complete full strangulation, never seen before, here exclusively on DVD!"). The documentaries (some lasting 30 minutes or longer) are of their usual outstanding quality, and there's a riveting storyboard/animatic sequence of the climactic scene, which includes a one-on-one battle between Aragorn and Sauron.

One DVD Set to Rule Them All
Peter Jackson's trilogy has set the standard for fantasy films by adapting the Holy Grail of fantasy stories with a combination of fidelity to the original source and his own vision, supplemented by outstanding writing, near-perfect casting, glorious special effects, and evocative New Zealand locales. The extended editions without exception have set the standard for the DVD medium by providing a richer film experience that pulls the three films together and further embraces Tolkien's world, a reference-quality home theater experience, and generous, intelligent, and engrossing bonus features. —David Horiuchi

The extended edition of The Lord of the Rings: The Fellowship of the Ring was perhaps the most comprehensive DVD release to date, and its follow-up proves a similarly colossal achievement, with significant extra footage and a multitude of worthwhile bonus features. The extended version of The Two Towers adds 43 minutes to the theatrical version's 179-minute running time, and there are valuable additions to the film. Two new scenes might appease those who feel that the characterization of Faramir was the film's most egregious departure from the book, and fans will appreciate an appearance of the Huorns at Helm's Deep plus a nod to the absence of Tom Bombadil. Seeing a little more interplay between the gorgeous Eowyn and Aragorn is welcome, as is a grim introduction to Eomer and Theoden's son. And among the many other additions, there's an extended epilogue that might not have worked in the theater, but is more effective here in setting up The Return of the King. While the 30 minutes added to The Fellowship of the Ring felt just right in enriching the film, the extra footage in The Two Towers at times seems a bit extraneous—we see moments that in the theatrical version we had been told about, and some fleshed-out conversations and incidents are rather minor. But director Peter Jackson's vision of J.R.R. Tolkien's world is so marvelous that it's hard to complain about any extra time we can spend there.

While it may seem that there would be nothing left to say after the bevy of features on the extended Fellowship, the four commentary tracks and two discs of supplements on The Two Towers remain informative, fascinating, and funny, far surpassing the recycled materials on the two-disc theatrical version. Highlights of the 6.5 hours' worth of documentaries offer insight on the stunts, the design work, the locations, and the creation of Gollum, and—most intriguing for rabid fans—the film's writers (including Jackson) discuss why they created events that weren't in the book. Providing variety are animatics, rough footage, countless sketches, and a sound-mixing demonstration. Again, the most interesting commentary tracks are by Jackson and writers Fran Walsh and Philippa Boyens and by 16 members of the cast (eight of whom didn't appear in the first film, and even including John Noble, whose Denethor character only appears in this extended cut). The first two installments of Peter Jackson's trilogy have established themselves as the best fantasy films of all time, and among the best film trilogies of all time, and their extended-edition DVD sets have set a new standard for expanding on the already-epic films and providing comprehensive bonus features. —David Horiuchi

Studio: New Line Home Video Release Date: 01/08/2008

By following up their debut thriller Bound with the 1999 box-office smash The Matrix, the codirecting Wachowski brothers—Andy and Larry—annihilated any suggestion of a sophomore jinx, crafting one of the most exhilarating sci-fi/action movies of the 1990s. Set in the not too distant future in an insipid, characterless city, we find a young man named Neo (Keanu Reeves). A software techie by day and a computer hacker by night, he sits alone at home by his monitor, waiting for a sign, a signal—from what or whom he doesn't know—until one night, a mysterious woman named Trinity (Carrie-Anne Moss) seeks him out and introduces him to that faceless character he has been waiting for: Morpheus (Laurence Fishburne). A messiah of sorts, Morpheus presents Neo with the truth about his world by shedding light on the dark secrets that have troubled him for so long: "You've felt it your entire life, that there's something wrong with the world. You don't know what it is, but it's there, like a splinter in your mind, driving you mad." Ultimately, Morpheus illustrates to Neo what the Matrix is—a reality beyond reality that controls all of their lives, in a way that Neo can barely comprehend.

