DVDpedia : Library : Title : M

Theatrical: 1952

Studio: Republic Pictures

Genre: Art House & International

Duration: 81

Summary: Ealing comedy--cozy, gentle, and whimsical, right? In this case, think again. Alexander Mackendrick was always the most politically aware of the Ealing directors, and in "The Man in the White Suit" (1952) he takes the studio's favorite theme of the little man up against the system and gives it a sharp satirical twist. Sidney Stratton (Alec Guinness at his most unworldly), a maverick scientist working in a textile mill, invents a fabric that never gets dirty and never wears out. He's hailed as a genius--until management and unions alike realize what his brainwave implies. Mackendrick's humor is exact and pointed, and the satire turns savage as a lynch mob of bosses and workers hunt Sidney down through dark, narrow streets. Mackendrick's disenchanted view of class-ridden British society still rings horribly true, and he draws note-perfect performances from the cream of British character actors: Cecil Parker as the liberal mill owner (based, it's said, on Ealing boss Michael Balcon); Ernest Thesiger as the evil old godfather of the industry; and, wittily sensual as Sidney's confidante, the ever-wonderful Joan Greenwood. Plus, listen out for the "voice" of Sidney's bizarre apparatus, the funniest and most unforgettable sound effect ever devised. "--Philip Kemp"

Theatrical: 1967

Studio: MGM (Video & DVD)

Genre: Westerns

Duration: 392

Summary: Sergio Leone's trilogy of operatic spaghetti Westerns with Clint Eastwood made the former TV star into an international sensation as the scraggly, silent Man with No Name, a wandering rogue with a scheming mind and a sense of humor drier than the dusty, wind-scoured desert. With "A Fistful of Dollars", a blatant rip-off of Kurosawa's cynical samurai hit "Yojimbo", Leone transforms the Western hero into a crafty mercenary. The follow-up, "For a Few Dollars More", teams Eastwood up in an uneasy alliance with Lee Van Cleef in a tale of revenge, but the masterpiece of the set is "The Good, the Bad and the Ugly", an epic scramble for buried gold set against the violence of the Civil War. In this film "good" is a relative term as three criminals make a series of tenuous partnerships broken in double-crosses and betrayals in Leone's epic vision of the American southwest as endless deserts and clapboard towns infested with gunmen. This was a new kind of Western: cynical, violent, stylish, and austere. Eastwood's rough face and squinting eyes fill the widescreen frame in massive close-ups while Leone stages action in bold compositions on empty streets and stark landscapes. The guns ring out in cartoonish exaggeration, and the music, an eclectic, electric mix of buzzing guitar, human voice, and harmonica by Ennio Morricone, sets the whole thing in a world pitched between myth and modernity. Leone's shot-in-Spain trilogy ushered in a flood of Italian spaghetti Westerns, but none hold a candle to Leone's stylish classics. "--Sean Axmaker"

Theatrical: 1997

Studio: Sony Pictures

Genre: Comedy

Duration: 98

Summary: This imaginative summer comedy from director Barry Sonnenfeld ("Get Shorty") is a lot of fun, largely on the strength of Will Smith's engaging performance as the rookie partner of a secret agent (Tommy Lee Jones) assigned to keep tabs on Earth-dwelling extraterrestrials. There's lots of comedy to spare in this bright film, some of the funniest stuff found in the margins of the major action. (A scene with Smith's character being trounced in the distance by a huge alien while Jones questions a witness is a riot.) The inventiveness never lets up, and the cast--including Vincent D'Onofrio doing frighteningly convincing work as an alien occupying a decaying human--hold up their end splendidly. "--Tom Keogh"

Theatrical: 2002

Studio: Artisan Entertainment

Genre: Art House & International

Duration: 102

Summary: Call it "The Full Monty" on ice. With tongue firmly in cheek, director-writer-star Paul Gross applies the old underdog sports-team formula to that great Northern obsession: curling. (You thought hockey was the national obsession? So did Canada.) You know the score: estranged teammates reunite to fulfill a dead man's last request, win glory for their fictional hometown, and earn back their hibernating self-respect. Square-jawed Gross recalls his "Due South" days as the amiable team captain, a boy scout with an impish streak. Leslie Nielsen turns down the usual goofball shtick to play Gross's crotchety, self-medicating father. There are enough issues here to fuel a dozen movies and none of them packs the punch of a pint of Molson's beer, which is just the right tone for this off-center sports spoof, a story of little victories, big stones, and beavers on the move. "--Sean Axmaker"

