Robert duvall r mpaa in Drama DVDs & Videos

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Francis Ford Coppola's Vietnam epic, loosely based on the novel HEART OF DARKNESS by Joseph Conrad, tells the story of Captain Willard (Martin Sheen), a special agent sent into Cambodia to assassinate an errant American colonel (Marlon Brando). Willard is assigned to a navy patrol boat operated by Chief (Albert Hall) and three hapless soldiers (Frederic Forrest, Sam Bottoms, and Larry Fishburne). They are escorted on part of their journey by an air cavalry unit led by Lt. Colonel Kilgore (Robert Duvall), a gung-ho commander with a love of Wagner, surfing, and napalm. After witnessing a surreal USO show featuring Playboy playmates, and an anarchic battle with the Viet Cong at a bridge, Willard reaches Colonel Kurtz's compound. A crazed photojournalist and Kurtz groupie (Dennis Hopper) welcomes the crew, and Willard begins to question his orders to "terminate the colonel's command." The grueling production and Coppola's insistence on authenticity led to vast budget overruns and physical and emotional breakdowns. Considered to be one of the best war movies of all time, APOCALYPSE NOW features skilled performances and beautifully chaotic visuals that make it a powerful, unforgettable work. This collection presents both the 1979 original and the 2001 restored and updated version, with 49 minutes of never-before-seen footage, a Technicolor enhancement, and a six-channel soundtrack.

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Director James Gray (THE YARDS) posits two distinctly different brothers--Joseph (Mark Wahlberg) and Bobby Grusinsky (Joaquin Phoenix)--as the central characters in this crime-infested thriller. Joseph and Bobby inhabit two conflicting worlds in late 1980s New York, the former becoming a cop and the latter running a nightclub. Bobby spends his evenings in a den of iniquity, indulging in drugs, alcohol, and gambling, and his model-like girlfriend Amada (Eva Mendes) is never far from his arm. Their two worlds meet when the father of the two men, Burt (Robert Duvall), who is also a cop, gets together with Joseph to ask Bobby for information about a patron of the club named Vadim (Alex Veadov). Vadim is the nephew of the club's owner, and also a dangerous member of the Russian criminal underworld. Bobby sides with Vadim, and the tension in Gray's brother-versus-brother potboiler reaches melting point as Joseph goes after both his sibling and his Russian foe. Wahlberg, Phoenix, and Duvall all deliver high-caliber performances throughout, and Gray suffuses the plot with enough twists and turns to provide a few surprises. New York City is perfectly utilized as a backdrop to the action, and cinematographer Joaquin Baca-Asay manages to get the balance between moody, atmospheric shots and explosive action sequences just right. WE OWN THE NIGHT ultimately resembles an old-fashioned cop film with a little Scorsese-like drama thrown in for good measure, and is likely to gain a following among movie fans seeking retro crime thrills.

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This epic film from writer-director Ron Maxwell chronicles the early events of the American Civil War. It's a prequel to his earlier GETTYSBURG, with some of the same cast, and is part of a planned trilogy. Stephen Lang plays Thomas "Stonewall" Jackson, the famous (and deeply religious) Confederate general who, along with fellow General Robert E. Lee (Robert Duvall), must weigh the mighty consequences of his actions, as each battle costs the lives of thousands of men. Over on the Union side there's Jeff Daniels as Colonel Joshua Chamberlain, who, like Jackson and Lee, is fond of making long, poetic speeches to his troops. Beginning with the start of the war and ending with Jackson's death, the film chronicles the three main battles leading up to Gettysburg, using their actual locations and thousands of actual Civil War re-enactors as extras. Maxwell pays careful attention to authentic period detail as he chronicles the minutiae of the generals' domestic lives in the intervals between the harrowing battle scenes. While a little on the long side, the end result should serve as an invaluable document for history buffs. Mogul Ted Turner was an executive producer and appears in a small role.

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This epic film from writer-director Ron Maxwell chronicles the early events of the American Civil War. It's a prequel to his earlier GETTYSBURG, with some of the same cast, and is part of a planned trilogy. Stephen Lang plays Thomas "Stonewall" Jackson, the famous (and deeply religious) Confederate general who, along with fellow General Robert E. Lee (Robert Duvall), must weigh the mighty consequences of his actions, as each battle costs the lives of thousands of men. Over on the Union side there's Jeff Daniels as Colonel Joshua Chamberlain, who, like Jackson and Lee, is fond of making long, poetic speeches to his troops. Beginning with the start of the war and ending with Jackson's death, the film chronicles the three main battles leading up to Gettysburg, using their actual locations and thousands of actual Civil War re-enactors as extras. Maxwell pays careful attention to authentic period detail as he chronicles the minutiae of the generals' domestic lives in the intervals between the harrowing battle scenes. While a little on the long side, the end result should serve as an invaluable document for history buffs. Mogul Ted Turner was an executive producer and appears in a small role.

