Cats Phantom

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In the exciting fourth entry in the successful action series, an attack on the Kremlin leaves IMF agent Ethan Hunt (Tom Cruise) and his team falsely accused of international terrorism. Forced to go underground, they must race against time to clear their names while trying to stop a plot to orchestrate a nuclear war between the United States and Russia. Jeremy Renner, Simon Pegg, Paula Patton, Michael Nyqvist, and, in a cameo, Ving Rhames co-star in director Brad Bird's first live-action film. 132 min. Widescreen; Soundtracks: English Dolby Digital 5.1, French Dolby Digital 5.1, Spanish Dolby Digital 5.1; Subtitles: English, French, Spanish; featurette; deleted scenes.

The second half of the first decade of the 21st century has been kind of tough for Tom Cruise. That's tough in a way over and above the hardship of living the legacy of one of history's top movie stars--a job more demanding than any mere mortal could imagine. But after two fruitful collaborations with Steven Spielberg (Minority Report and War of the Worlds), his stature took a beating from the one-two hits of those wacky PR gaffes and that string of relative box-office disappointments (Lions for Lambs, Valkyrie, Knight and Day), which seemed to start with the third installment of his Mission: Impossible franchise in 2006. It's hard to say with a straight face that taking in only $398 million worldwide is a disappointment, but it was a low for the series, which some later saw as a prelude to his potentially dimming stardom. But on the cusp of turning 50, it looks like Tom Cruise has put the licking behind him and entered a new phase of self-conception with an upcoming array of roles, starting with a more maturely controlled version of superspy Ethan Hunt in the sleek and supercharged Mission: Impossible - Ghost Protocol. The things Cruise has done right in M: I part four include toning down his youthful, arrogant preening and letting his castmates share more of the spotlight (Jeremy Renner, Paula Patton, and Simon Pegg all have some terrifically shiny moments). He also lets the unique creative vision of director Brad Bird shine through in a first live-action outing for the acclaimed helmer of Iron Giant, The Incredibles, and Ratatouille. Still looking much younger than his years (that hair! those pecs! those abs!), Cruise is playing more age-appropriately, letting a little wisdom and grace seep into his charisma so the wattage of his mere presence smolders a little deeper. It's a nice nod to a graying generation that says you can get older and still be cool. All that is not to say he doesn't play up his action-star chops to the max. In a mostly inconsequential narrative arc that has something to do with purloined nuclear launch codes, an important metal briefcase, satellite uplinks, and global annihilation that leaps from Moscow to Dubai to Mumbai, Cruise is as dangerously nimble as he has ever been. He dangles one-handed from the tallest building in the world, bounds off ledges, springs out of speeding vehicles, tumbles and careens up and down the levels of an automated parking garage, and generally sprints and jumps his way across the movie with only a scratch or bruise to show for it. Also on the outlandish upside is a happily stereotypical villain straight out of Connery-era Bond and as many bleeding-edge gadgets as the art department techno-geeks could dream up. A running gag is that many of these electronic fantasy tools fail at just the wrong moment, which is part of a larger wink acknowledging how utterly preposterous yet ingeniously conceived this behemoth of a movie really is. The gadgetry is not limited just to the miraculous props. Ghost Protocol employs CGI fakery of the highest order from the sub-industry of effects contractors that ratchet up the standard of computing power and software design, one-upping each successive action-adventure extravaganza. The loving detail that goes into blowing up the Kremlin or rendering a photo-realistic sandstorm erupting across the enhanced skyline of an Oz-like desert city is nothing short of miraculous. What's more astonishing is that Tom Cruise closes the deal with a selling power that's as new and improved as the laminates on his multi-million-dollar teeth. --Ted Fry

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. Read our CD buying guide 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 special 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 of 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 More on The Phantom of the Opera The Phantom of the Opera (Special Extended Edition Soundtrack) (CD) The Phantom of the Opera (2004 Movie Soundtrack) (CD) The Phantom of the Opera (Original 1986 London Cast) (CD) Evita (DVD) Andrew Lloyd Weber: The Royal Albert Hall Celebration (DVD) More Broadway DVDs

Lose yourself in "the music of the night" with this lush film version of Andrew Lloyd Webber's Tony-winning musical. In the catacombs beneath the Paris Opera House in the 1870s, a mysterious mad genius (Gerard Butler), whose mask hides his scarred face, stops at nothing to help the beautiful young singer (Emmy Rossum) he loves from afar. But when she falls for a handsome rival (Patrick Wilson), the Phantom prepares a terrifying revenge. Minnie Driver, Miranda Richardson also star; Joel Schumacher directs. Songs include "All I Ask of You," "Think of Me," and the original "Learn to Be Lonely." 141 min. Widescreen (Enhanced); Soundtracks: English Dolby Digital 5.1, French Dolby Digital 5.1; Subtitles: English, French, Spanish; theatrical trailer.