Theatrical: 2005

Studio: Weinstein Company

Genre: Art House & International

Duration: 92

Summary: (Romance) Tilo runs a spice store in San Francisco and has a magical gift of seeing into her customers' lives and desires. But, when a handsome, enigmatic American with a secret past enters her store, Tilo’s own desires are stirred for the first time.

Theatrical: 1975

Studio: Sony Pictures

Genre: Action & Adventure

Duration: 89

Summary: 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"

Theatrical: 1983

Studio: Universal Studios Home Entertainment

Genre: Comedy

Duration: 108

Summary: Perhaps only the collective brilliant minds of the Monty Python film and television troupe are up to the task of tackling a subject as weighty as the Meaning of Life. Sure, Kierkegaard, Wittgenstein, and their ilk have tried their hands at this puzzler, but only Python has attempted to do so within the commercial motion picture medium. Happily for us all, "Monty Python's the Meaning of Life" truly explains everything one conceivably needs to know about the perplexities of human existence, from the mysteries of Catholic doctrine to the miracle of reproduction to why one should avoid the salmon mousse to the critical importance of the machine that goes "ping!" Using fish as a linking device (and what marvelous links those aquatic creatures make), "The Meaning of Life" is presented as a series of sketches: a musical production number about why seed is sacred; a look at dining in the afterlife; the quest for a missing fish (there they are again); a visit from Mr. Death; the cautionary tale of Mr. Creosote and his rather gluttonous appetite; an unflinching examination of the harsh realities of organ donation, and so on. Sadly, this was the last original Python film, but it's a beaut. You'll laugh. You'll cry (probably because you're laughing so hard). You may even learn something about the Meaning of Life. Or at least about how fish fit into the grand scheme of things. "--Jim Emerson"

Theatrical: 1976

Studio: Buena Vista Home Entertainment / Disney

Genre: Kids & Family

Duration: 604

Summary: The charm, the zaniness, the corny jokes, the showbiz cliches--every element of "The Muppet Show" holds up 30 years after Jim Henson's legendary variety series' debut season. Well, perhaps not everything: Today's younger viewers might have a hard time placing some of "The Muppet Show"'s then-guest stars, such as Florence Henderson or Ruth Buzzi. But then, the "Show"'s real celebrities are perennial icons Kermit the Frog, Miss Piggy, Gonzo the... whatever, Fozzie Bear, Animal, and the rest of the Muppets' harried, well-meaning family of entertainers. "Season One" finds the show pretty much in the basic shape longtime fans will remember: A musical introduction followed by backstage chaos, another musical number, a sketch, a scene with the guest star, and so on. A half-hour episode can fly by pretty quickly, but it's interesting to note that the series hadn't quite found its familiar tone through much of the first year. A reliance on too many disposable verbal jokes and redundant, so-so material for sketch fodder ultimately gives way to more creative premises and the development of key relationships between characters. By the final half-dozen episodes in the first season, "The Muppet Show" is truly cooking. Season highlights include Kermit's confession to guest Juliet Prowse that he always wanted to be a dancer, and Prowse's comparison of the little green superstar to Robert Redford. Joel Grey does a cabaret-style act for a roomful of Muppets and is later outraged when Kermit's introduction of the actor proves so thorough there is nothing left for the latter to say. Rita Moreno proves quite game in a funny piece, set in a French cafe, in which her dance with a man-size Muppet turns from romantic to table-smashing violent. Harvey Korman plays bumbling ringmaster Maurice the Magnificent, easily the worst animal trainer in history. Phyllis Diller bats out shameless one-liners ("I sang 'Twinkle, Twinkle Little Star,' and it fell on me"), and Vincent Price toys with his own horror film image by playing a ghoul who turns into a maudlin orchestra conductor at midnight. "--Tom Keogh "
Stills from "The Muppet Show" (click for larger image)


The divine Miss Piggy


Kermit and Miss Piggy

Fozzie Bear and Kermit


Sing along!