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Director Robert Duvall (THE APOSTLE) weaves the disparate worlds of murder and dance in this quirky and sometimes impressionistic comedy drama. John (Robert Duvall), an old-school Coney Island-area hit man, is offered a lucrative job in Argentina. He doesn't really want to take it, and his reluctance to leave his beloved stepdaughter Jenny (Katherine Micheaux Miller) and miss her birthday party fuels his obstinacy. But, assured he will be back in time, he takes the job. Once in Buenos Aries, the assassination plot begins to unfold, then sputter, and finally falls apart as the target fails to show up. Needless to say, John misses Jenny's big day, and to get his mind off of things, he catches a traditional Argentinean tango performance. With a reverence for American dance, John is totally blown away by this thrillingly expressive form, and infiltrates the tango circuit through Manuela (Luciana Pedraza), a glowing but modest partner. She and her sister escort John through the history and motion that is tango, while in the meantime the assassination plot picks back up as the target finally returns to Buenos Aries. Much like the dance it depicts, the film navigates between one world of murderous intrigue and conspiracy, and the other of sensual elegance and high-art aesthetics. Duvall also bridges the gulf between these worlds with an inimitable performance.

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Set in the early 1880s, this Western directed by Kevin Costner (DANCES WITH WOLVES, THE POSTMAN) is a classic tale of the good guys verses the bad guys with a romance thrown in for good measure. Boss Spearman (Robert Duvall) and Charley Waite (Kevin Costner) are free grazers, riding herds of cattle across the country and grazing as they go. But a local rancher, Denton Baxter (Michael Gambon), considers Boss and his boys thieves, and is determined to run them out of his town by any means possible--even murder. Duvall is endearing as the tough but tender Boss, who has the courage of his convictions and refuses to be intimidated by Baxter. Costner's Charley has worked for Boss for ten years while trying to forget his past, only to find himself drawn back into conflict. Lovable Mose (Abraham Benrubi) and teenager Button (Diego Luna) round out the free grazers' team. Annette Bening stars as the town doctor's sister, Sue, who is drawn to Charley's gentle demeanor and is unfazed by his ability to kill. Beautiful scenery, a script peppered with humor, and solid performances--especially from Duvall and the supporting cast--make Costner's fourth foray into directing enjoyable.

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ALL THE PRESIDENT'S MEN: With ALL THE PRESIDENT'S MEN, director Alan Pakula adapts the best-selling book by Bob Woodward and Carl Bernstein. Pakula created a film that takes its place among such important conspiracy dramas as THREE DAYS OF THE CONDOR and THE MAN WHO KNEW TOO MUCH. The focus is on the 1972 investigation of the break-in at the Democratic Party headquarters, otherwise known as the Watergate burglary. Through a complicated web of intrigue and secrecy that eventually involves the highest levels of government, hungry young journalists Woodward (Robert Redford) and Bernstein (Dustin Hoffman) of the Washington Post aggressively examine the incident, uncovering information that ultimately leads to the resignation of President Richard Nixon. Exceptional performances by Redford and Hoffman are complemented by Jason Robards as the dubious but supportive executive editor at the Post, and Hal Holbrook's celebrated characterization of the mysterious informer Deep Throat. The pacing of the film is quick and exciting, drawing viewers into the action of one of the most intriguing mysteries in all of American political history. DOG DAY AFTERNOON: Al Pacino plays a ferocious and fed-up bank robber in Lumet's classic film, DOG DAY AFTERNOON. Balancing suspense, violence, and humor, the film's depiction of a grand-scale media event craftily dives from the political to the personal, evoking a piercing portrait of a man and his devastating downward tumble as seen through the media circus that Lumet made a career of chronicling. Pacino is heartbreakingly real as Sonny, a smart yet self-destructive Brooklyn tough whose plan to rob the local bank to fund his male lover's (Chris Sarandon) sex change goes absurdly wrong. Accompanied only by his doltish accomplice, Sal (John Cazale), Sonny realizes that all the money had been removed before his arrival, and decides to kidnap a handful of bank employees instead. As the lengthy August day drags on, Sonny and hordes of local police, led by Sergeant Moretti (Charles Durning), make little progress, and eventually Sonny's wife and lover are brought to the scene. The crowd's sympathy is immediately captured by the charismatic Sonny, whose antagonism with the police is played out before an audience of millions, leading to an inevitably tragic finish. NETWORK: With stunning prescience, Sidney Lumet's searing satire of television and the contemporary moment chronicles media corruption and the way that the public buys into the myths the media creates. The moral and spiritual turpitude delivered by the debilitating forces of television are rendered in sharp relief against a backdrop of crumbling humanity in what is regarded as one of the great satires in Hollywood history. With a visceral script from Paddy Chayefsky, NETWORK follows the doomed path of aging newsman Howard Beale (Peter Finch), who, upon learning that he is to be fired after decades as a news anchor, announces to millions of viewers that he will publicly commit suicide during his last broadcast. When the ratings consequently shoot up, hungry executive-in-training Diana Christensen (Faye Dunaway) seizes the moment to exploit Beale's Messianic nervous breakdown, turning his rage into the vehicle for the network's first Number One show and a nationwide craze. Who could have predicted that this 1976 film might someday influence an even more contagious trend in television broadcasting: the reality show?

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