Brad Oscar

As noted critic Pauline Kael wrote, the 1987 box-office hit The Untouchables is "like an attempt to visualize the public's collective dream of Chicago gangsters." In other words, this lavish reworking of the vintage TV series is a rousing potboiler from a bygone era, so beautifully designed and photographed--and so craftily directed by Brian De Palma--that the historical reality of Prohibition-era Chicago could only pale in comparison. From a script by David Mamet, the movie pits four underdog heroes (the maverick lawmen known as the Untouchables) against a singular villain in Al Capone, played by Robert De Niro as a dapper caesar holding court (and a baseball bat) against any and all challengers. Kevin Costner is the naive federal agent Eliot Ness, whose lack of experience is tempered by the streetwise alliance of a seasoned Chicago cop (Sean Connery, in an Oscar-winning performance), a rookie marksman (Andy Garcia), and an accountant (Charles Martin Smith) who holds the key to Capone's potential downfall. The movie approaches greatness on the strength of its set pieces, such as the siege near the Canadian border, the venal ambush at Connery's apartment, and the train-station shootout partially modeled after the "Odessa steps" sequences of the Russian classic Battleship Potemkin. It's thrilling stuff, fueled by Ennio Morricone's dynamic score, but it's also manipulative and obvious. If you're inclined to be critical, the movie gives you reason to complain. If you'd rather sit back and enjoy a first-rate production with an all-star cast, The Untouchables may very well strike you as a classic. --Jeff Shannon

The Untouchables VHS

Diana Ross stars as legendary blues singer Billie Holiday in this biopic that chronicles her rise and fall. It begins with her late childhood, a stint as a prostitute, those early days as a blues singer, her marriages, and her drug addiction. Overly glossy and lacking depth, this is worth seeing only for the performances. Diana Ross was nominated for an Oscar for her acting debut. A dynamo with sparkling screen presence, she realistically conveys the confusion and unhappiness that caused Holiday so much grief. Her performance is almost matched by romantic interest Billy Dee Williams. Watch for Richard Pryor, who is most powerful in a dramatic supporting role as the piano player in a brothel. --Rochelle O'Gorman

As noted critic Pauline Kael wrote, the 1987 box-office hit The Untouchables is "like an attempt to visualize the public's collective dream of Chicago gangsters." In other words, this lavish reworking of the vintage TV series is a rousing potboiler from a bygone era, so beautifully designed and photographed--and so craftily directed by Brian De Palma--that the historical reality of Prohibition-era Chicago could only pale in comparison. From a script by David Mamet, the movie pits four underdog heroes (the maverick lawmen known as the Untouchables) against a singular villain in Al Capone, played by Robert De Niro as a dapper caesar holding court (and a baseball bat) against any and all challengers. Kevin Costner is the naive federal agent Eliot Ness, whose lack of experience is tempered by the streetwise alliance of a seasoned Chicago cop (Sean Connery, in an Oscar-winning performance), a rookie marksman (Andy Garcia), and an accountant (Charles Martin Smith) who holds the key to Capone's potential downfall. The movie approaches greatness on the strength of its set pieces, such as the siege near the Canadian border, the venal ambush at Connery's apartment, and the train-station shootout partially modeled after the "Odessa steps" sequences of the Russian classic Battleship Potemkin. It's thrilling stuff, fueled by Ennio Morricone's dynamic score, but it's also manipulative and obvious. If you're inclined to be critical, the movie gives you reason to complain. If you'd rather sit back and enjoy a first-rate production with an all-star cast, The Untouchables may very well strike you as a classic. --Jeff Shannon

The saga of the battle of Eliot Ness (Kevin Costner) and his incorruptible T-men to wrest prohibition-era Chicago from the grasp of Al Capone (Robert De Niro) is brought to blazing life by director Brian De Palma. Charles Martin Smith, Andy Garcia, and Best Supporting Actor Academy Award winner Sean Connery co-star. 119 min. Widescreen (Enhanced); Soundtracks: English Dolby Digital 5.1 EX, Dolby Digital Surround, French Dolby Digital surround; Subtitles: English, Spanish; featurettes; interviews; theatrical trailer.

Pixar's unprecedented string of hit animated features was built on the short films in this collection. John Lasseter and Ed Catmull used these cartoons the way Walt Disney used the "Silly Symphonies" during the 1930s: as a training ground for artists and a way to explore the potential of a new medium. Although it's only 90 seconds long, "Luxo, Jr." (1986) ranks as the "Steamboat Willie" of computer animation: For the first time, audiences believed CG characters could think and feel. (It was also the first CG film to make audiences laugh.) When the artists began work on Toy Story, they had learned so much from the shorts, they were ready to undertake that landmark creation. In the later shorts, the viewer can see the artists continuing to experiment: with a more realistic human figure in "Geri's Game" and with new ways of suggesting atmospheric effects in "Boundin'." Some of the more recent shorts continue the adventures of the characters from the features. "Jack-Jack Attack" reveals what happened to the hapless baby-sitter while the Incredibles were off fighting Syndrome, while "Mater and the Ghost Light" shows that life goes on for the inhabitants of Radiator Springs. When Sully from Monsters, Inc. tries to adjust his seat in "Mike's New Car," the animators prolong the moment to wring every drop of humor from the situation--just as an earlier generation of animators milked Wile E. Coyote's antics for all they were worth. The long-unseen films for Sesame Street are an unexpected bonus. A delightful collection of entertaining shorts, and a significant chronicle of the growth of computer animation. (Rated G: suitable for all ages: cartoon violence) --Charles Solomon

