Six Game

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Clint Eastwood fired the original director, Philip Kaufman (The Right Stuff), and took over the reins of this project himself. He may have had a point: this brutal, thoughtful western, a near-tragedy about a Civil War veteran whose past comes looking for him, is probably Eastwood's most mature frontier drama prior to the Oscar winning Unforgiven. Hoping to build a quiet life in a cooperative community of settlers, Eastwood's Wales blames himself when his enemies attack the homestead, and he has to revert to his warrior instincts to help fend off the threat. The jittery intensity of Sondra Locke (who would be Mrs. Eastwood, at least for a while), and the screen-filling charisma of the late Chief Dan George harmonize beautifully with Eastwood, who had finally figured out how to add depth and texture to his stock-in-trade Man of Steel persona. This one may be too short on action to satisfy fans of Eastwood's Dirty Harry films, or of the Italian westerns he made with Sergio Leone, but it's an honorable effort. --David Chute

During the Civil War, Union "Redlegs" attack Southerner Josey Wales's dirt farm and wipe out his family. Seeking vengeance, Wales throws in with a company of Reb guerrillas. Tagged as a renegade after the surrender, he flees west into the vastness of the Indian Territories, where, quite unintentionally, he finds himself cast as the straight-shooting paterfamilias of an ever-growing, spectacularly motley community of misfits and castaways. Which is to say, Josey's personal quest for survival and something like peace of mind evolves into a funky, multicultural allegory of the healing of America. The Outlaw Josey Wales (1976), Clint Eastwood's 31st film as an actor, 20th as international star, and 5th as director, was the first to win him widespread respect. Critics had grumbled when the producer-star replaced Philip Kaufman (The Right Stuff) in the director's chair a week into shooting. They ended up cheering when Eastwood delivered both his most sympathetic performance to date and--with the heroic collaboration of cinematographer Bruce Surtees--an impressive Panavision epic that stresses the scruffiness, rather than the scenic splendors, of frontier life. Though it's been honored with a place in the National Film Registry, Josey Wales is good, not great, Eastwood. The big-gun fetishism can get tiresome, and too many characters exist only to serve as six-gun (and at one point Gatling gun) fodder. But mostly the film is agreeably eccentric, and almost furtively sweet in spirit--a key transitional title in the Eastwood filmography, and one of his most entertaining. --Richard T. Jameson Amazon.com Clint Eastwood fired the original director, Philip Kaufman (The Right Stuff), and took over the reins of this project himself. He may have had a point: this brutal, thoughtful western, a near-tragedy about a Civil War veteran whose past comes looking for him, is probably Eastwood's most mature frontier drama prior to the Oscar winning Unforgiven. Hoping to build a quiet life in a cooperative community of settlers, Eastwood's Wales blames himself when his enemies attack the homestead, and he has to revert to his warrior instincts to help fend off the threat. The jittery intensity of Sondra Locke (who would be Mrs. Eastwood, at least for a while), and the screen-filling charisma of the late Chief Dan George harmonize beautifully with Eastwood, who had finally figured out how to add depth and texture to his stock-in-trade Man of Steel persona. This one may be too short on action to satisfy fans of Eastwood's Dirty Harry films, or of the Italian westerns he made with Sergio Leone, but it's an honorable effort. --David Chute

VHS TAPE.

