Robert duvall in Drama DVDs & Videos

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Produced under the supervision of director Francis Ford Coppola and cinematographer Gordon Willis, this boxed set presents THE GODFATHER trilogy in visually restored versions with remastered audio. Please see individual titles--THE GODFATHER, THE GODFATHER PART II, and THE GODFATHER PART III--for complete synopsis information.

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Robert Mulligan's classic adaptation of Harper Lee's Pulitzer Prize-winning novel, set in the racially charged atmosphere of Macon County, Alabama in the 1930s, TO KILL A MOCKINGBIRD is a poignant coming-of-age story. Winner of four Academy Awards including Best Screenplay (written by Horton Foote), and Best Actor (Gregory Peck), TO KILL A MOCKINGBIRD is a timeless film packed with beautiful scenes and meaningful life lessons. The story is told from the vantage point of a young girl nicknamed Scout (Mary Badham) whose widowed white father Atticus Finch (Peck), an attorney, decides on principle to defend a black man (Brock Peters) charged with raping a poor white woman. But the bigoted townspeople would rather lynch the accused than try him, and they make life hellish for the lawyer, his daughter, and his son Jem (Philip Alford). While their father is in the throes of the trial, his bright, inquisitive children learn a hard and unforgettable lesson in justice, morality, and prejudice, part of which requires overcoming an unfounded fear of their mysterious neighbor Boo Radley (Robert Duvall).

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After being squeezed out of his church by his ex-wife, a Texas fundamentalist preacher's alcohol-fueled rage sends him off the deep end. After beating her new beau into a coma, he flees to Louisiana and seizes the chance to reinvent himself as a devout "Apostle," founding a new church and captivating the citizenry while keeping his sins buried. Duvall, who also wrote and produced, is riveting in the title role. Academy Award Nominations: 1--Best Actor (Duvall).

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Robert Mulligan's classic adaptation of Harper Lee's Pulitzer Prize-winning novel, set in the racially charged atmosphere of Macon County, Alabama in the 1930s, TO KILL A MOCKINGBIRD is a poignant coming-of-age story. Winner of four Academy Awards including Best Screenplay (written by Horton Foote), and Best Actor (Gregory Peck), TO KILL A MOCKINGBIRD is a timeless film packed with beautiful scenes and meaningful life lessons. The story is told from the vantage point of a young girl nicknamed Scout (Mary Badham) whose widowed white father Atticus Finch (Peck), an attorney, decides on principle to defend a black man (Brock Peters) charged with raping a poor white woman. But the bigoted townspeople would rather lynch the accused than try him, and they make life hellish for the lawyer, his daughter, and his son Jem (Philip Alford). While their father is in the throes of the trial, his bright, inquisitive children learn a hard and unforgettable lesson in justice, morality, and prejudice, part of which requires overcoming an unfounded fear of their mysterious neighbor Boo Radley (Robert Duvall).

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All three of Francis Ford Coppola's classic films detailing the trials and tribulations of the Corleone family and their involvement in the world of organized crime come to DVD in this collection. Each film is given widescreen treatment with commentary from Coppola himself. The fifth disc contains over three hours of exclusive bonus features, including several behind-the-scenes featurettes. See individual film titles for descriptions.

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After catching his mother and her boyfriend "in flagrante delicto" and dispatching both of them with a farm implement known as a sling blade, a simpleminded 11-year-old boy is sent to a mental hospital where he spends the next 25 years. Upon his release, the emotionally and mentally stunted man-child returns to his Arkansas hometown and takes a job in a local garage, only to have the past inexorably repeat itself. An indie-film triumph, adapted by star-writer-director Thornton from his 1993 short, "Some Folks Call It a Sling Blade." Academy Award Nominations: 2, including Best Actor--Billy Bob Thornton. Academy Awards: Best Adapted Screenplay.

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John Q. Archibald (Denzel Washington) is struggling through a recession trying to provide for his son Mikey (Daniel E. Smith) and his waitress wife (Kimberly Elise). Mikey collapses at a Little League game and is rushed to a hospital. The situation is bleak. Only a heart transplant will save Mikey's life. John's HMO refuses to cover the expensive surgery. With the hospital and his insurance provider unwilling to help and his wife pleading with John to act, he takes matters into his own hands, holding the hospital's renowned heart surgeon (James Woods) and several others hostage in an emergency care wing until the surgery will be performed. Nick Cassavetes directed this attack on the American health care system. Like his previous feature, SHE'S SO LOVELY, Cassavetes proves adept at mining the political ramifications out of human drama. The film criticizes hospitals and health care providers for working in collusion against the working class. This moving drama is propelled by the intense lead performance by Washington as one man against an unjust system.

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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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The television comedy M*A*S*H debuted in 1972. In the process of becoming one of the most successful and beloved programs in TV history, it completely reinvented situation comedies. Based on Robert Altman's hit film, M*A*S*H ran for an astonishing 11 years, and this collection features all the episodes from the show.

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This harrowing double feature explores the ugly ramifications of war and government conduct. In DISTANT THUNDER, John Lithgow plays a disturbed Vietnam vet who leaves his wife and son (Ralph Macchio) to live like an animal in the wilderness and returns 10 years later only to realize the damage he's done. In the based-on-a-true-story thriller A SHOW OF FORCE, a journalist investigates the possible murders of two nationalist protestors by the Puerto Rican police. See individual titles for complete synopsis information.

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Produced under the supervision of director Francis Ford Coppola and cinematographer Gordon Willis, this boxed set presents THE GODFATHER trilogy in visually restored versions with remastered audio. Please see individual titles--THE GODFATHER, THE GODFATHER PART II, and THE GODFATHER PART III--for complete synopsis information.

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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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Lasse Hallstrom (THE CIDER HOUSE RULES, MY LIFE AS A DOG) directs this romantic comedy in which Julia Roberts plays Grace, a decent but naive southern woman who, happening to drive by her husband, Eddie (Dennis Quaid), one afternoon, is shocked to discover him locked in a passionate embrace, in public, with another woman. She immediately confronts her errant hubby, setting the town gossips' tongues wagging, and moves back in with her wealthy parents, provoking reactions from her imperious dad (Robert Duvall), who believes that a wife's duty is to stand by her man, and her sarcastic sister, Emma Rae (Kyra Sedgwick), who thinks that the bum got what he deserved. Soon Grace has caused a town scandal by openly questioning anyone who may have had an affair with Eddie and also starts to unearth problems in her parents' relationship. The film is ultimately a story about women who attempt reconciliation with their cheating spouses by exploring a new set of rules on their own terms. The screenplay is by Callie Khouri, the Academy Award- winning screenwriter of THELMA AND LOUISE.

