Sidney lumet in Drama DVDs & Videos

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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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Sidney Lumet's directorial debut is a snapshot of the American judicial system in action. Twelve average New York males convene in a very small jury room on a very hot day in order to reach a verdict in a murder trial. Almost everyone wants to vote guilty and get on with their lives except for Juror No. 8 (Henry Fonda), a conscientious citizen who insists on establishing reasonable doubt. Arguments are made, cigarettes are smoked, murder weapons examined, diagrams drawn, and prejudices revealed. Firm opinions weaken and reverse; voices get raised, the clock ticks, and a ghetto kid's life hangs in the balance. Lumet's direction and camerawork steadily builds pressure into the plot. Things start out casual, but wind up so close and tight you can count the pores on the actors' noses. Fonda is good in a role well-suited to his extra-large sense of human dignity but the stealth giant in this actors dozen is the ferocious Lee J. Cobb. Jack Klugman, E.G. Marshall, Martin Balsam, Ed Begley, and Jack Warden play some of the other jurors, and a better assemblage of grizzled method actors shouting at each other won't likely come again. 12 ANGRY MEN was originally written for television, it is a true classic of the anti-McCarthy message era, and is not to be missed.

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In Sidney Lumet's A STRANGER AMONG US, an undercover police detective, Emily Eden (Melanie Griffith), integrates into a Hasidic neighborhood in New York City in order to identify a murderer who is suspected to be a member of the community.

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RUNNING ON EMPTY, directed by Sidney Lumet, is the moving tale of a young man whose parents were political agitators in the 1960s. Ever since, the family has been changing locations, changing their names, and hiding from the FBI. The young man wants to pursue a career in music, but he fears that his ever-changing identity will eventually expose his parents.

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From the unexpectedly graphic opening shot, director Sidney Lumet proves he hasn't lost any of his bite with age. BEFORE THE DEVIL KNOWS YOU'RE DEAD is a riveting suspense thriller that retains the director's classic approach to storytelling while updating it at the same time. Working from an intense, expertly woven script by playwright-turned-screenwriter Kelly Masterson, Lumet establishes his tragic tone immediately. The story concerns a New York family with a roiling undercurrent of dysfunction. The eldest son, Andy (Philip Seymour Hoffman), is a frustrated, drug-abusing stockbroker who is unable to satisfy his gorgeous wife (Marisa Tomei). The youngest son, Hank (Ethan Hawke), is passive and struggles to make alimony payments. Their parents (Albert Finney and Rosemary Harris) live in Westchester and operate a small jewelry store. Their lives begin to unravel when Andy approaches Hank about pulling off a heist that will seemingly solve all of their monetary problems. Everything about this idea is risky, yet Andy convinces his timid younger brother that this is his only way out of his current situation. Naturally, their plan falls apart, resulting in a series of tragedies that they never could have predicted. BEFORE THE DEVIL KNOWS YOU'RE DEAD belongs beside such Lumet classics as DOG DAY AFTERNOON, NETWORK, and SERPICO. The cinematography and editing and score are all excellent, but the performances are what launch the film into the stratosphere. Oscar-winner Hoffman (CAPOTE) and Finney have never been better, and the rest of the cast--Hawke, Tomei, Michael Shannon--rise to the occasion with unforgettable results.

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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.

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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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$20
 

starting at

$2
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Based on Tennessee Williams' ORPHEUS DECENDING, THE FUGITIVE KIND stars Marlon Brando as Val Xavier, a guitar playing, snakeskin jacket wearing drifter who wanders into a small southern town after giving up a life of crime. There, he meets Carol Cutere (Woodward in an incendiary performance), the local bad girl, with whom he begins a stormy love affair. However, Val also gets involved with his boss' wife, the Lady (Magnani), who will do anything she can to stop Val from running off with Carol and keep him in her town. Flamboyant, melodramatic, and, by turns, absurd and profoundly affecting, THE FUGITIVE KIND is a fascinating movie that provided the inspiration for David Lynch's WILD AT HEART.