Features include: •MPAA Rating: G•Format: DVD•Runtime: 54 minutes

Somewhere between the sharp satire of Election and the rich human comedy of You Can Count On Me lies Juno, a sardonic but ultimately compassionate story of a pregnant teenage girl who wants to give her baby up for adoption. Social misfit Juno (Ellen Page, Hard Candy, X-Men: The Last Stand) protects herself with a caustic wit, but when she gets pregnant by her friend Paulie (Michael Cera, Superbad), Juno finds herself unwilling to terminate the pregnancy. When she chooses a couple who place a classified ad looking to adopt, Juno gets drawn further into their lives than she anticipated. But Juno is much more than its plot; the stylized dialogue (by screenwriter Diablo Cody) seems forced at first, but soon creates a richly textured world, greatly aided by superb performances by Page, Cera, Jennifer Garner and Jason Bateman as the prospective parents, and J.K. Simmons (Spider-Man) and Allison Janney as Juno's father and stepmother. Director Jason Reitman (Thank You For Smoking) deftly keeps the movie from slipping into easy, shallow sarcasm or foundering in sentimentality. The result is smarter and funnier than you might expect from the subject matter, and warmer and more touching than you might expect from the cocky attitude. Page's performance is deceptively simple; she never asks the audience to love her, yet she effortlessly carries a movie in which she's in almost every scene. That's star power. --Bret Fetzer Get to Know Juno's Cast Ellen Page (Juno MacGuff) Michael Cera (Paulie Bleeker) Jennifer Garner (Vanessa Loring) Jason Bateman (Mark Loring) Allison Janney (Bren MacGuff) J.K. Simmons (Mac MacGuff) Beyond Juno Juno Soundtrack More from Screenwriter Diablo Cody More from Fox Stills from Juno

Studio: Tcfhe Release Date: 04/15/2008 Run time: 92 minutes Rating: Pg13

George Clooney Celebrity face mask. Life size card face mask comes with eye holes and elastic fastening

Angelina Jolie Celebrity face mask. Life size card face mask comes with eye holes and elastic fastening

New Hardcover with dust jacket

Studio: Paramount Home Video Release Date: 11/08/2005

Diana Ross stars as legendary blues singer Billie Holiday in this biopic that chronicles her rise and fall. It begins with her late childhood, a stint as a prostitute, those early days as a blues singer, her marriages, and her drug addiction. Overly glossy and lacking depth, this is worth seeing only for the performances. Diana Ross was nominated for an Oscar for her acting debut. A dynamo with sparkling screen presence, she realistically conveys the confusion and unhappiness that caused Holiday so much grief. Her performance is almost matched by romantic interest Billy Dee Williams. Watch for Richard Pryor, who is most powerful in a dramatic supporting role as the piano player in a brothel. --Rochelle O'Gorman

The Producers was the vehicle that first proclaimed Mel Brooks's decidedly singular comic vision as a film director in 1968. At the time, the world may not have been entirely ready for the depth charges of hilarity he unleashed; but more than three decades later, it seemed almost foreordained that the film's retooling as a full-fledged musical--directed and choreographed by Susan Stroman--would become the smash hit of the 2000-2001 Broadway season (even before opening at the St. James Theatre in April). Brooks is, of course, no stranger to the Broadway musical genre or to songwriting, but skeptics might find themselves taken by surprise at just how outrageously well all the threads come together for the new show. The film's absurd core vignette--the infamous "Springtime for Hitler"--if anything gains a few notches in hilarity when framed by a character-rich musical that comes off as both parody and valentine in its mimicry of Broadway's "golden age." Brooks (with the help of idiomatically expert arrangements by Glen Kelly) has cooked up a variety of numbers constituting a virtual primer of old-fashioned American musical comedy styles (there's even a toying with Cabaret-style decadence), but they're always coated with an extra layer of zaniness. In fact, the whole show becomes a Chinese box of parodies within parodies. But what really gets the whole mix working is a surefire cast headed by Nathan Lane playing Max Bialystock and Matthew Broderick doing a delightfully nebbish turn with delusions of misplaced glory as his sidekick, Leo Bloom. From his first big number (musically winking at Fiddler on the Roof), Lane hungrily lays claim to the role, undaunted by his formidable predecessor, Zero Mostel. Even on disc, you can visualize his over-the-top mugging as a dethroned "king of Broadway" who was "the first producer ever to do summer stock in the winter." Comedy, as they say, is all about timing, and that's exactly what Lane gets right. His interactions with Bloom, Franz Liebkind (Brad Oscar), and Roger de Bris (Gary Beach) are priceless, even when only in sound. As for the tunes, Brooks crafts a number of truly memorable ones--don't be surprised to find yourself horrified as you hum along with "Der Guten Tag Hop-Clop" and, of course, "Springtime for Hitler." --Thomas May

Nathan Lane & Matthew Broderick in Mel Brooks' Broadway musical.

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