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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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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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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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$14
 

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John Q. Archibald (Denzel Washington) is struggling through a recession trying to provide for his son Mikey (Daniel E. Smith) and his waitress wife (Kimberly Elise). Mikey collapses at a Little League game and is rushed to a hospital. The situation is bleak. Only a heart transplant will save Mikey's life. John's HMO refuses to cover the expensive surgery. With the hospital and his insurance provider unwilling to help and his wife pleading with John to act, he takes matters into his own hands, holding the hospital's renowned heart surgeon (James Woods) and several others hostage in an emergency care wing until the surgery will be performed. Nick Cassavetes directed this attack on the American health care system. Like his previous feature, SHE'S SO LOVELY, Cassavetes proves adept at mining the political ramifications out of human drama. The film criticizes hospitals and health care providers for working in collusion against the working class. This moving drama is propelled by the intense lead performance by Washington as one man against an unjust system.

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Director Curtis Hanson (L.A. CONFIDENTIAL, WONDER BOYS) raises the stakes and takes on Las Vegas in LUCKY YOU. Huck Cheever (Eric Bana) plays poker for a living, using every opportunity that arises in daily life to hone his skills and test the odds. He is fueled by both a compulsion to win and the desire to do better than his father, L.C. Cheever (Robert Duvall), who is a championship poker player. Huck's skills come naturally, but he lacks patience. When he meets Billie Offer (Drew Barrymore), an earnest, honest girl from Bakersfield pursuing her dream of being a singer, he sees the possibility of a real relationship for the first time. But Huck's habits are hard to break, and he'll have to make some changes if he wants to make this relationship work. Barrymore is sweet as Billie, but it is the relationship between Huck and his father that moves the story along. Huck harbors ill feelings towards L.C. from his childhood--feelings that are complicated by his burning desire to best his father at poker. Bana effectively shows the animosity Huck feels towards his father with subtle changes to his facial expression and body language, and Duvall actually makes the hard-nosed L.C. likable. Ultimately, the real star of this movie is poker. Throughout the film, it's the strategies and bets, the flops and the rivers, that draw the viewer in. Professional poker players served as consultants and extras in the film, lending authenticity to the World Series of Poker where father and son face off. Debra Messing plays Billie's sister, Horatio Sanz is Ready Eddie, who can turn any situation into a bet, and Robert Downey Jr. appears all too briefly as Huck's friend.

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A laid-off defense worker, kept from seeing his child on her birthday by a restraining order, looks at the landscape of moral decay in Los Angeles on one hot, congested day and, after being mugged, snaps. What follows is his bitter and pathetic mission of justice, vengeance and vindication that reads uncomfortably like too many news stories. Michael Douglas is identified only by his character's license plate, D-FENS, in this attack on social ills, a film originally seen as the displacement of power felt by many white American males.

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Robert Duvall gives an amazing performance as a Marine fighter pilot who funnels his frustrated desire to fight into creating a tip-top battalion out of his own emotionally battered family. His adolescent son suffers the most from the Colonel's inability to express love through anything but discipline. This critically acclaimed movie has become a touchstone for dysfunctional families and is based on the Pat Conroy novel.

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Gordon McLoed (Robert Duvall), is a former soccer star who now manages a smalltime team in the town of Kilnockie. The team hasn't won a championship for over a hundred years, so the American team owner (Michael Keaton) acquires star player Jackie McQuillan (real life soccer pro Ally McQuist) to increase the team's chances of winning. To complicate matters, womanizing Jackie is in a failing marriage to McLeod's daughter. But the team must learn to work together, because if they don't have a winning season, it is likely that the club will be permanently moved to Ireland. Director Michael Corrente (OUTSIDE PROVIDENCE) has fashioned a touching tale like to appeal to sports fans and non-fans alike.

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A simple, small-town garage mechanic suddenly develops extraordinary intelligence--including telekinetic powers and an unquenchable thirst for knowledge--which affects his life in unexpected ways. The government wants to investigate him, scientists want to study him, and the townspeople become afraid of him, to the point of ostracism. With the love and support of a young single mother, he is finally able to accept his lot in life.

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Horton Foote's story of a teenaged boy in the Depression who finds work on an eccentric's sugar plantation and learns life's surprising lessons from the team of convicts who also work there.

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When it is discovered that an enormous comet is on a collision course with Earth, a handful of Americans make different preparations for the end of the world. While Leo Biederman (Elijah Wood), the fourteen-year-old amateur astronomer who discovered the comet, deals with the pangs of first love, an ambitious newswoman (Tea Leoni) attempts to reconcile with her estranged parents. Simultaneously, a former astronaut (Robert Duvall) finds himself in the stars once again in an attempt to prevent the catastrophe from occurring. Mimi Leder (THE PEACEMAKER) directs from a script by Bruce Joel Rubin (GHOST) and Michael Tolkin (THE PLAYER).

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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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Francis Ford Coppola's THE CONVERSATION is a towering achievement, a masterfully constructed portrait of one man's descent into madness. Gene Hackman delivers a devastating performance as Harry Caul, a surveillance expert who gets paid to invade the privacy of strangers. The film's classic opening shot is a long, slow zoom into Union Square in San Francisco, as a young couple, Mark (Frederic Forrest) and Ann (Cindy Williams), are having what seems like an otherwise mundane conversation. However, when it is revealed that Harry and his assistant Stanley (John Cazale) are eavesdropping from a nearby van, it becomes clear that something more serious is happening. Later, after Harry painstakingly reconstructs the conversation from several different audio sources, he uncovers a snippet of dialogue that unsettles him. Suspicious of his client's motives for wanting the tape, Harry becomes uncharacteristically worried about the people he may have endangered, sending him into a dangerous mental tailspin. With Harry Caul, Coppola and Hackman have managed to create one of cinema's most unforgettable characters, a man who appears to be in control on the outside but who is, in fact, crumbling on the inside. Though Teri Garr, Harrison Ford, and Allen Garfield deliver standout supporting turns, THE CONVERSATION is Hackman's show. Inspired by Michelangelo Antonioni's BLOW UP (1966), THE CONVERSATION in turn went on to influence Brian De Palma's own surveillance thriller, BLOW OUT (1981).

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Jan Schlichtmann, a tenacious young lawyer, is confronted with the litigation of a lifetime in this unbelievable real-life story. Several families in the small town of Woburn, Massachusetts, have suffered the tragic losses of their children to the rare cancer known as leukemia. After having their claim rejected by most law firms in town, these citizens approach Schlichtmann with the possibility that the deaths of their children may have had to do with Woburn's drinking water supply being contaminated by a couple of local businesses. The rub lies in the fact that these businesses are offshoots of two of the most powerful national corporations in the country! Schlichtmann must push his skill and craftiness as a lawyer to the limit in order to oust his opponents, who are working with a limitless bankroll. Based on the great fact-based novel.

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Farm boy Roy Hobbs (Robert Redford) is the best baseball player anyone has ever seen. His bat, handmade from the wood of a tree felled by lightning following the death of his father, is magic in his hands. But before his career can start, the mysterious Harriet Bird (Barbara Hershey) inexplicably shoots him, sidelining him for more than a decade. Fifteen years later, Hobbs returns to play for the New York Knights, whose coach, Pop Fisher (Wilfred Brimley), begrudgingly accepts the aging rookie as a member of the team. Pop is as surprised as the rest of the team when Hobbs knocks the ball out of the park time and again and can still play a mean outfield as well. However, when the politics of the business side of the game get in the way, Hobbs has to make some life-changing decisions. Meanwhile, he becomes involved with Memo Paris (Kim Basinger), a sultry siren with her own agenda. Glenn Close plays Iris, the hometown girl whom Hobbs left behind but never forgot. Director Barry Levinson (DINER, RAIN MAN) manages to re-create the excitement of old-time baseball while telling an all-American tale of success and failure, based on the novel by Bernard Malamud.

