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Packaged in a 10" square deluxe box
Original Film restored Running time 53 minutes
60 page booklet Soft back book containing an introductory essay by Paul McCartney, notes on the film s development, numerous previously unseen and rare photos and memorabilia.
A reproduction of the 1967 UK double vinyl 6 track EP:
A1. Magical Mystery Tour - The Beatles (2.48)
A2. Your Mother Should Know - The Beatles (2.33)
B1. I Am The Walrus - The Beatles (4.35)
C1. The Fool On The Hill - The Beatles (3.00)
C2. Flying - The Beatles (2.16)
D1. Blue Jay Way - The Beatles (3.50)
Blu-Ray and DVD SPECIAL FEATURES
Director's Commentary by Paul McCartney
The Making of Magical Mystery Tour (19:05)
- Features interviews with Paul and Ringo, along with other cast members and crew. Includes unseen footage.
Ringo the actor (2:30)
- Ringo reflecting on his role in the film.
Meet The Supporting Cast (11:27)
- A feature on the background and careers of Nat Jackley, Jessie Robins, Ivor Cutler, The Bonzo Dog Doo-Dah Band, Victor Spinetti, George Claydon, and Derek Royle.
'Your Mother Should Know' (2:35)
'Blue Jay Way' (3:53)
'The Fool On The Hill' (3:05)
- Three new edits of these performances all featuring footage not seen in the original film.
'Hello Goodbye' (3:24), as featured in Top of the Pops 1967
- The Beatles allowed the BBC to film them in the edit suite where they were working on Magical Mystery Tour. This was then turned into a promo by the BBC, who shot their own additional footage. It was then broadcast on Top of the Pops to mark the 'Hello Goodbye' single going to No 1 in December 1967.
Nat's Dream (2:50)
- A scene directed by John featuring Nat Jackley. Not included in the original film.
Ivor Cutler 'I'm Going In A Field' (2:35)
- Ivor performs 'I'm Going In A Field', in a field. Not included in the original film.
Traffic 'Here We Go Round The Mulberry Bush' (1:53)
- The filming of Traffic acting out their 1967 hit single 'Here We Go Round The Mulberry Bush' was commissioned by The Beatles for possible inclusion in Magical Mystery Tour but was not used in the final edit.
Aspect ratio - 1.33:1
Frame rate - 1080i 59.94
DTS-HD Master Audio 5.1
Dolby Digital 5.1
PCM stereo for Blu-Ray
Dolby Digital for DVD
Subtitle language options for feature, extras and commentary:
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Brand: Twentieth Century Fox
The terror begins when the crew of a spaceship investigates a transmission from a desolate planet, and discovers a life form that is perfectly evolved to annihilate mankind. One by one, each crew member is slain until only Ripley is left, leading to an explosive conclusion that sets the stage for its stunning sequel, "Aliens."
A landmark of science fiction and horror, Alien arrived in 1979 between Star Wars and The Empire Strikes Back as a stylishly malevolent alternative to George Lucas's space fantasy. Partially inspired by 1958's It! The Terror from Beyond Space, this instant classic set a tone of its own, offering richly detailed sets, ominous atmosphere, relentless suspense, and a flawless ensemble cast as the crew of the space freighter Nostromo, who fall prey to a vicious creature (designed by Swiss artist H.R. Giger) that had gestated inside one of the ill-fated crew members. In a star-making role, Sigourney Weaver excels as sole survivor Ripley, becoming the screen's most popular heroine in a lucrative movie franchise. To measure the film's success, one need only recall the many images that have been burned into our collective psyche, including the "facehugger," the "chestburster," and Ripley's climactic encounter with the full-grown monster. Impeccably directed by Ridley Scott, Alien is one of the cinema's most unforgettable nightmares. --Jeff Shannon
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Ultimate Vampire Warrioress Selene (Kate Beckinsale) escapes imprisonment to find herself in a world where humans have discovered the existence of both Vampire and Lycan clans, and are conducting an all-out war to eradicate both immortal species.