This pop-cultural phenomenon has been performed on stage for more than 50 million patrons in 26 countries for almost 18 years, churning more than $2 billion in ticket sales. Now that Cats has finally made it to the small screen, attention must be paid not just by fans of this critic-proof show, but also by those entertainment mavens who have somehow avoided Cats until now. The video version has been restaged but, alas, not really reconceived for its new medium. The video cast, assembled from London, Amsterdam, and New York productions, is competent. Ken Page as Old Deuteronomy, Jacob Brent as Mr. Mistoffelees, and Elaine Paige--the original London Grizabella, the Glamour Cat well past her prime--are a great deal more than that. Paige has toned down her theatrical belting of her big number, "Memory," and allowed the faded ruin of her character's soul to prevail in close-up. For all the "covers" of her signature song, Paige's version remains definitive. The video is, by definition, more intimate, not always a good thing: costumes are even more Halloweeny in garish close-up, the cats less cuddly without that all-important interaction, the stage's appropriately midnight lighting transmuted to a Las Vegas neon. And the chorus of cats in production numbers is even clunkier and more amorphous in two- and three-shots. The one complete newcomer to the cast is the 90-year-old icon among English actors John Mills, a delight as Gus the Theatrical Cat. Sir John and his character show the youngsters how it's done in close-up, largely behind the eyes, abetted by a heart-tugging delivery of his one song. Yet virtually all of the songs are lip-synched, further robbing the video Cats of its onstage seeming spontaneity. It's clearer than ever that Lloyd Webber's music is mostly twaddle, with the important exception of "Memory," which instantly and rightly became one of the genuine theater standards not dependent on context, in the vein of Stephen Sondheim's "Send in the Clowns." On the plus side, most of the Cats characters and lyrics, from T.S. Eliot's 14-poem Old Possum's Book of Practical Cats, are far better defined and understood from the video version. --Robert Windeler

Wake up that sleeping kitty, because the beloved Broadway musical is on home video! Andrew Lloyd Webber's Tony-winning adaptation of T.S. Eliot's "Old Possum's Book of Practical Cats" follows a band of strutting, singing felines who turn their junkyard home into a dazzling stage for such memorable tunes as "Jellicle Cats," "Memory" and more. Recorded live at London's Adelphi Theatre, the stunning stage production stars Ken Page, Elaine Paige and John Mills. 121 min. Widescreen; Soundtracks: English Dolby Digital 5.1, Dolby Digital Surround; "making of" featurette.

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The revolutionary Phantom MXII KVM switching solution takes server management to a higher level of operation. Now two Phantom users can simultaneously control and manage up to 63 servers in mixed, multi-platform environments (PS/2, SUN, RS-232, USB) from two separate KVM consoles. This makes it an ideal solution for larger data centers that require more than one supervisor and need the flexibility of operating from both local and remote locations.Advanced Management and Security OptionsThe Phantom MX II features advanced On Screen Display (OSD) management, including multi-layered security, the most efficient way for monitoring, accessing and controlling your servers. You can also manage your Phantom system, via serial port, using the Phantom's Control Software or any other third party software.Less Switch Space Means More Server SpacePhantom's Distributed Switching Technology (DST) divides the KVM switch into smaller subunits -- two Managers and multiple Remote units. The Remote units can be placed on the side or back of the rack (Specter II Units) where they occupy no rack space! Now you can dedicate more of your rack to servers instead of wasting space on switches.ComponentsThe Phantom MX II system consists of the following units:1 Phantom MX II Manager unit per system1 Universal Phantom Manager (UPM) unit per system1 Remote unit per computer (Specter II) up to 63 per lineClick here for detailed information on Minicom KVM Switches.

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A perfect box for the cat lover! Has an inlay of two adorable kittens walking around wearing cute bow ties. One has a blue bow tie and the other a bright red. They have adorable whiskers and fluffy tails. The detail is spectacular! The box itself is a wonderful light pink with a dark border. It has a smooth glossy finish thats soft to the touch. Inside you will find a lush velvet inline that cover the box. There is a ring roll that can hold three to four rings. Also inside sits the amazing 18 note musical movement. Choose below from our large selection for you favorite song! The movement is coverd by a plastic slide to help keep it in tip top shape. There is also a pad that can cover and uncover the movement to your liking. A great gift for anyone on any occaision. Thank you and enjoy!!!Thank you very much, your interest is appreciated in our art! Your satisfaction is always guaranteed at The Attic, let us know what we can do for you..... Dimensions: Length - 6"Width - 4"Height - 2.25"