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Based on the bestselling novel by Mario Puzo (who co-wrote the screenplay with director Francis Ford Coppola), THE GODFATHER tells an epic tale of Mafia life in America during the 1940s and '50s. Vito Corleone (Marlon Brando) is the family patriarch balancing a love of his family with an ambitious criminal instinct. At the wedding of the Don's daughter, Connie (Talia Shire), youngest son Michael (Al Pacino) is reunited with his family. A subsequent assassination attempt leaves the Don too ill to run the family business, forcing Michael and Sonny (James Caan), with the help of consigliere Tom Hagen (Robert Duvall), to lead the Corleones into a vendetta-filled war with other mob families. Violent revenge ensues as the family tries to change from its old criminal ways into legitimacy. Coppola's certified masterpiece, which won three Oscars (including Best Picture) and spawned an Oscar-winning sequel (THE GODFATHER PART II), set a new screen standard for merging blood-soaked violence with intimate family drama. In the process, Coppola single-handedly established the Mafia as an industry in film and television (GOODFELLAS, THE SOPRANOS). Featuring truly unforgettable performances, including the Best Actor-winning Brando, the riveting Pacino, and an unexpectedly dramatic Diane Keaton, THE GODFATHER is the pinnacle of Hollywood cinema in the 1970s.

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The sequel to THE GODFATHER tells the story of both a young Vito Corleone (Robert De Niro), newly arrived in America, and his son Michael (Al Pacino) 40 years later, running the family empire. On the streets of Hell's Kitchen in 1917 New York City, Vito is initiated into the ways of the local Cosa Nostra by his friend Clemenza (Bruno Kirby). After killing the local mafioso in a towel-wrapped gun, Vito becomes the new man to be respected and feared. Meanwhile, a dour Michael Corleone negotiates with business partner Hyman Roth (legendary Method-acting teacher Lee Strasberg in his first film role) in Cuba and testifies in front of a Washington Senate committee. Robert Duvall (Tom Hagen), Diane Keaton (Kay Corleone), Talia Shire (Connie Corleone), and John Cazale (Fredo Corleone), reprising their roles from THE GODFATHER, are outstanding as the people forced to watch the new godfather's moral destruction. De Niro, speaking in Italian, captures the mannerisms of Marlon Brando's Vito Corleone from the first film brilliantly. THE GODFATHER PART II is one of the only major sequels ever made that might just surpass the original.

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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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Muhammed Ali portrays himself in this biofilm telling the incredible story of his life. As 18 year-old Cassius Clay, Ali wins the Olympic gold medal for boxing. From there, he sets out to win the heavyweight championship under the guidance of trainer Angelo Dundee (Ernest Borgnine). Clay wins the title from Sonny Liston, converts to Islam, and changes his name to Muhammed Ali. He is drafted, but refuses on religious grounds, and find himself in a court battle that still can't prevent him from winning in the ring.

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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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Roland Joffé's adaptation of Nathaniel Hawthorne's seminal novel tells the story of an intolerant Puritan community in the early days of American settlement. In the 1660s, Hester Prynne (Demi Moore) makes the voyage to the New World in order to find religious freedom and a new home for her and her husband, Roger (Robert Duvall). However, Hester proves to be too free-spirited and strong-willed for most of the conservative Massachusetts Bay colony members. She abandons the laws of the colony and sets up a home far from the town square, living by her own rules and setting the townspeople's morals on end. While waiting for her husband's arrival from England, she befriends the town pastor, Arthur Dimmesdale (Gary Oldman), a liberal-minded and passionate man who instantly strikes Hester's fancy. Although the married woman and pious pastor are strongly attracted to one another, the two refuse to give in to temptation--until Roger is reported dead in a violent Indian massacre. When the townfolk hear about the ensuing scandal, they force Hester to wear a shameful scarlet "A" (for adultery) on her clothing at all times--while living as a moral and social outcast.

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Based on Calder Willingham's novel of the same name, RAMBLING ROSE is a domestic drama set in a small Georgia town during the 1930s. The main character is Rose (Laura Dern), a lower-class girl with a troubled past who takes a job as a live-in maid for the Hillyers, an upper-crust, liberal southern family. Rose quickly wins over her employers with her warmth and spirit, but they are concerned about her promiscuity, which soon has every boy in town at her door. Struggling to resist her innocently seductive ways, the man of the house (Robert Duvall) tries to curb Rose's behavior as she beguiles everyone in the household, including the young Buddy (Lukas Haas), whose sexual awakening is guided by her presence. The cast is rounded out by the strong-minded and independent Mrs. Hillyer (Diane Ladd), who is Laura Dern's real life mother; both actresses were nominated for Oscars for their performances.

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A powerful drama in which two brothers whose chosen lifestyles and careers are opposed to each other. One is a gangster and the other is a priest. They come into sharp conflict after a murder is committed.

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Robert Redford plays Bubba Reeves, an escaped convict who is returning to the small Texas town he calls home to visit his wife. Bubba's wife, the sheriff, and the rest of the town are none too pleased when they catch wind of Bubba's return. His wife is cheating on him with Roger, the son of the influential town oil mogul. The sheriff (Marlon Brando) might be in the oil mogul's pocket. Roger fears Bubba's wrath, as do the rest of the people in town, who all have there own reasons to fear the return of bad Bubba Reeves, ranging from the paranoid to the extremely justified. Whatever the reasons, everyone wants Bubba taken care of once and for all. The sheriff must apprehend Bubba and bring him in alive, all the time battling the will of the people who want Bubba Reeves dead.

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This double feature of legal thrillers involves high-stakes lawsuits against major corporations. A CIVIL ACTION stars Travolta as a high-powered lawyer who risks everything in order to make a polluting corporation repay a group of sick families. THE INSIDER tells the story of tobacco executive Jeffrey Wigand (Russell Crowe) who tries to tell his inside story to "60 Minutes" and has his life ruined as a result. See individual titles for complete synopsis information.

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A young man, shattered with guilt after accidently killing his older brother, turns to his family for support and compassion. There, however, he finds only fury and rejection. A sensitive tale of a family torn apart by a tragic accident.