Kate Beckinsale returns to death-dealing in the fourth installment of the Underworld saga (she took a break for Part Three, the Underworld: Rise of the Lycans prequel). Still clad in black-leather Goth gear, still capable of absorbing an enormous amount of punishment, Beckinsale's vampiric avenger Selene gets put on ice (literally) as Underworld: Awakening begins, and thaws out 12 years later in her customary foul mood. The scruffy survivors--vampire and werewolf alike--of a societal "cleansing" are still at odds, and a young girl holds the key to… oh, the future of mankind, or whatever. Say this for the feeble plot of this movie: at least it's not insanely complicated with centuries of history. How can it be, with a running time that (accounting for 10 minutes of end credits) lasts about 77 minutes? That's plenty of time for super-slick Swedish directors Mårlind & Stein to stage a nonstop series of fighting scenes, each as meaningless as the last, although one can't deny the effort put in to making lycans disintegrate or creating showers of silver dust. In supporting roles, Stephen Rea and Charles Dance look sheepish about collecting their paychecks. The idea of Selene experiencing feelings is raised, even if Beckinsale mostly goes the robotic route; if you can prove her performance wasn't computer-generated, you deserve some kind of prize. --Robert Horton
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Experience one of the most definitive and triumphant chapters in American history by journeying Into the West with this powerful 4-disc DVD set. Presented by TNT in association with DreamWorks Television and executive produced by Steven Spielberg, this 12-TV-hour event contains all 6 timeless episodes of the action-packed mini-series and boasts an entire disc of exclusive bonus features. Chronicling the struggles, heartache and conquests of two inspiring families, Into the West captures the hopes and perseverance of both the explorers who risked everything to fulfill their dreams and the land's indigenous people forced to watch their way of life disappear. Featuring an ensemble cast of Hollywood's brightest stars, including Beau Bridges, Graham Greene, Matthew Modine and Keri Russell, Into the West is an American Dream saga that Entertainment Weekly calls "epic in scope and cast."
Spanning 65 years and several generations, Into the West succeeds as an ambitious compendium of authentic American history. Originally broadcast in the summer of 2005 as a six-part miniseries on TNT, it's the kind of well-intentioned epic that can't possibly satisfy everyone, and some critics complained that it covers too much territory, with characters functioning more as archetypes than full-blooded human beings. Criticisms aside, Into the West admirably achieves the goal of executive producer Steven Spielberg, who envisioned this expansive project as an accurate and corrective history lesson with long-term educational value. Placing important emphasis on the Native American perspective, it follows the Lakota Indians as they are gradually overwhelmed by the white man's irrevocable westward expansion. As conceived by playwright/screenwriter William Mastrosimone, the drama uses two primary symbols--the wagon wheel and the Lakota medicine wheel--to join the Lakota story with that of the Wheelers, a Virginia family of wheelwrights who witness many of the 19th century's pivotal historical milestones. From the pioneering explorations of mountain men in 1825 to the tragic massacre of downtrodden Lakota at Wounded Knee in 1891, these parallel storylines encompass migrating wagon trains, the California Gold Rush, construction of the transcontinental railroad, the violence of Quantrill's Raiders, and much, much more.
Through it all, Into the West preserves Lakota customs and language (accompanied by English subtitles) with unprecedented authenticity. In showing how Native cultures were systematically oppressed by the white man's westward capitalism, this tragic tale is inevitably heartbreaking, although it ends on a hopeful note of cultural preservation. Some violent content from the original TNT broadcast has been edited for this DVD release to better accommodate classroom viewing, but Into the West still qualifies as essential viewing for anyone seeking an inclusive dramatization of truthful American history, as opposed to the wildly inaccurate and woefully biased accounts that dominated for decades. With different directors for all six parts, the miniseries is remarkably consistent in tone and vision, its outstanding production values matched by the excellence of a prestigious and well-chosen cast including Irene Bedard (who gives the standout performance in a half-white/half-Lakota role spanning decades), Keri Russell, Skeet Ulrich, Balthazar Getty, Matthew Modine, Graham Greene, Wes Studi, Beau Bridges, Sean Astin, Lance Henriksen, Rachael Leigh Cook, Keith Carradine, and others too numerous to mention. They all contribute to a heartfelt tapestry of bicultural history, both tragic and inspiring, and impressive enough to make its flaws easily forgiven.
DVD features A standard making-of documentary covers all aspects of the production of Into the West, with a brief introductory comment by Steven Spielberg. The "Communication Gap" featurette explores the challenge of translating dialogue into authentically spoken Lakota language. Also included is a survey (with interview clips) of the large cast; the original TNT promo trailer; and a music video of the miniseries-inspired song "World on Fire," combining Into the West footage with a performance by Sarah McLachlan and Robbie Robertson. --Jeff Shannon
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In this wildly funny hit comedy, Paul Rudd (Knocked Up) gets engaged to the girl of his dreams but has not a single guy friend to be his Best Man until he meets the ultimate dude, Jason Segal (Forgetting Sarah Marshall). Rudd and Segal’s “bro-mance” takes male-bonding to hilarious new heights that keep you laughing until the unforgettable last frame.