Everyone's a critic

Theatrical: 1977

Studio: Walt Disney Video

Genre: Comedy

Duration: 612

Summary: Quick wit, slapstick comedy, excellent puppets and puppetry conceived by Jim Henson, an astounding array of guest stars, and a whole lot of backstage chaos made "The Muppet Show" a favorite family show for a whole generation in the mid to late 1970's and those same ingredients make it equally enjoyable for today's audiences. The 24 episodes of this second 1976 season of "The Muppet Show" represent the family variety show at its strongest, with familiar characters like host Kermit the Frog, his assistant Fozzie Bear, Miss Piggy, Rolph the piano playing dog, and regular segments like "Pigs in Space," "Veterinarian's Hospital," "Swedish chef," and "At the Dance." Intermingled throughout are silliness, skits, and songs featuring an impressive roster of guest stars including entertainment greats like Judy Collins, Don Knotts, Bernadette Peters, Dom Deluise, George Burns, John Clese, and Bob Hope. The hilarious predicaments of the Muppets and their guest stars are absolutely timeless and the look back in time at the earlier careers of enduring stars like Steve Martin, Julie Andrews and Elton John is equally fascinating. Highlights of this second season are Kermit's emotional ballad "It's Not Easy Being Green," Judy Collins classic rendition of "Send in the Clowns," the two old men's curmudgeonly and witty criticism of every show, Miss Piggy's determined and amorous pursuit of Kermit, and the Swedish Chef's bumbling inability to catch up with the chicken. Bonus features include the rare 1974 "Muppets Valentine Special" featuring a young Mia Farrow and a host of virtually unknown Muppet characters including the enormous blue monster, Thog. Also included is Muppets' music video of "Keep Fishin'," and interview footage of "The Muppets on the Muppets." Whether reliving childhood evenings spent with family around the television or experiencing "The Muppet Show" for the first time, viewers of all ages will adore this second season. "--Tami Horiuchi"

Theatrical: 1976

Studio: WALT DISNEY VIDEO

Genre: Kids & Family

Duration: 612

Summary: An iconic variety show that ran from 1976 to 1981, "The Muppet Show" was a masterpiece of puppetry and slapstick humor as well as a showcase for the best musical and comic talent of its day. Season three ran 1978-1979 and featured 26 famous guest stars, including Roy Clark, Pearl Bailey, Jean Stapleton, Harry Belefonte, Danny Kaye, Cheryl Ladd, Raquel Welch, Roy Rogers, Dale Evans, and Sylvester Stallone. Some of the most unique episodes of the season were the Lynn Redgrave show, in which she and all the Muppets used the entire show to re-enact the story of Robin Hood; the Loretta Lynn episode, which was ostensibly filmed at the railroad station when the theater was being fumigated; and the visual effects-laden Alice Cooper episode. Other notable moments include Liberace's performances of everything from a Chopin Nocturne to a Boogie Woogie piece, Gilda Radner's amusing musical rendition from Gilbert and Sullivan's operetta "Carrots of Penzance" (or was that "Parrots of Penzance," or "Pirates of Penzance?"), and Danny Kaye's appearance as the Swedish Chef's uncle. Naturally, the season features all your favorite Muppet characters like Kermit, Miss Piggy, Gonzo, Fozzie Bear, Scooter, Rowlf, Crazy Harry, Beaker, and Animal as well as the beloved skits Muppet Labs, Pigs in Space, Swedish Chef, Veterinarian's Hospital, and Muppet Newsflash. Truly timeless entertainment for all ages, this third season of "The Muppet Show" is just as adept at bringing back memories as it is making new ones. "--Tami Horiuchi"