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THE BETSY, directed by Daniel Petrie and based on Harold Robbins's sordid potboiler about several generations of an American car manufacturing dynasty, stars Laurence Olivier as 90-year-old Loren Hardeman, who rules the family with an iron fist. The clan, nonetheless, is constantly involved in intrigues and affairs ranging from adultery to abuse of power. Although Loren has passed along the family business to his grandson, Loren Hardeman III (Robert Duvall), he has one idea that he is desperate to realize. The Betsy is Loren's dream car, named after his doting great-granddaughter (Kathleen Beller), and he hires Angelo Perino (a young and seductive Tommy Lee Jones) to help him secretly create the economical, efficient vehicle. Angelo is an injured race car driver who diligently works to design the car while seducing Betsy and having an affair with Loren III's mistress (a terrifically haughty Lesley-Anne Down). But the money-grubbing auto industry isn't too fond of Loren's secret pursuit, and their desire to sabotage him soon sets off more melodramatic action than a family can handle. This soap opera, brimming over with intrigue and seduction has been compared to television's DYNASTY and other spicy tales of romance and big money power plays. Petrie's film is certainly ripe with scandal, melodrama, and an enjoyably campy all-star cast, including Katharine Ross, Jane Alexander, and Paul Rudd. THE BETSY also features music composed by the legendary John Barry.

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Robert Altman throws his chips into the film noir ring with this stylish, moody thriller that features a spot-on performance by Kenneth Branagh as Rick Magruder, a successful Savannah, Georgia lawyer. After a party celebrating a major victory, he offers Mallory Doss (Embeth Davidtz), a shy waitress whose car has been stolen, a lift home. Their relationship develops quickly and it isn't long before he sleeps with her. Soon after, however, Rick learns that Mallory's cat has been killed, which she attributes to her religious fanatic father, Dixon Doss (Robert Duvall). As Rick attempts to track Dixon down and protect Mallory from him, a new chain of events is unleashed which threatens to ruin his career and endanger the lives of his two children. Meanwhile, a hurricane looms in the distance, adding even greater tension to Rick's quickly deteriorating situation. As is typical with all of Altman's films, a high-profile cast converges to deliver solid individual performances. Standouts include--in addition to Branagh's hedonistic lawyer--Duvall, Robert Downey Jr., Tom Berenger, Daryl Hannah, and Davidtz. The first John Grisham-inspired film that wasn't adapted from one of the author's novels, THE GINGERBREAD MAN is more film noir than courtroom drama and is rendered suspensefully by maverick director Altman.

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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.

starting at

$5
 

starting at

$6
  • product
THE BETSY, directed by Daniel Petrie and based on Harold Robbins's sordid potboiler about several generations of an American car manufacturing dynasty, stars Laurence Olivier as 90-year-old Loren Hardeman, who rules the family with an iron fist. The clan, nonetheless, is constantly involved in intrigues and affairs ranging from adultery to abuse of power. Although Loren has passed along the family business to his grandson, Loren Hardeman III (Robert Duvall), he has one idea that he is desperate to realize. The Betsy is Loren's dream car, named after his doting great-granddaughter (Kathleen Beller), and he hires Angelo Perino (a young and seductive Tommy Lee Jones) to help him secretly create the economical, efficient vehicle. Angelo is an injured race car driver who diligently works to design the car while seducing Betsy and having an affair with Loren III's mistress (a terrifically haughty Lesley-Anne Down). But the money-grubbing auto industry isn't too fond of Loren's secret pursuit, and their desire to sabotage him soon sets off more melodramatic action than a family can handle. This soap opera, brimming over with intrigue and seduction has been compared to television's DYNASTY and other spicy tales of romance and big money power plays. Petrie's film is certainly ripe with scandal, melodrama, and an enjoyably campy all-star cast, including Katharine Ross, Jane Alexander, and Paul Rudd. THE BETSY also features music composed by the legendary John Barry.

starting at

$6
 

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$8
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The sequel to THE GODFATHER tells the story of both a young Vito Corleone (Robert De Niro), newly arrived in America, and his son Michael (Al Pacino) 40 years later, running the family empire. On the streets of Hell's Kitchen in 1917 New York City, Vito is initiated into the ways of the local Cosa Nostra by his friend Clemenza (Bruno Kirby). After killing the local mafioso in a towel-wrapped gun, Vito becomes the new man to be respected and feared. Meanwhile, a dour Michael Corleone negotiates with business partner Hyman Roth (legendary Method-acting teacher Lee Strasberg in his first film role) in Cuba and testifies in front of a Washington Senate committee. Robert Duvall (Tom Hagen), Diane Keaton (Kay Corleone), Talia Shire (Connie Corleone), and John Cazale (Fredo Corleone), reprising their roles from THE GODFATHER, are outstanding as the people forced to watch the new godfather's moral destruction. De Niro, speaking in Italian, captures the mannerisms of Marlon Brando's Vito Corleone from the first film brilliantly. THE GODFATHER PART II is one of the only major sequels ever made that might just surpass the original.

starting at

$8
 

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$9
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Based on the bestselling novel by Mario Puzo (who co-wrote the screenplay with director Francis Ford Coppola), THE GODFATHER tells an epic tale of Mafia life in America during the 1940s and '50s. Vito Corleone (Marlon Brando) is the family patriarch balancing a love of his family with an ambitious criminal instinct. At the wedding of the Don's daughter, Connie (Talia Shire), youngest son Michael (Al Pacino) is reunited with his family. A subsequent assassination attempt leaves the Don too ill to run the family business, forcing Michael and Sonny (James Caan), with the help of consigliere Tom Hagen (Robert Duvall), to lead the Corleones into a vendetta-filled war with other mob families. Violent revenge ensues as the family tries to change from its old criminal ways into legitimacy. Coppola's certified masterpiece, which won three Oscars (including Best Picture) and spawned an Oscar-winning sequel (THE GODFATHER PART II), set a new screen standard for merging blood-soaked violence with intimate family drama. In the process, Coppola single-handedly established the Mafia as an industry in film and television (GOODFELLAS, THE SOPRANOS). Featuring truly unforgettable performances, including the Best Actor-winning Brando, the riveting Pacino, and an unexpectedly dramatic Diane Keaton, THE GODFATHER is the pinnacle of Hollywood cinema in the 1970s.

starting at

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Two epic, sprawling period dramas are bursting out of this double feature release. OLD GRINGO tells the story of a passionate love triangle between a formerly cloistered spinster (Jane Fonda), a fiery young Mexican general (Jimmy Smits), and an expatriate journalist (Gregory Peck) living in 1912 Mexico In GERONIMO: AN AMERICAN LEGEND, Gene Hackman and Robert Duvall play a pair of Army leaders who attempt to coerce the Apache warrior Geronimo (Wes Studi) off his land. See individual titles for complete synopsis information.

starting at

$11
 

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$11
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When a white Arkansas mechanic learns his mother was a black woman, and that he has a black half-brother, he travels to Chicago to discover more about his true family. At first taken aback by the news, the man and his newly-discovered sibling slowly open up to each other with the help of their wise, blind aunt. The script was co-written by Billy Bob Thornton, prior to his success with SLING BLADE.

starting at

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$20
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A powerful tale of the love shared between two impoverished people who live in a small southern community. Featuring Robert Duvall in his first major film role and written by Oscar winner Horton Foote (TO KILL A MOCKINGBIRD), TOMORROW is based on the William Faulkner story of the same name.

