Margaret Lockwood

When Stanley Kubrick recruited Arthur C. Clarke to collaborate on "the proverbial intelligent science fiction film," it's a safe bet neither the maverick auteur nor the great science fiction writer knew they would virtually redefine the parameters of the cinema experience. A daring experiment in unconventional narrative inspired by Clarke's short story "The Sentinel," 2001 is a visual tone poem (barely 40 minutes of dialogue in a 139-minute film) that charts a phenomenal history of human evolution. From the dawn-of-man discovery of crude but deadly tools in the film's opening sequence to the journey of the spaceship Discovery and metaphysical birth of the "star child" at film's end, Kubrick's vision is meticulous and precise. In keeping with the director's underlying theme of dehumanization by technology, the notorious, seemingly omniscient computer HAL 9000 has more warmth and personality than the human astronauts it supposedly is serving. (The director also leaves the meaning of the black, rectangular alien monoliths open for discussion.) This theme, in part, is what makes 2001 a film like no other, though dated now that its postmillennial space exploration has proven optimistic compared to reality. Still, the film is timelessly provocative in its pioneering exploration of inner- and outer-space consciousness. With spectacular, painstakingly authentic special effects that have stood the test of time, Kubrick's film is nothing less than a cinematic milestone--puzzling, provocative, and perfect. --Jeff Shannon

You know the story: Cinderella rides in a magical pumpkin to the ball, enchants the prince, and flees at midnight. He finds her slipper and tracks her down, and they live happily ever after. But wait! In The Slipper and the Rose, it turns out there's more to the life of a prince than being charming. The king prefers to choose the prince's wife, one of proper social station who would provide a strong political alliance to ward off the kingdom's enemies. That's one of the twists in this 1976 British take on the classic fairy tale, one of a long line of musical versions. The disgruntled prince, who's as much of a focal point here as the lady with the footwear, is played by Richard Chamberlain, during the years when he was taking on the classics and had not yet been crowned king of the TV miniseries. He displays a pleasant voice opposite Gemma Craven as Cinderella, and veteran character actor Michael Hordern as the king leads the supporting ensemble. Add lavish sets and lush scenery (partially filmed in Austria), humor, fun choreography, and an Oscar-nominated score full of charming songs by Richard M. and Robert B. Sherman (veterans of such Disney movies as Mary Poppins and The Jungle Book, and who also cowrote the script with director Bryan Forbes), and you have a grand, engaging family musical. The 143-minute running time and dreamy, deliberate pace might test the patience of antsy viewers, but this is the first time The Slipper and the Rose has been available on video in its uncut version, and its legion of fans wouldn't have it any other way. --David Horiuchi

The Slipper and the Rose is a grand musical adventure in the tradition of The Sound of Music and My Fair Lady. This lavish production features Richard Chamberlain in a spirited retelling of the classic Cinderella fairy tale, and the Academy Award-nominated score is provided by the Oscar-winning song-writing duo the Sherman Brothers (Mary Poppins, The Jungle Book, Chitty Chitty Bang Bang). The Slipper and the Rose is a brilliant mix of fantasy and realism that will enchant viewers of all ages. No musical collection would be complete without this romantically delightful film. Directed by Bryan Forbes (The Stepford Wives, King Rat). Available for the first time on home video in its complete, full-length version.

When Stanley Kubrick recruited Arthur C. Clarke to collaborate on "the proverbial intelligent science fiction film," it's a safe bet neither the maverick auteur nor the great science fiction writer knew they would virtually redefine the parameters of the cinema experience. A daring experiment in unconventional narrative inspired by Clarke's short story "The Sentinel," 2001 is a visual tone poem (barely 40 minutes of dialogue in a 139-minute film) that charts a phenomenal history of human evolution. From the dawn-of-man discovery of crude but deadly tools in the film's opening sequence to the journey of the spaceship Discovery and metaphysical birth of the "star child" at film's end, Kubrick's vision is meticulous and precise. In keeping with the director's underlying theme of dehumanization by technology, the notorious, seemingly omniscient computer HAL 9000 has more warmth and personality than the human astronauts it supposedly is serving. (The director also leaves the meaning of the black, rectangular alien monoliths open for discussion.) This theme, in part, is what makes 2001 a film like no other, though dated now that its postmillennial space exploration has proven optimistic compared to reality. Still, the film is timelessly provocative in its pioneering exploration of inner- and outer-space consciousness. With spectacular, painstakingly authentic special effects that have stood the test of time, Kubrick's film is nothing less than a cinematic milestone--puzzling, provocative, and perfect. --Jeff Shannon

Starring Keir Dullea, Gary Lockwood, William Sylvester, et al. (2007)