Neo thus embarks on an adventure that is both terrifying and enthralling. Pitted against an enemy that transcends human concepts of evil, Morpheus and his team must train Neo to believe that he is the chosen champion of their fight. With mind-boggling, technically innovative special effects and a thought-provoking script that owes a debt of inspiration to the legacy of cyberpunk fiction, this is much more than an out-and-out action yarn; it's a thinking man's journey into the realm of futuristic fantasy, a dreamscape full of eye candy that will satisfy sci-fi, kung fu, action, and adventure fans alike. Although the film is headlined by Reeves and Fishburne—who both turn in fine performances—much of the fun and excitement should be attributed to Moss, who flawlessly mixes vulnerability with immense strength, making other contemporary female heroines look timid by comparison. And if we were going to cast a vote for most dastardly movie villain of 1999, it would have to go to Hugo Weaving, who plays the feckless, semipsychotic Agent Smith with panache and edginess. As the film's box-office profits soared, the Wachowski brothers announced that The Matrix is merely the first chapter in a cinematically dazzling franchise—a chapter that is arguably superior to the other sci-fi smash of 1999 (you know... the one starring Jar Jar Binks). —Jeremy Storey

Guy Pearce (L.A. Confidential) and Joe Pantoliano (The Matrix) shine in this absolute stunner of a movie. Memento combines a bold, mind-bending script with compelling action and virtuoso performances. Pearce plays Leonard Shelby, hunting down the man who raped and murdered his wife. The problem is that "the incident" that robbed Leonard of his wife also stole his ability to make new memories. Unable to retain a location, a face, or a new clue on his own, Leonard continues his search with the help of notes, Polaroids, and even homemade tattoos for vital information.

Because of his condition, Leonard essentially lives his life in short, present-tense segments, with no clear idea of what's just happened to him. That's where Memento gets really interesting; the story begins at the end, and the movie jumps backward in 10-minute segments. The suspense of the movie lies not in discovering what happens, but in finding out why it happened. Amazingly, the movie achieves edge-of-your-seat excitement even as it moves backward in time, and it keeps the mind hopping as cause and effect are pieced together.

Pearce captures Leonard perfectly, conveying both the tragic romance of his quest and his wry humor in dealing with his condition. He is bolstered by several excellent supporting players, and the movie is all but stolen from him by Pantoliano, who delivers an amazing performance as Teddy, the guy who may or may not be on his side. Memento has an intriguing structure and even meditations on the nature of perception and meaning of life if you go looking for them, but it also functions just as well as a completely absorbing thriller. It's rare to find a movie this exciting with so much intelligence behind it. —Ali Davis

The folks at Pixar can do no wrong with Monsters, Inc., the studio's fourth feature film, which stretches the computer animation format in terms of both technical complexity and emotional impact. The giant, blue-furred James P. "Sulley" Sullivan (wonderfully voiced by John Goodman) is a scare-monster extraordinaire in the hidden world of Monstropolis, where the scaring of kids is an imperative in order to keep the entire city running. Beyond the competition to be the best at the business, Sullivan and his assistant, the one-eyed Mike Wazowski (Billy Crystal), discover what happens when the real world interacts with theirs in the form of a 2-year-old baby girl dubbed "Boo," who accidentally sneaks into the monster world with Sulley one night. Director Pete Doctor and codirectors David Silverman and Lee Unkrich follow the Pixar (Toy Story) blueprint with an imaginative scenario, fun characters, and ace comic timing. By the last heart-tugging shot, kids may never look at monsters the same, nor artists at what computer animation can do in the hands of magicians. —Doug Thomas

Could this be the funniest movie ever made? By any rational measure of comedy, this medieval romp from the Monty Python troupe certainly belongs on the short list of candidates. According to Leonard Maltin's Movie & Video Guide, it's "recommended for fans only," but we say hogwash to that—you could be a complete newcomer to the Python phenomenon and still find this send-up of the Arthurian legend to be wet-your-pants hilarious. It's basically a series of sketches woven together as King Arthur's quest for the Holy Grail, with Graham Chapman as the King, Terry Gilliam as his simpleton sidekick Patsy, and the rest of the Python gang filling out a variety of outrageous roles. The comedy highlights are too numerous to mention, but once you've seen Arthur's outrageously bloody encounter with the ominous Black Knight (John Cleese), you'll know that nothing's sacred in the Python school of comedy. From holy hand grenades to killer bunnies to the absurdity of the three-headed knights who say "Ni—!,—!," this is the kind of movie that will strike you as fantastically funny or just plain silly, but why stop there? It's all over the map, and the pace lags a bit here and there, but for every throwaway gag the Pythons have invented, there's a bit of subtle business or grand-scale insanity that's utterly inspired. The sum of this madness is a movie that's beloved by anyone with a pulse and an irreverent sense of humor. If this movie doesn't make you laugh, you're almost certainly dead. —Jeff Shannon

Studio: Hbo Home Video Release Date: 01/06/2009 Run time: 288 minutes Rating: Nr