starting at

$20
 

starting at

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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.

starting at

$5
 

starting at

$3
  • product
Based on Calder Willingham's novel of the same name, RAMBLING ROSE is a domestic drama set in a small Georgia town during the 1930s. The main character is Rose (Laura Dern), a lower-class girl with a troubled past who takes a job as a live-in maid for the Hillyers, an upper-crust, liberal southern family. Rose quickly wins over her employers with her warmth and spirit, but they are concerned about her promiscuity, which soon has every boy in town at her door. Struggling to resist her innocently seductive ways, the man of the house (Robert Duvall) tries to curb Rose's behavior as she beguiles everyone in the household, including the young Buddy (Lukas Haas), whose sexual awakening is guided by her presence. The cast is rounded out by the strong-minded and independent Mrs. Hillyer (Diane Ladd), who is Laura Dern's real life mother; both actresses were nominated for Oscars for their performances.

starting at

$3
 

starting at

$5
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Robert Altman throws his chips into the film noir ring with this stylish, moody thriller that features a spot-on performance by Kenneth Branagh as Rick Magruder, a successful Savannah, Georgia lawyer. After a party celebrating a major victory, he offers Mallory Doss (Embeth Davidtz), a shy waitress whose car has been stolen, a lift home. Their relationship develops quickly and it isn't long before he sleeps with her. Soon after, however, Rick learns that Mallory's cat has been killed, which she attributes to her religious fanatic father, Dixon Doss (Robert Duvall). As Rick attempts to track Dixon down and protect Mallory from him, a new chain of events is unleashed which threatens to ruin his career and endanger the lives of his two children. Meanwhile, a hurricane looms in the distance, adding even greater tension to Rick's quickly deteriorating situation. As is typical with all of Altman's films, a high-profile cast converges to deliver solid individual performances. Standouts include--in addition to Branagh's hedonistic lawyer--Duvall, Robert Downey Jr., Tom Berenger, Daryl Hannah, and Davidtz. The first John Grisham-inspired film that wasn't adapted from one of the author's novels, THE GINGERBREAD MAN is more film noir than courtroom drama and is rendered suspensefully by maverick director Altman.

starting at

$5
 

starting at

$6
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A television reporter risks her career and her life pursuing a shady trail of clues left in the wake of the shooting of two young men at on a mountaintop near a broadcast tower in 1978 Puerto Rico. Were they terrorists or victims of a government conspiracy? Based on a true story.

starting at

$6
 

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$6
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Francis Ford Coppola's Vietnam epic, loosely based on 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 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 photo journalist 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 incredible performances and beautifully chaotic visuals that make it an absolute must-see. In August 2001, a new version of the film, title APOCALYPSE NOW REDUX, was released. The new version includes 49 minutes of never-before-seen footage, a Technicolor enhancement, and a six-channel soundtrack.

starting at

$6
 

starting at

$7
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When it is discovered that an enormous comet is on a collision course with Earth, a handful of Americans make different preparations for the end of the world. While Leo Biederman (Elijah Wood), the fourteen-year-old amateur astronomer who discovered the comet, deals with the pangs of first love, an ambitious newswoman (Tea Leoni) attempts to reconcile with her estranged parents. Simultaneously, a former astronaut (Robert Duvall) finds himself in the stars once again in an attempt to prevent the catastrophe from occurring. Mimi Leder (THE PEACEMAKER) directs from a script by Bruce Joel Rubin (GHOST) and Michael Tolkin (THE PLAYER).

starting at

$7
 

starting at

$13
  • product
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.

starting at

$13
 

starting at

$13
  • product
Francis Ford Coppola's Vietnam epic, loosely based on 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, Willard reaches Colonel Kurtz's compound. A crazed photo journalist and Kurtz groupie (Dennis Hopper) welcomes the crew, and Willard begins to question his orders to "terminate the colonel's command." Considered to be one of the best war movies of all time, APOCALYPSE NOW features incredible performances and beautifully chaotic visuals that make it a powerful, unforgettable work. Released in August 2001, APOCALYPSE NOW REDUX, a restored and updated version of the 1979 film, includes 49 minutes of never-before-seen footage, a Technicolor enhancement, and a six-channel soundtrack.

starting at

$13
 

starting at

$14
  • product
After being squeezed out of his church by his ex-wife, a Texas fundamentalist preacher's alcohol-fueled rage sends him off the deep end. After beating her new beau into a coma, he flees to Louisiana and seizes the chance to reinvent himself as a devout "Apostle," founding a new church and captivating the citizenry while keeping his sins buried. Duvall, who also wrote and produced, is riveting in the title role. Academy Award Nominations: 1--Best Actor (Duvall).

starting at

$14
 

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$19
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David Fincher's (FIGHT CLUB, SE7EN) adaptation of the Robert Graysmith book masterfully transports viewers to the Bay Area in the 1960s and '70s by drawing on actual case files from the notoriously unsolved Zodiac killer mystery. As a murderer with seemingly random targets starts sending terrifying threats and cryptic codes to police and publishers all around San Francisco, fear and paranoia descend on the city. Through slow pacing, Fincher creates an effectively chilling atmosphere in which he spins a thick web of character-driven plotlines. Early scenes depicting the Zodiac's first-known murders vividly capture the victim's fear and agony and will leave viewers haunted. When the Zodiac's ciphers arrive at the San Francisco Chronicle, they spark the interest of Graysmith (Jake Gyllenhaal), a young cartoonist with a penchant for puzzles. As the former Boy Scout earnestly tries to decode the messages, eccentric reporter Paul Avery approaches the case from a career-boosting angle. Meanwhile, a string of investigators from four jurisdictions carry on a complex and unsatisfying search for the elusive killer. Inspectors Dave Toschi (Mark Ruffalo) and Bill Armstrong (Anthony Edwards) at times collide with Avery and Graysmith, whose interest in the case extends long after most have given up. Even at two-and-a-half hours in length, this dense murder mystery should manage to keep its audience riveted throughout. Paired with stellar performances from Ruffalo, Downey, Gyllenhaal, and countless others, a clever script produces well-developed characters, and the film's art direction, music, and costumes all combine to create an authentic sense of time and place. The somber tone of the atmospheric thriller gives the film a documentary-like aesthetic at times, lending weight to the story's facts while never relying on cheap tricks. Unlike murder mysteries such as THE BLACK DAHLIA, ZODIAC invites viewers to develop theories of their own, allowing them to come to their own conclusions.