Billy Chapel (Kevin Costner) is having a bad day. His girlfriend Jane (Kelly Preston, stunning as ever) says she's leaving, and his boss (Brian Cox) says he's selling the business and ace employee Billy may be out of job. Sounds like business as usual for an old-fashioned veteran. However, the business is baseball and for Billy Chapel, the 40-year old former all-star for the Detroit Tigers, it means his career--and his life--is at a crossroads. Although it is no Bull Durham, For Love of the Game finds a solid and very believable role for Costner. The film is based on Michael Shaara's (The Killer Angels) stream-of-consciousness novel (the rough manuscript was found after his death 1988). The entire film takes place on Billy's day on the mound against the Yankees, a meaningless late-season game for the Tigers, but everything for Billy. In flashbacks, he lingers over his long relationship with Jane and his baseball career (from World Series heroism to a career-threatening injury). His one viable link to the game at hand is his catcher, played winningly by John C. Reilly. Costner, like Chapel, is looking for one more great performance, but the film is too simplistic and loopy at times to resonate. The love story has an extra helping of cuteness, and legendary baseball announcer Vin Scully nearly takes on a leading role, waxing grandiloquent. It's no grand slam, but a solid double. --Doug Thomas

Whoopi Goldberg (The Color Purple) gives one of her earliest and finest film performances as Terry Doolittle, a computer programmer who unwittingly becomes embroiled in an international espionage scheme, forced to outmaneuver the CIA and KGB in this riotous 1986 Cold War comedy. Doolittle, the outspoken and irreverent employee of an international bank, is working overtime one evening when her terminal receives an encrypted message pleading for help from Jumpin' Jack Flash, code name for a British spy (Jonathan Pryce) trapped in Eastern Europe. At first reluctantly and then audaciously, Doolittle becomes privy to his predicament and essential to his escape while delivering a steady stream of ribald one-liners and witty slapstick—whether it's her Mick Jagger impersonation, police station meltdown, or infamous dress-caught-in-the-paper-shredder escapade at the British Consulate ball. A host of supporting talent includes Annie Potts, Jon Lovitz, Jim Belushi, the late Phil Hartman, and Stephen Collins (who shines as Marty, the mole), yet the film belongs to Whoopi. Though the plot is far-fetched and often flimsy, Penny Marshall (in her directorial debut) gives Goldberg enough latitude to showcase her immense talent in a role she obviously relishes—and audiences will too. Rated R for extreme profanity and mature themes. --Lynn Gibson

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Seven-disc set includes "Rocky," "Rocky II," "Rocky III," "Rocky IV," "Rocky V," "Rocky Balboa," and a bonus disc full of extras.