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Sean Connery, Dustin Hoffman, and Matthew Broderick star as three generations of a family formerly linked to organized crime. Grandfather Jesse has been in and out of jail, and his son Vito has decided to leave a life of crime in order to become a respectable family man, but when grandson Adam comes up with a can't-miss heist plan, the intergenerational sparks begin to fly.

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Taking its title from the stenographer's record in a criminal investigation, Sidney Lumet's brutal look at police corruption peers at the rotten center of crime-fighting institutions and spotlights one man's naïve attempt to intervene. Timothy Hutton is young District Attorney Al Reilly, called in on a cut and dry case. In the seemingly simple investigation of the shooting of a Puerto Rican drug lord by supposed model cop Brennan (Nick Nolte), Reilly discovers telling inconsistencies and delves further. Despite the stern advice from Chief of Homicide Quinn to resolve the case and quickly clear Brennan, the older cop's suspicious behavior and conflicting stories spur Reilly to delve further. Reilly's former fiancée, Nancy, complicates matters because she is now involved with the prime witness, Bobby Texador (Armand Assanté). With this emotional baggage, Reilly uncovers a vast web of corruption stretching from Manhattan to Puerto Rico that leads all the way to Quinn. Brennan realizes that Reilly is on to him, and he becomes ruthless, stopping at nothing to prevent the truth from surfacing. The gritty and poisonous world of hardened urban cops surfaces as Lumet illustrates the crusading Reilly's uncompromising honesty against the landscape of racism, lies, and illicit allegiances that lurk below every surface of the city.

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$2
 

starting at

$2
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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.

starting at

$2
 

starting at

$3
  • product
Sidney Lumet's DANIEL is fictionalized retelling of the true of story of Julius and Ethel Rosenberg, who were executed as Soviet spies in the 1950s. Told from their son's point of view, who in the film is a '60s Vietnam war protester, the movie is based on the novel, THE BOOK OF DANIEL by E.L. Doctorow.

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Revisit Sean Connery throughout the decades with the Robin Hood tale ROBIN AND MARIAN (1976), co-starring Audrey Hepburn; the crime caper FAMILY BUSINESS (1989) from director Sydney Lumet; and the King Arthur love-triangle romance FIRST KNIGHT (1995), co-starring Richard Gere and Julia Ormand. See individual titles for complete details.

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Sidney Lumet faithfully adapts Ira Levin's witty play of intertwining intentions and duplicitous loyalties in his stinging thriller DEATHTRAP. Set in the glittering milieu of New York's Hamptons, the film stars Michael Caine as Sidney Bruhl, a washed-up writer of Broadway hit thrillers reeling from the unmitigated flop of his most recent play. Upon returning to his wife, Myra--a heart-murmur-afflicted, pill-popping, and incredibly wealthy hysterical played to great effect by Dyan Cannon--Sidney reveals that to add to his chagrin, a former student (Christopher Reeve) has sent him his brilliant first play, entitled DEATHTRAP. Much to his wife's dismay, Sidney concocts a mad scheme to lure the young playwright out to East Hampton and then promptly kill him in order to claim the play as his own. When the wheels of Sidney's plan are set in motion, the three characters launch into a tense, high-pitched game of double entendres, hidden intentions, and unexpected twists. The genre's typical propensity for reversals is magnified tenfold as DEATHTRAP begins to feed upon its own script, taking the characters on a blind ride through sheer suspense and manipulation. Caine, Cannon, and Reeve turn in bravado performances that inject the already taught script with fine-tuned tension and raise the viewer's suspension of disbelief to dizzying and hilarious heights.

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Sidney Lumet's POWER focuses on the powerful media circus that plays into American politics. Starring Richard Gere as an influential press consultant, the film paints a picture of political candidates who are bought and sold like pawns in a bigger game.