When Stanley Kubrick recruited Arthur C. Clarke to collaborate on "the proverbial intelligent science fiction film," it's a safe bet neither the maverick auteur nor the great science fiction writer knew they would virtually redefine the parameters of the cinema experience. A daring experiment in unconventional narrative inspired by Clarke's short story "The Sentinel," 2001 is a visual tone poem (barely 40 minutes of dialogue in a 139-minute film) that charts a phenomenal history of human evolution. From the dawn-of-man discovery of crude but deadly tools in the film's opening sequence to the journey of the spaceship Discovery and metaphysical birth of the "star child" at film's end, Kubrick's vision is meticulous and precise. In keeping with the director's underlying theme of dehumanization by technology, the notorious, seemingly omniscient computer HAL 9000 has more warmth and personality than the human astronauts it supposedly is serving. (The director also leaves the meaning of the black, rectangular alien monoliths open for discussion.) This theme, in part, is what makes 2001 a film like no other, though dated now that its postmillennial space exploration has proven optimistic compared to reality. Still, the film is timelessly provocative in its pioneering exploration of inner- and outer-space consciousness. With spectacular, painstakingly authentic special effects that have stood the test of time, Kubrick's film is nothing less than a cinematic milestone--puzzling, provocative, and perfect. --Jeff Shannon

When Stanley Kubrick recruited Arthur C. Clarke to collaborate on "the proverbial intelligent science fiction film," it's a safe bet neither the maverick auteur nor the great science fiction writer knew they would virtually redefine the parameters of the cinema experience. A daring experiment in unconventional narrative inspired by Clarke's short story "The Sentinel," 2001 is a visual tone poem (barely 40 minutes of dialogue in a 139-minute film) that charts a phenomenal history of human evolution. From the dawn-of-man discovery of crude but deadly tools in the film's opening sequence to the journey of the spaceship Discovery and metaphysical birth of the "star child" at film's end, Kubrick's vision is meticulous and precise. In keeping with the director's underlying theme of dehumanization by technology, the notorious, seemingly omniscient computer HAL 9000 has more warmth and personality than the human astronauts it supposedly is serving. (The director also leaves the meaning of the black, rectangular alien monoliths open for discussion.) This theme, in part, is what makes 2001 a film like no other, though dated now that its postmillennial space exploration has proven optimistic compared to reality. Still, the film is timelessly provocative in its pioneering exploration of inner- and outer-space consciousness. With spectacular, painstakingly authentic special effects that have stood the test of time, Kubrick's film is nothing less than a cinematic milestone--puzzling, provocative, and perfect. --Jeff Shannon

No Description Available.Genre: Science FictionRating: NRRelease Date: 23-OCT-2007Media Type: DVD

Alfred Hitchcock had hit his early, near-flawless stride by the time of The Lady Vanishes, the 1938 classic that seems as bright and funny now as the day it was released. After the deliciously comic opening reels at a mittel-European hotel where a train has been snowed in, the plot kicks into gear: a very nice old lady (Dame May Whitty) suddenly disappears in mid-train ride. Worse, the young woman (Margaret Lockwood) who'd befriended her can't find anybody to confirm that the lady ever actually existed. Luckily, suave gadabout Michael Redgrave is at the ready--to say nothing of two English cricket fans, brought to memorable life by Basil Radford and Naunton Wayne. The film bops along briskly, borne along on the charm of the players and the witty script by expert craftsman Frank Launder and Sidney Gilliat (who also did the delightful Green for Danger and the St. Trinian's films), to say nothing of Hitchcock's healthy sense of humor about the whole thing--indeed, it may be the most "British" of his films. --Robert HortonOn the DVD This two-disc package is the second time Lady has been issued by Criterion, and features a (visually and aurally) improved transfer of the film. It retains a commentary from the earlier release, but adds tasty extras: a half-hour documentary from Leonard Leff (standard stuff, but a nice intro to Hitchcockian ideas), plus a 10-minute audio excerpt from Francois Truffaut's legendary book-length interview with Hitch. This is not only a good way to hear Hitchcock on The Lady Vanishes, it's a fascinating ringside seat at an important moment in film history. And then there's Crook's Tour, a fun 1941 feature comedy vehicle for Charters and Caldicott, the two characters played by Radford and Wayne (they'd been such a hit in The Lady Vanishes that audiences demanded more of them, leading to a long-term teaming in film and radio). All good--but Lady itself is the ride you'll be returning to again and again. --Robert Horton

Studio: Image/sphe Release Date: 12/06/2011 Run time: 82 minutes

Reprints 50 documents critical to the evolution of women's human rights from 1791 through 1995.

Brand New Officially Licensed Sports Photo - Guaranteed to Arrive Safe - Size: 8 x 10 inches - Great for Autographs

Brand New Officially Licensed Sports Photo - Guaranteed to Arrive Safe - Size: 11 x 14 inches - Great for Autographs

Brand New Officially Licensed Sports Photo - Guaranteed to Arrive Safe - Size: 8 x 10 inches - Great for Autographs