starting at

$19
 

starting at

$3
  • product
David Fincher's (FIGHT CLUB, SE7EN) adaptation of the Robert Graysmith book masterfully transports viewers to the Bay Area in the 1960s and '70s by drawing on actual case files from the notoriously unsolved Zodiac killer mystery. As a murderer with seemingly random targets starts sending terrifying threats and cryptic codes to police and publishers all around San Francisco, fear and paranoia descend on the city. Through slow pacing, Fincher creates an effectively chilling atmosphere in which he spins a thick web of character-driven plotlines. Early scenes depicting the Zodiac's first-known murders vividly capture the victim's fear and agony and will leave viewers haunted. When the Zodiac's ciphers arrive at the San Francisco Chronicle, they spark the interest of Graysmith (Jake Gyllenhaal), a young cartoonist with a penchant for puzzles. As the former Boy Scout earnestly tries to decode the messages, eccentric reporter Paul Avery approaches the case from a career-boosting angle. Meanwhile, a string of investigators from four jurisdictions carry on a complex and unsatisfying search for the elusive killer. Inspectors Dave Toschi (Mark Ruffalo) and Bill Armstrong (Anthony Edwards) at times collide with Avery and Graysmith, whose interest in the case extends long after most have given up. Even at two-and-a-half hours in length, this dense murder mystery should manage to keep its audience riveted throughout. Paired with stellar performances from Ruffalo, Downey, Gyllenhaal, and countless others, a clever script produces well-developed characters, and the film's art direction, music, and costumes all combine to create an authentic sense of time and place. The somber tone of the atmospheric thriller gives the film a documentary-like aesthetic at times, lending weight to the story's facts while never relying on cheap tricks. Unlike murder mysteries such as THE BLACK DAHLIA, ZODIAC invites viewers to develop theories of their own, allowing them to come to their own conclusions.

starting at

$3
 

starting at

$3
  • product
Director Robert Altman's historical crime picture follows the exploits of Bowie, an escaped convict who becomes romantically involved with Keechie, a naive farmer's daughter. Bowie has broken out of a Mississippi prison farm with two other criminals--Chicamaw, who is part Indian, and T-Dub, an over-the-hill bank robber with a bad leg. The three take Keechie, whose father helped with their getaway, along with them. They embark on a crime spree, passing through a series of small Midwestern towns, until fate inevitably catches up with them.

starting at

$3
 

starting at

$4
  • product
David Fincher's (FIGHT CLUB, SE7EN) adaptation of the Robert Graysmith book masterfully transports viewers to the Bay Area in the 1960s and '70s by drawing on actual case files from the notoriously unsolved Zodiac killer mystery. As a murderer with seemingly random targets starts sending terrifying threats and cryptic codes to police and publishers all around San Francisco, fear and paranoia descend on the city. Through slow pacing, Fincher creates an effectively chilling atmosphere in which he spins a thick web of character-driven plotlines. Early scenes depicting the Zodiac's first-known murders vividly capture the victim's fear and agony and will leave viewers haunted. When the Zodiac's ciphers arrive at the San Francisco Chronicle, they spark the interest of Graysmith (Jake Gyllenhaal), a young cartoonist with a penchant for puzzles. As the former Boy Scout earnestly tries to decode the messages, eccentric reporter Paul Avery approaches the case from a career-boosting angle. Meanwhile, a string of investigators from four jurisdictions carry on a complex and unsatisfying search for the elusive killer. Inspectors Dave Toschi (Mark Ruffalo) and Bill Armstrong (Anthony Edwards) at times collide with Avery and Graysmith, whose interest in the case extends long after most have given up. Even at two-and-a-half hours in length, this dense murder mystery should manage to keep its audience riveted throughout. Paired with stellar performances from Ruffalo, Downey, Gyllenhaal, and countless others, a clever script produces well-developed characters, and the film's art direction, music, and costumes all combine to create an authentic sense of time and place. The somber tone of the atmospheric thriller gives the film a documentary-like aesthetic at times, lending weight to the story's facts while never relying on cheap tricks. Unlike murder mysteries such as THE BLACK DAHLIA, ZODIAC invites viewers to develop theories of their own, allowing them to come to their own conclusions.

starting at

$4
 

starting at

$4
  • product
Robert Altman's brilliant, sprawling masterpiece paints a detailed portrait of the people and music industry of Nashville, Tennessee. Made in 1975, one year before the celebration of the American Bicentennial, the film can also be viewed as a metaphor for the state of American politics and culture of the time. Altman's roaming camera follows a group of disparate individuals as the city prepares for an upcoming political rally for "Replacement" party candidate Hal Philip Walker. They include a ditzy Californian who's visiting her dying aunt and downtrodden uncle, a philandering rock star and his bandmates, a country singer on the verge of a nervous breakdown, a tone-deaf waitress with dreams of superstardom, a mother with two deaf children, and a British journalist who is out to capture the "true" Nashville. The characters intersect at the beginning of the film after a highway accident, and again at the end when an act of violence tarnishes the political rally. Altman's improvisational approach lends itself perfectly to the film's subject matter, which allows the actors to freely develop their personas. Another bold decision was to incorporate songs written by the actors themselves (Keith Carradine's "I'm Easy" won an Oscar for Best Song). This unorthodox style adds a satirical humor and brave honesty to NASHVILLE, making it one of American cinema's crowning achievements.

starting at

$4
 

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$18
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Robert Altman delivers one of his most startlingly enigmatic pictures with 3 WOMEN. Inspired by a dream Altman had in which he was shooting a film in the desert, the film tells the story of a shy, quiet girl named Pinky (Sissy Spacek), who starts working in a nursing home and strikes up a friendship with the talkative Millie (Shelley Duvall). The pair share an apartment and grow closer together, but a series of strange events cause their personas to change and morph in unexpected ways. Recalling the dreamy atmosphere of Ingmar Bergman's PERSONA, 3 WOMEN is Altman at his most deliriously inspired.

starting at

$18
 

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$16
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After catching his mother and her boyfriend "in flagrante delicto" and dispatching both of them with a farm implement known as a sling blade, a simpleminded 11-year-old boy is sent to a mental hospital where he spends the next 25 years. Upon his release, the emotionally and mentally stunted man-child returns to his Arkansas hometown and takes a job in a local garage, only to have the past inexorably repeat itself. An indie-film triumph, adapted by star-writer-director Thornton from his 1993 short, "Some Folks Call It a Sling Blade." Academy Award Nominations: 2, including Best Actor--Billy Bob Thornton. Academy Awards: Best Adapted Screenplay.

starting at

$16
 

starting at

$17
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A laid-off defense worker, kept from seeing his child on her birthday by a restraining order, looks at the landscape of moral decay in Los Angeles on one hot, congested day and, after being mugged, snaps. What follows is his bitter and pathetic mission of justice, vengeance and vindication that reads uncomfortably like too many news stories. Michael Douglas is identified only by his character's license plate, D-FENS, in this attack on social ills, a film originally seen as the displacement of power felt by many white American males.