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Shot on location on the crime-filled streets of New York City, Sidney Lumet's unflinching adaptation of Peter Maas's best-selling book is a rousing portrait of courage in the face of insidious corruption. This is a motif that Lumet would continue to mine in later films, including 1981's PRINCE OF THE CITY and 1997's NIGHT FALLS ON MANHATTAN. Al Pacino is forcefully real as Frank Serpico, an independent young recruit entering the police force in the late 1960s, fulfilling a childhood dream. The good old boys of the NYPD lose no time in initiating Serpico into the ways of cutting corners, forging documents, and taking payoffs from local gambling operations and narcotic rings. His refusal to take illegal protection money and his counterculture lifestyle make Serpico a target for harassment by his unified and powerful peers. Lumet hones in on the evocative details of Serpico's personal struggles and inner turmoil as his obsessive fight for truth begins to have disastrous effects on his personal life and threatens his safety. SERPICO is a stellar example of gritty '70s filmmaking, featuring another electrifying performance from Pacino.

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Sidney Lumet directed this film version of Peter Shaffer's dramatic play, transforming theatrical symbolism into cinematic realism. Richard Burton received an Academy Award nomination for Best Actor for his performance as Martin Dysert, a psychiatrist determined to unravel the disturbed mind of Alan Strang (Peter Firth), a young stableboy. In a fit of rage, Strang has blinded a stable of six horses. The court then assigns Dysert to probe the young man's mind in order to understand why he committed such a violent act. But the doctor, who is battling demons of his own, wonders if he can save the boy--and whether saving him at all is the right thing to do. Joan Plowright stands out as Dora Strang, the young boy's mother.

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$5
 

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$6
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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.

starting at

$6
 

starting at

$8
  • product
THE PAWNBROKER, directed by Sidney Lumet, stars Rod Steiger in this grim, dark tale of a Holocaust survivor who runs a pawnshop in Harlem. The film traces his deterioration as modern times force old memories to painfully flood back to him.

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Following closely on the heels of Stanley Kubrik's DR. STRANGELOVE (all too closely for Kubrick and company, who quickly filed a lawsuit alleging plagiarism), Sidney Lumet's FAIL-SAFE employs a similarly stylized and heightened dramatic structure in its nerve-crushing moral tale. Taking place over the course of a single day, the film follows government and army officials in Nebraska, New York City, and Washington, D.C., as they go about their day supervising, examining, and speculating on the fragile state of affairs engendered by the tense nuclear standoff between the U.S. and Russia. When an off-course commercial airplane triggers the Pentagon's complex "fail-safe" maneuver, leaving an arsenal of nuclear-bomb-carrying jet fighters at the ready, a mechanical error puts the entire world in danger of destruction. Riveting performances from a rich cast are pushed even further by Lumet's stark and ominous direction. Walter Matthau gives an uncharacteristic turn as a cold and contemptuous political scientist unswerving in his convictions that the U.S. must stand strong against the communist menace. Henry Fonda plays the American president who must navigate the complex and urgent political trauma and prevent total destruction, even at an unthinkable price.

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This triple feature presents three taut police thrillers pitting honest cops versus dirty cops. In SERPICO (1973), an idealistic young recruit (Al Pacino) finds that his honesty makes him a target for harassment by his crooked peers. In NARC (2002), a wary police officer (Jason Patric) seeking a desk job is paired with a rule-breaking partner (Ray Liotta) with unorthodox tendencies. And in INTERNAL AFFAIRS (1990), a good guy (Andy Garcia) working for the internal affairs division of the LAPD has to take down a corrupt but well-liked officer (Richard Gere). See individual titles for further plot details.

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$8
 

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A magnificent film version of Eugene O'Neill's 1956 autobiographical account of his wretched homelife. The explosive nature of the relationships within the family is wrenching, honest and insightful. Academy Award Nominations: Best Actress--Katharine Hepburn.