Review for Rocky: The only remaining evidence that Sylvester Stallone might have had a respectable career, this 1976 Oscar winner (for Best Picture, Director, and Editing) is still the quintessential ode to an underdog and one of the best boxing movies ever made. After writing the script about a two-bit boxer who gets a "million-to-one shot" against the world heavyweight champion, Stallone insisted that he star in the title role, and his equally unknown status helped to catapult him (and this rousing film) to overnight success. The story is familiar, but it has been handled with such vitality and emotional honesty that you can't help but leap and cheer for Rocky Balboa, the chump turned champ (despite his valiant defeat in the ring) who stuns the boxing world with the support of his timid girlfriend, Adrian (Talia Shire), and grizzled trainer, Mickey (Burgess Meredith). Oscar nominations went to all the lead actors (including Burt Young as Adrian's hot-tempered brother), but four sequels could never top the universal appeal of this low-budget crowd pleaser. --Jeff Shannon Review for Rocky II: Beginning precisely where Rocky left off, the surprisingly effective 1979 sequel takes the saga of Rocky Balboa to its logical next step, as the palooka turned public idol and media darling returns to his "normal" life in Philadelphia with his newlywed bride Adrian (Talia Shire) and some degree of material comfort. He needs to find a job, but boxing champ Apollo Creed (Carl Weathers) is challenging Rocky to a lucrative rematch, and despite his doctor's warning against future boxing, Rocky can't resist. Defying the odds that most sequels can't live up to their originals, Rocky II doesn't pack all the punch that Rocky did, but it takes us further into the lives of its now-familiar and beloved characters, and Stallone (as director and star) gives us another rousing finale in the ring. Do you really need to know who wins? --Jeff Shannon Review for Rocky III: Rocky III: The third installment in the Rocky saga is the last one to matter, and in this case only marginally. The now rich and famous Rocky (Sylvester Stallone) triumphantly pummels a succession of boxing challengers until he encounters Clubber Lang (Mr. T), a human wall of brick who wants a piece of Rocky's action. The Rock's loyal trainer Mickey (Burgess Meredith) has taken ill and dies, so Rocky recruits retired opponent Apollo Creed (Carl Weathers) to whip him into fighting shape after his embarrassing defeat to Clubber. Time for another rematch, mixed in with some family matters involving Rocky's brother-in-law Paulie (Burt Young), who's feeling neglected amid all the hoopla. Not bad as sequels go, boosted by Mr. T.'s taunting presence and yet another rousing finale. For those with a bad case of '80s nostalgia, the hit theme song "Eye of the Tiger" is sure to bring back memories. --Jeff Shannon Review for Rocky IV: It was time for Sylvester Stallone to say "enough, already" to the boxing hero he plays in the popular Rocky film series, but instead Stallone kept the saga going by pushing Rocky into Rambo territory. The 1985 Rocky IV finds the Italian stallion pitted against a seemingly unbeatable Russian monster named Drago (Dolph Lundgren) who lets his wife (Stallone's then-wife, Brigitte Nielsen) do all the talking. With a mighty punch, Drago has sent Rocky's former opponent and trainer Apollo Creed to an early grave, and the boxer responds with the ultimate challenge. Even the Russians are rooting for Rocky, so it's not hard to guess how the film ends. Despite Stallone's claims to the contrary, this installment was followed by Rocky V in 1990. --Jeff Shannon Review for Rocky Balboa: The sixth installment of the Rocky series picks up the story of the Italian Stallion 16 years after the morose Rocky V. And sure, at his advanced age, Sylvester Stallone now looks like one of those sides of beef his character used to pound on. No matter. Somehow you buy the premise after all these years, even if it takes forever for Rocky Balboa to stop wallowing in self-pity (Adrian is dead, his old haunts are demolished) and get down to the business of drinking raw eggs and running up staircases. The business at hand is an unlikely exhibition fight with champion Mason Dixon (Antonio Tarver), which the near-sexagenarian Mr. Balboa has no business accepting. Of course, just as sure as the horns of Bill Conti's theme music are even now trumpeting through your head, the ol' Rock might have a punch or two left in him. Stallone wrote and directed, and there isn't much to say except that the movie steps in its pre-determined paces with a canny sense of what has come before (it's practically an homage to all the previous Rocky pictures, complete with fleeting flashbacks). Burt Young is around again, and Geraldine Hughes makes an appealing, rather chaste female companion for Rocky. Stallone's Rocky has gotten suspiciously articulate over the years, but he still knows how to slouch. If Stallone never forgets that, he can probably keep the franchise rolling. --Robert Horton

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

All 13 seventh-season episodes--including "Bags," "Object Impermanence," "Synthetics," "Cats! Cats! Cats!," and "Do Her/Don't Her"--are featured in a three-disc set. 5 3/4 hrs. total. Widescreen; Soundtracks: English Dolby Digital 5.1, Dolby Digital stereo; Subtitles: English (SDH), Spanish; audio commentary; featurettes; gag reel; deleted scenes; more. **13 episodes on 3 discs. 5 3/4 hrs.**

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This fortable high-quality stereo headset gives you the simplicity of USB installation and high-quality digital sound that cannot be matched by analog. Hold clear private Inter voice calls enjoy music and movies and bee fully immersed in your games.Primary InformationAudio System Type :  Headset Remended Use :  PC multimedia Features :  Noise canceling circuit mute button volume control MicrophoneAudio Input / Connectivity Technology :  Wired HeadphonesHeadphones Type :  Binaural Audio Output / Connectivity Technology :  Wired Headphones / Form Factor :  Ear-cup Response Bandwidth (Headphone)(Hz) :  N/A Sound Output Mode :  Stereo UNSPSC CodeUNSPSC Code :  52161514