starting at

$17
 

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$5
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David Fincher's (FIGHT CLUB, SE7EN) adaptation of the Robert Graysmith book masterfully transports viewers to the Bay Area in the 1960s and '70s by drawing on actual case files from the notoriously unsolved Zodiac killer mystery. As a murderer with seemingly random targets starts sending terrifying threats and cryptic codes to police and publishers all around San Francisco, fear and paranoia descend on the city. Through slow pacing, Fincher creates an effectively chilling atmosphere in which he spins a thick web of character-driven plotlines. Early scenes depicting the Zodiac's first-known murders vividly capture the victim's fear and agony and will leave viewers haunted. When the Zodiac's ciphers arrive at the San Francisco Chronicle, they spark the interest of Graysmith (Jake Gyllenhaal), a young cartoonist with a penchant for puzzles. As the former Boy Scout earnestly tries to decode the messages, eccentric reporter Paul Avery approaches the case from a career-boosting angle. Meanwhile, a string of investigators from four jurisdictions carry on a complex and unsatisfying search for the elusive killer. Inspectors Dave Toschi (Mark Ruffalo) and Bill Armstrong (Anthony Edwards) at times collide with Avery and Graysmith, whose interest in the case extends long after most have given up. Even at two-and-a-half hours in length, this dense murder mystery should manage to keep its audience riveted throughout. Paired with stellar performances from Ruffalo, Downey, Gyllenhaal, and countless others, a clever script produces well-developed characters, and the film's art direction, music, and costumes all combine to create an authentic sense of time and place. The somber tone of the atmospheric thriller gives the film a documentary-like aesthetic at times, lending weight to the story's facts while never relying on cheap tricks. Unlike murder mysteries such as THE BLACK DAHLIA, ZODIAC invites viewers to develop theories of their own, allowing them to come to their own conclusions.

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When it is discovered that an enormous comet is on a collision course with Earth, a handful of Americans make different preparations for the end of the world. While Leo Biederman (Elijah Wood), the fourteen-year-old amateur astronomer who discovered the comet, deals with the pangs of first love, an ambitious newswoman (Tea Leoni) attempts to reconcile with her estranged parents. Simultaneously, a former astronaut (Robert Duvall) finds himself in the stars once again in an attempt to prevent the catastrophe from occurring. Mimi Leder (THE PEACEMAKER) directs from a script by Bruce Joel Rubin (GHOST) and Michael Tolkin (THE PLAYER).

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This triple pack offers plenty of chills, thrills, and drama. Included here are the films FREQUENCY, starring Dennis Quaid; JOHN Q, starring Denzel Washington; and CELLULAR, starring Kim Basinger. Please see individual titles for synopsis information.

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While director Bruce Beresford has often dwelled on the amusing peccadilloes of southerners, in this film he has adapted his style to characters whose manners are as plain and unadorned as the landscape they inhabit. The film stars Robert Duvall as Mac Sledge, formerly an icon of country & western music, now down-and-out, a penniless alcoholic. Rosa Lee (Tess Harper), the young widow who owns the rural Texas motel where he has ended up, allows him to work off his board. As the months pass, the singer develops a bond with Rosa and her young son, experiencing the healing effects of this deeply religious woman's compassion. They become a family when she accepts Mac's offer of marriage, and he continues to rebuild his life. He attempts to see his daughter, Sue Ann (Ellen Barkin), whom he hasn't seen in years, and despite a nasty dust-up with Dixie (Betty Buckley), his ex-wife, is finally able to do so. However, the last tragedy he must confront is one that will truly test his recovery. Less a traditional story than a chain of epiphanies on faith and love, this masterpiece of low-key naturalism is arguably the finest work in the distinguished careers of both Duvall and Beresford.

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A laid-off defense worker, kept from seeing his child on her birthday by a restraining order, looks at the landscape of moral decay in Los Angeles on one hot, congested day and, after being mugged, snaps. What follows is his bitter and pathetic mission of justice, vengeance and vindication that reads uncomfortably like too many news stories. Michael Douglas is identified only by his character's license plate, D-FENS, in this attack on social ills, a film originally seen as the displacement of power felt by many white American males.

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Based on the bestselling novel by Mario Puzo (who co-wrote the screenplay with director Francis Ford Coppola), THE GODFATHER tells an epic tale of Mafia life in America during the 1940s and '50s. Vito Corleone (Marlon Brando) is the family patriarch balancing a love of his family with an ambitious criminal instinct. At the wedding of the Don's daughter, Connie (Talia Shire), youngest son Michael (Al Pacino) is reunited with his family. A subsequent assassination attempt leaves the Don too ill to run the family business, forcing Michael and Sonny (James Caan), with the help of consigliere Tom Hagen (Robert Duvall), to lead the Corleones into a vendetta-filled war with other mob families. Violent revenge ensues as the family tries to change from its old criminal ways into legitimacy. Coppola's certified masterpiece, which won three Oscars (including Best Picture) and spawned an Oscar-winning sequel (THE GODFATHER PART II), set a new screen standard for merging blood-soaked violence with intimate family drama. In the process, Coppola single-handedly established the Mafia as an industry in film and television (GOODFELLAS, THE SOPRANOS). Featuring truly unforgettable performances, including the Best Actor-winning Brando, the riveting Pacino, and an unexpectedly dramatic Diane Keaton, THE GODFATHER is the pinnacle of Hollywood cinema in the 1970s.

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The sequel to THE GODFATHER tells the story of both a young Vito Corleone (Robert De Niro), newly arrived in America, and his son Michael (Al Pacino) 40 years later, running the family empire. On the streets of Hell's Kitchen in 1917 New York City, Vito is initiated into the ways of the local Cosa Nostra by his friend Clemenza (Bruno Kirby). After killing the local mafioso in a towel-wrapped gun, Vito becomes the new man to be respected and feared. Meanwhile, a dour Michael Corleone negotiates with business partner Hyman Roth (legendary Method-acting teacher Lee Strasberg in his first film role) in Cuba and testifies in front of a Washington Senate committee. Robert Duvall (Tom Hagen), Diane Keaton (Kay Corleone), Talia Shire (Connie Corleone), and John Cazale (Fredo Corleone), reprising their roles from THE GODFATHER, are outstanding as the people forced to watch the new godfather's moral destruction. De Niro, speaking in Italian, captures the mannerisms of Marlon Brando's Vito Corleone from the first film brilliantly. THE GODFATHER PART II is one of the only major sequels ever made that might just surpass the original.

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$13
 

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$18
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David Fincher's (FIGHT CLUB, SE7EN) adaptation of the Robert Graysmith book masterfully transports viewers to the Bay Area in the 1960s and '70s by drawing on actual case files from the notoriously unsolved Zodiac killer mystery. As a murderer with seemingly random targets starts sending terrifying threats and cryptic codes to police and publishers all around San Francisco, fear and paranoia descend on the city. Through slow pacing, Fincher creates an effectively chilling atmosphere in which he spins a thick web of character-driven plotlines. Early scenes depicting the Zodiac's first-known murders vividly capture the victim's fear and agony and will leave viewers haunted. When the Zodiac's ciphers arrive at the San Francisco Chronicle, they spark the interest of Graysmith (Jake Gyllenhaal), a young cartoonist with a penchant for puzzles. As the former Boy Scout earnestly tries to decode the messages, eccentric reporter Paul Avery approaches the case from a career-boosting angle. Meanwhile, a string of investigators from four jurisdictions carry on a complex and unsatisfying search for the elusive killer. Inspectors Dave Toschi (Mark Ruffalo) and Bill Armstrong (Anthony Edwards) at times collide with Avery and Graysmith, whose interest in the case extends long after most have given up. Even at two-and-a-half hours in length, this dense murder mystery should manage to keep its audience riveted throughout. Paired with stellar performances from Ruffalo, Downey, Gyllenhaal, and countless others, a clever script produces well-developed characters, and the film's art direction, music, and costumes all combine to create an authentic sense of time and place. The somber tone of the atmospheric thriller gives the film a documentary-like aesthetic at times, lending weight to the story's facts while never relying on cheap tricks. Unlike murder mysteries such as THE BLACK DAHLIA, ZODIAC invites viewers to develop theories of their own, allowing them to come to their own conclusions.