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In the Sidney Lumet-directed GUILTY AS SIN, Jennifer Baines (Rebecca De Morney) and David Greenhill (Don Johnson) face off over a gruesome murder case in this deep, dark, steamy courtroom drama.

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$9
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From the unexpectedly graphic opening shot, director Sidney Lumet proves he hasn't lost any of his bite with age. BEFORE THE DEVIL KNOWS YOU'RE DEAD is a riveting suspense thriller that retains the director's classic approach to storytelling while updating it at the same time. Working from an intense, expertly woven script by playwright-turned-screenwriter Kelly Masterson, Lumet establishes his tragic tone immediately. The story concerns a New York family with a roiling undercurrent of dysfunction. The eldest son, Andy (Philip Seymour Hoffman), is a frustrated, drug-abusing stockbroker who is unable to satisfy his gorgeous wife (Marisa Tomei). The youngest son, Hank (Ethan Hawke), is passive and struggles to make alimony payments. Their parents (Albert Finney and Rosemary Harris) live in Westchester and operate a small jewelry store. Their lives begin to unravel when Andy approaches Hank about pulling off a heist that will seemingly solve all of their monetary problems. Everything about this idea is risky, yet Andy convinces his timid younger brother that this is his only way out of his current situation. Naturally, their plan falls apart, resulting in a series of tragedies that they never could have predicted. BEFORE THE DEVIL KNOWS YOU'RE DEAD belongs beside such Lumet classics as DOG DAY AFTERNOON, NETWORK, and SERPICO. The cinematography and editing and score are all excellent, but the performances are what launch the film into the stratosphere. Oscar-winner Hoffman (CAPOTE) and Finney have never been better, and the rest of the cast--Hawke, Tomei, Michael Shannon--rise to the occasion with unforgettable results.

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$9
 

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Sidney Lumet returns to the complex and interwoven worlds of New York City police and criminals in his grand-scale film PRINCE OF THE CITY. The cops from the Special Investigative Unit are known as Princes of the City, working out of uniform and closely together, like a renegade family, peppering their drug-fighting duties with payoffs and behind-the-scenes drug deals of their own. Lumet's complex and operatic film commences with just such a deal, with Danny Ciello (played with swaggering magnetism by Treat Williams) and his squad busting a group of Colombian drug lords and netting themselves a clean $48,000 on the side. When Ciello is called in for questioning by the Chase Commission investigating police corruption--like Serpico before him--the seeds of doubt and guilt lead him into a dangerous game of truth and lies as he begins to inform on his colleagues. At first the adrenaline gleaned from the illegal activities of the SIU carries over to the equally dangerous tasks of ensnaring his fellow cops; however; as the countdown to redemption and revenge becomes fever-pitched, Ciello's resolve begins to crumble, so does his carefully constructed world of family, informants, stool pigeons, and partners.

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THE HILL, a World War II drama directed by Sidney Lumet, focuses on the cruel British soldiers who were based in the desert in Libya, Africa.

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Sidney Lumet directs Paul Newman as an alcoholic lawyer whose once-promising legal career is on the skids and who gets and one last chance to prove himself in this tense courtroom drama. Frank Galvin (Newman) can't even scare up clients anymore until a colleague Mickey Morrissey (Jack Warden) helps him out by passing a routine malpractice case his way. Frank is just going through the motions until he meets the victim, a woman who has suffered complications during childbirth and is now reduced to a permanently comatose state. Rejecting the Catholic hospital's offer of a financial settlement, Frank decides to take the case to court, battling both for his client's rights and for his own dignity. Newman gives the finest performance of his career. James Mason is perfect as Edward J. Concannon the slimy lawyer for the defense. David Mamet provides the face-paced, honest, and suspenseful screenplay. Shot sparsely in gray tones in the cold climate of a Boston winter, the film was deservedly nominated for five Academy Awards.