At once sweet, genuinely funny, and painfully awkward, I Love You, Man is that type of film that used to feel like a rare event, but these days is a lot more common thanks to Judd Apatow’s new hit factory. His stock ensemble of actors, writers, and directors have managed to hone in on the perfect formula of raunchy and sweet.Apatow wasn't involved in this production, but his mark is all over it just the same.Paul Rudd has to be the most infinitely likeable man in Hollywood; he manages to capture the ideal blend of sincerity and awkwardness but never comes off as annoying.As Sidney, Jason Segal departs from the neurotic and insecure roles that have nearly made him a household name in Freaks and Geeks and Forgetting Sarah Marshall.He channels instead the endearingly arrogant and emotionally stunted man-boy who is both life of the party and sad clown.The story is pretty simple--making friends tends to get more and more challenging as we get older and more settled into our lives.That's never been truer than for Peter Klaven, a so-called "Girlfriend Guy" who's never really had a best guy friend.As Peter begins to plan the rest of his life with the girl of his dreams (Parks and Recreation's Rashida Jones), the pressure to find a best man and not feel like a friendless freak becomes more intense.Enter Sidney, a Venice Beach-dwelling, super-laid-back, Rush-loving, vaguely employed (but clearly successful) financial planner with no desire to commit, a room in his house dedicated to all things masculine and an intense desire to have a good time as often as possible.Soul mates, right?As directed by John Hamburg (Along Came Polly, Stella), I Love You, Man is consistently funny and totally relatable.With strong supporting performances from Jones, Andy Samberg, Jon Favreau, Jamie Pressely, and even Lou Ferrigno (!), I Love You, Man is a little less raunch and a lot more sweet than some of this crew's other hits, with quite a few laugh-out-loud moments.–Kira Canny
Stills from I Love You, Man (Click for larger image)
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Brand: Warner Brothers
If it walks like a duck and quacks like a duck, it just might be Whose Line Is It Anyway?, the hilarious series where gifted comics devise sketches, impersonations and songs based on suggestions, props and inspired goofiness from off-beat and off-the-wall host Drew Carey and an equally playful audience. Ever wonder what an excitable dog would do on a Let's Make a Date TV show? Or an astronaut with an alien inside him? And what would a newscast be like if the news anchors were smart-aleck school kids showing off in class? Join Ryan Stiles, Colin Mochrie, Wayne Brady and other stars in one hilariously hot-wired situation after another from 2 delicious discs worth of the complete, first 10 episodes of Season One. It's daring. It's delirious. It's comedy without a net.
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Brand: Lions Gate
Special Agent Strahm is dead, and Detective Hoffman has emerged as the unchallenged successor to Jigsaw’s legacy. However, when the FBI draws closer to Hoffman, he is forced to set a game into motion, and Jigsaw’s grand scheme is finally understood.
The Saw series gains a commendable hint of social conscience with this sixth entry in the gleefully gruesome franchise. That's not to say that the creators have abandoned the films' main focus--dealing out hideous punishments for wrongdoers, courtesy its antihero, John Kramer/Jigsaw (Tobin Bell), who remains very dead as of this film--but screenwriters Marcus Dunston and Patrick Melton (who have penned every Saw pic since IV) deserve a note of recognition for pointing Jigsaw's moral fury at the insurance industry, which is personified by key victim Peter Outerbridge's oily exec. His decision to deny Kramer an experimental cancer treatment (all told in flashback) lands him and a handful of additional lost souls (all connected, of course) in yet another Rube Goldbergian chamber of horrors overseen by Jigsaw's acolyte, Detective Hoffman (Costas Mandylor). The improbability of the infernal machines continues to reach hysterical levels here, though the payoffs remain exceptionally gross, especially in the opener, which plays on the Shakespearean "pound of flesh" riff with spectacularly nauseating results. Aside from the insurance angle, there's little to differentiate Saw VI from its predecessors, and precious less to convince the nonfaithful that the series isn't spinning its wheels by this point--and based on the film's tepid opening-weekend box office, audiences may agree--but for Saw die-hards, there's much bloody business on hand here, and best of all, the promise of another sequel. --Paul Gaita
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Kevin Spacey, Annette Bening. A suburban family sinks into decay as lust, depression and superficiality overtake their lives. This masterful dark comedy won five Oscars including Best Picture! 1999/color/122 min/R/widescreen.
From its first gliding aerial shot of a generic suburban street, American Beauty moves with a mesmerizing confidence and acuity epitomized by Kevin Spacey's calm narration. Spacey is Lester Burnham, a harried Everyman whose midlife awakening is the spine of the story, and his very first lines hook us with their teasing fatalism--like Sunset Boulevard's Joe Gillis, Burnham tells us his story from beyond the grave.
It's an audacious start for a film that justifies that audacity. Weaving social satire, domestic tragedy, and whodunit into a single package, Alan Ball's first theatrical script dares to blur generic lines and keep us off balance, winking seamlessly from dark, scabrous comedy to deeply moving drama. The Burnham family joins the cinematic short list of great dysfunctional American families, as Lester is pitted against his manic, materialistic realtor wife, Carolyn (Annette Bening, making the most of a mostly unsympathetic role) and his sullen, contemptuous teenaged daughter, Jane (Thora Birch, utterly convincing in her edgy balance of self-absorption and wistful longing). Into their lives come two catalytic outsiders. A young cheerleader (Mena Suvari) jolts Lester into a sexual epiphany that blooms into a second adolescence. And an eerily calm young neighbor (Wes Bentley) transforms both Lester and Jane with his canny influence.