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$18
 

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$53
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A collection of five of the best independent films from the Sundance Film Channel. Includes SCOTLAND, PA (2002), AMY'S O (2002), SWIMMING (2002), THE SLAUGHTER RULE (2002) and THE HEART OF ME (2003). See individual titles for plot synopses.

starting at

$53
 

starting at

$17
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David Fincher's (FIGHT CLUB, SE7EN) adaptation of the Robert Graysmith book masterfully transports viewers to the Bay Area in the 1960s and '70s by drawing on actual case files from the notoriously unsolved Zodiac killer mystery. As a murderer with seemingly random targets starts sending terrifying threats and cryptic codes to police and publishers all around San Francisco, fear and paranoia descend on the city. Through slow pacing, Fincher creates an effectively chilling atmosphere in which he spins a thick web of character-driven plotlines. Early scenes depicting the Zodiac's first-known murders vividly capture the victim's fear and agony and will leave viewers haunted. When the Zodiac's ciphers arrive at the San Francisco Chronicle, they spark the interest of Graysmith (Jake Gyllenhaal), a young cartoonist with a penchant for puzzles. As the former Boy Scout earnestly tries to decode the messages, eccentric reporter Paul Avery approaches the case from a career-boosting angle. Meanwhile, a string of investigators from four jurisdictions carry on a complex and unsatisfying search for the elusive killer. Inspectors Dave Toschi (Mark Ruffalo) and Bill Armstrong (Anthony Edwards) at times collide with Avery and Graysmith, whose interest in the case extends long after most have given up. Even at two-and-a-half hours in length, this dense murder mystery should manage to keep its audience riveted throughout. Paired with stellar performances from Ruffalo, Downey, Gyllenhaal, and countless others, a clever script produces well-developed characters, and the film's art direction, music, and costumes all combine to create an authentic sense of time and place. The somber tone of the atmospheric thriller gives the film a documentary-like aesthetic at times, lending weight to the story's facts while never relying on cheap tricks. Unlike murder mysteries such as THE BLACK DAHLIA, ZODIAC invites viewers to develop theories of their own, allowing them to come to their own conclusions.

starting at

$17
 

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$6
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Frank (Richard Harris) is an amatory ex-seaman. Walt (Robert Duvall) is a reserved haircutter leading an orderly quiet life. When the two lonely old men meet, they become reluctant friends and swap stories about their lifetimes. Together they combat loneliness, old age and their disparate dispositions. But after Frank harasses Walter's friend, Elaine (Sandra Bullock), their relationship is shattered and they are forced to reevaluate one another. A touching story from melodrama filmmaker, Randa Haines, WRESTLING ERNEST HEMINGWAY is clever minimal film. Working with only a tiny cast and a handful of sets, Haines produces a subtle and thought provoking film which closely examines aging and loneliness. Duvall and Harris brilliant as the quarreling old duo.

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John Q. Archibald (Denzel Washington) is struggling through a recession trying to provide for his son Mikey (Daniel E. Smith) and his waitress wife (Kimberly Elise). Mikey collapses at a Little League game and is rushed to a hospital. The situation is bleak. Only a heart transplant will save Mikey's life. John's HMO refuses to cover the expensive surgery. With the hospital and his insurance provider unwilling to help and his wife pleading with John to act, he takes matters into his own hands, holding the hospital's renowned heart surgeon (James Woods) and several others hostage in an emergency care wing until the surgery will be performed. Nick Cassavetes directed this attack on the American health care system. Like his previous feature, SHE'S SO LOVELY, Cassavetes proves adept at mining the political ramifications out of human drama. The film criticizes hospitals and health care providers for working in collusion against the working class. This moving drama is propelled by the intense lead performance by Washington as one man against an unjust system.

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After catching his mother and her boyfriend "in flagrante delicto" and dispatching both of them with a farm implement known as a sling blade, a simpleminded 11-year-old boy is sent to a mental hospital where he spends the next 25 years. Upon his release, the emotionally and mentally stunted man-child returns to his Arkansas hometown and takes a job in a local garage, only to have the past inexorably repeat itself. An indie-film triumph, adapted by star-writer-director Thornton from his 1993 short, "Some Folks Call It a Sling Blade." Academy Award Nominations: 2, including Best Actor--Billy Bob Thornton. Academy Awards: Best Adapted Screenplay.

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Further adventures in the NAKED CITY occur on this collection of episodes from the classic television show. "Spectre of the Roses Street Gang" finds Carroll O'Connor guilty of killing a boy. James Coburn stars in "Goodbye Mama, Hello Auntie Maud," as the chauffeur and killer of a woman whose daughter he proceeds to romance. "Torment Him Much and Hold Him Long" features Robert Duvall as a barman in debt to a crime syndicate, and in a whole world of trouble as a result. Finally, "Five Cranks for Winter, Ten Cranks for Spring" tells the tale of some dubious behind-the scenes activities at a boxing match.

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Robert Mulligan's classic adaptation of Harper Lee's Pulitzer Prize-winning novel, set in the racially charged atmosphere of Macon County, Alabama in the 1930s, TO KILL A MOCKINGBIRD is a poignant coming-of-age story. Winner of four Academy Awards including Best Screenplay (written by Horton Foote), and Best Actor (Gregory Peck), TO KILL A MOCKINGBIRD is a timeless film packed with beautiful scenes and meaningful life lessons. The story is told from the vantage point of a young girl nicknamed Scout (Mary Badham) whose widowed white father Atticus Finch (Peck), an attorney, decides on principle to defend a black man (Brock Peters) charged with raping a poor white woman. But the bigoted townspeople would rather lynch the accused than try him, and they make life hellish for the lawyer, his daughter, and his son Jem (Philip Alford). While their father is in the throes of the trial, his bright, inquisitive children learn a hard and unforgettable lesson in justice, morality, and prejudice, part of which requires overcoming an unfounded fear of their mysterious neighbor Boo Radley (Robert Duvall).

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Deals on Robert duvall in Drama DVDs & Videos. Visit BizRate to find the best deals on Drama DVDs & Videos. See which DVDs & Videos stores have the Robert duvall that you want. Read reviews on DVDs & Videos merchants and buy with confidence. Find savings on Godfather: The Coppola Restoration - The Godfather/ The Godfather, Part II/ The Godfather, Part III - To Kill a Mockingbird (Widescreen Collector's Edition) [DVD].