Theatrical: 1999

Studio: Sony Pictures

Genre: Comedy

Duration: 88

Summary: The film that answers the immortal question: what species is Gonzo? Kermit the Frog's curly-nosed friend feels alone in the world. When his breakfast cereal starts spelling out questions and he hears voices, Gonzo is convinced he must be from outer space, and his alien brothers are coming to earth. Of course, there are evil scientists (led by Jeffrey Tambor) who kidnap Gonzo to learn his secrets (like "What do you do with a nose like that?"). The usual brand of merriment from the gang is in good order, especially in the opening scene when the Muppets start the morning under one roof. It's not as memorable as earlier films, but nevertheless the joy and sly humor will warm most souls age 5 and up. Human cameos include Ray Liotta, Rob Schneider, Josh Charles, Andie MacDowell, David Arquette, and F. Murray Abraham (as Noah, no less). "--Doug Thomas"

Theatrical: 1984

Studio: Sony Pictures

Genre: Comedy

Duration: 94

Summary: The Muppets Take Manhattan is the third Muppet film and although not the strongest, it's sure to entertain the entire family. The story follows the Muppets on their quest to get their show, "Manhattan Melodies", produced on Broadway. It's a terrific story that hits at the core of what the Muppets are all about, namely putting on a show. Sure the music isn't as memorable as that in the first muppet movie (except "I'm Gonna Always Love You"), but you can't help appreciating the lengths to which the Muppets will go to entertain you. Singing chickens? Got 'em! Frogs with hair? Check! Unbelieveable action sequence? Of course, and it's unbelieveable in more ways than one! A Muppet staple is the cameo and they abound in this film. Everyone from Liza Minelli to Art Carney sets some screen time. Joan Rivers is particularly funny in her over the top make-up scene with Miss Piggy. For all you Trekkers, Gates McFadden even appears as a secretary to a con man!
The film is great entertainment, but this DVD has problems. First of all the digital tranfer isn't that good. Plenty of older films like Fantasia look stunning on DVD, but not this film. There is a graininess to the picture that can be discracting and artifacts abound. Sound is presented in only a mono format. Was the original film released this way? I don't know, but if so some mention should be made on the packaging, otherwise it feels like we're getting ripped off. On a positive note the film is presented in both a formatted and widescreen version. As for the other bonuses, there is a strange feature called "Muppetisms" that I can't really figure out. They are minute, minute and a half long segments featuring one or two muppets just goofing off and benign wacky. Not too sure what it's all about, but it was fun to watch - once. By far the best bonus feature is the interview with Jim Henson. He talks a bit about the making of the film, how decisions are made and such. It's an incredible peek into the creation of a Muppet film. There is one glarig problem though - the chapter stops are just little minute or so long bits of the interview. To see the whole thing you have to continually stop and start up again. It's a big mistake and makes watching the entire thing quite a chore.
My final word on this edition is buy it for the widescreen version of the movie only. The transfer isn't that good, the bonuses aren't that great, but the film itself is a real treat. Not the strongest Muppet film, but not the weakest either. If you have the video and don't care about widescreen, you can easily (and sadly) pass on this DVD. If not, pick this up for a fun romp around Manhattan that you and your family are sure to enjoy again and again.

Theatrical: 1962

Studio: Warner Home Video

Genre: Musicals & Performing Arts

Duration: 181

Summary: "The Music Man" was one of the last great movie musicals from any studio, and it proved to be that rarest of events: a Broadway show that was measurably improved by its transition to the screen. Robert Preston made his musical debut--both live and on film--as "Professor" Harold Hill, the upbeat charlatan who promises to teach a small-town boys band by the "think system." But it's the part Preston was born to play and the one for which he will always be best remembered. Composer Meredith Willson based "The Music Man" on his own small-town Midwestern boyhood, circa 1912, a quasi-mythical place where the old-maid librarian looks and sings like Shirley Jones. The boy himself is an adorable Ron Howard, lisp-singing "Gary, Indiana." Willson's entire score, featuring a combination of what are now standards, such as "Goodnight My Someone" and "Till There Was You" and show-specific numbers ("Trouble," "76 Trombones"), is never less than infectious. This dazzling special edition is also as bright and sunny as any 4th of July in Iowa could ever hope to be. "--Robert Windeler"