Credit another big-screen newcomer, English theatrical director Sam Mendes, with expertly juggling these potentially disjunctive elements into a superb ensemble piece that achieves a stylized pace without lapsing into transparent self-indulgence. Mendes has shrewdly insured his success with a solid crew of stage veterans, yet he's also made an inspired discovery in Bentley, whose Ricky Fitts becomes a fulcrum for both plot and theme. Cinematographer Conrad Hall's sumptuous visual design further elevates the film, infusing the beige interiors of the Burnhams' lives with vivid bursts of deep crimson, the color of roses--and of blood. --Sam Sutherland
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Brand: HBO Home Video
One of TV's most acclaimed drama series, the Emmy- and Golden Globe-winning Six Feet Under, concludes its groundbreaking, five season run. Each of the main characters will come to embrace the cycle of life - birth, death, and re-birth - in ways that are both unique and interconnected. Everything. Everyone. Everywhere. Ends.
DVD Features: Audio Commentary Episodic Previews Episodic Recaps Featurette Audio Commentary:Six audio commentaries with the cast, crew, and creator Featurette:Six Feet Under: 2001-2005, two 30-minute retrospectives Life and Loss: The Impact of Six Feet Under, a featurette
So much anticipation pools up around the concluding episode of this concluding season that you might be tempted to head straight for said finale, titled "Everyone's Waiting" (and it's so rich you'll find yourself drawn to repeated viewings). But if you can avoid that impulse, it's worth following the full build-up of one crisis after another to get the real payoff. On an episode-by-episode basis, Six Feet Under's fifth season has a decidedly uneven quality, shifting in tone far more drastically, say, than the intensely dark season 4. Character traits that have already been developed at length begin to seem annoyingly repetitious--Nate's (Peter Krause) self-centered frustration and furious lashings out, Billy's (Jeremy Sisto) resurgent psychosis--like leitmotifs run amuck. But this season also benefits from the knowledge we've developed, over the years, of the Fisher family and their loved ones, so that what they end up facing has a real emotional wallop, sometimes jump-starting the drama just where it seems to be in danger of churning itself into circles.
It's hardly a spoiler to mention that 6fu's final season, though bookended by the promise of new beginnings (a wedding in episode 1 to a departure for new prospects in the 12th episode), centers around loss and a pivotal death. The scripts contain more than an occasional sense of inconsequential filler, while some of the recurring thematics seem forced (we see David continue to cope with the scars from his abduction in the previous episode via over-obvious imagery of facing his "inner demons"). Other issues receive especially compelling treatment, above all Brenda's (Rachel Griffiths) desire to have a child and David and Keith's (Mathew St. Patrick) choice to adopt. But the real strength of this season lies in several gripping performances. Ruth (Frances Conroy) touches off a complex series of reactions, simultaneously sympathetic and judgmental, transcending the tendency to appear as a neurotic caricature. The super-talented Lauren Ambrose brings off Claire's emerging self-awareness and maturity with moving touches (she's also got some of the funniest moments as she takes on a stint as a temp in scenes that call to mind the hysterics of The Office). Griffiths' Brenda for her part undergoes a parallel maturing process. And as George's daughter Maggie, Tina Holmes adds a welcome tone of contrast.
6fu, of course, has always been about the paradoxes of finality. But anyone who has developed an attachment to the show's unique tone and creative sensibility will have a tough time saying goodbye. Alan Ball outdoes himself with his script (and direction) for the finale, "Everyone's Waiting," seeding it with echoes from the pilot episode that will enchant aficionados. And the famous fast-forward visions coursing through Claire's imagination as she heads down the highway give the perfect seal to this set of characters. Extras include especially insightful commentaries, including Ball on the finale, retrospectives, and a mini-feature on 6fu's cultural impact. It's safe to say that the show leaves some pretty unforgettable impressions in its wake. --Thomas May
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Stephen King's words take sizzling form in this explosive two-movie adaptation! College sweethearts, who were part of a bizarre psychic experiment, later get married and have a daughter. But the child is born with an ability to start fires with her mind in Firestarter (Drew Barrymore. 1984/114 min.). Now all grown up and coming out of hiding, the young woman becomes the target of some corrupt government agency that wants to find her and use her for warfare in Firestarter 2: Rekindled (Marguerite Moreau, Dennis Hopper. 2002/170 min.). Color/R/widescreen.