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THE ANDERSON TAPES, directed by Sidney Lumet, stars Sean Connery as a man who has just been released from a lengthy prison sentence. He quickly recalls his criminal past when he plots to rob every apartment in an large, wealthy building. What he does not suspect is that the entire building is rigged with video cameras.

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The acclaimed film actor Jason Robards (PARENTHOOD, MAGNOLIA) made the transition from up and coming theatre actor to bonified star after his critically acclaimed performance in the now legendary 1956 New York production of Eugene O'Neill's THE ICEMAN COMETH. Along with a star-studded cast which includes James Broderick, Myron McCormick, and Robert Redford, Robards brings new depth to O'Neill's masterpiece of battered lives and failed dreams in 1912 New York.

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This collection includes VERDICT, RUNAWAY JURY, COMPULSION, and CLASS ACTION. See individual titles for details.

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Sidney Lumet directs Sharon Stone in this lively character study of a woman on her own with the odds stacked against her. Stone plays Gloria, a loud-mouthed gangster's moll who is working on starting a new life when a mob hit leaves her suddenly responsible for an orphaned six-year-old. This dramatic, emotionally heavy film is a remake of an earlier version starring Gina Rowlands (1980), and uses the same screenplay by John Cassavetes.

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In Sidney Lumet's jarring thriller, THE MORNING AFTER, Jane Fonda plays an alcoholic who wakes up one morning after a hard night of drinking and finds a man lying next to her who has been stabbed to death. Fearful that she is the one who committed the murder, she flees. Later, she finds a friend in an ex-cop (Jeff Bridges) who helps her solve the mystery.

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Sidney Lumet's directorial debut is a snapshot of the American judicial system in action. Twelve average New York males convene in a very small jury room on a very hot day in order to reach a verdict in a murder trial. Almost everyone wants to vote guilty and get on with their lives except for Juror No. 8 (Henry Fonda), a conscientious citizen who insists on establishing reasonable doubt. Arguments are made, cigarettes are smoked, murder weapons examined, diagrams drawn, and prejudices revealed. Firm opinions weaken and reverse; voices get raised, the clock ticks, and a ghetto kid's life hangs in the balance. Lumet's direction and camerawork steadily builds pressure into the plot. Things start out casual, but wind up so close and tight you can count the pores on the actors' noses. Fonda is good in a role well-suited to his extra-large sense of human dignity but the stealth giant in this actors dozen is the ferocious Lee J. Cobb. Jack Klugman, E.G. Marshall, Martin Balsam, Ed Begley, and Jack Warden play some of the other jurors, and a better assemblage of grizzled method actors shouting at each other won't likely come again. 12 ANGRY MEN was originally written for television, it is a true classic of the anti-McCarthy message era, and is not to be missed.

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$8
 

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$8
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This United Artists gift set features the following dramas: 1757's 12 ANGRY MEN, PATHS TO GLORY, THE JUDGEMENT AT NUREMBERG, and A BRIDGE TOO FAR. See individual titles for descriptions.

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Paul Newman, one of Hollywood's most complicated, challenging, and beloved leading men, is the star of the three films in this boxed set. This trilogy of Newman pictures includes his Oscar-nominated work in THE HUSTLER (1961), THE VERDICT (1982), and BUTCH CASSIDY AND THE SUNDANCE KID (1969). Please see individual titles for further details.

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Sidney Lumet directs Paul Newman as an alcoholic lawyer whose once-promising legal career is on the skids and who gets and one last chance to prove himself in this tense courtroom drama. Frank Galvin (Newman) can't even scare up clients anymore until a colleague Mickey Morrissey (Jack Warden) helps him out by passing a routine malpractice case his way. Frank is just going through the motions until he meets the victim, a woman who has suffered complications during childbirth and is now reduced to a permanently comatose state. Rejecting the Catholic hospital's offer of a financial settlement, Frank decides to take the case to court, battling both for his client's rights and for his own dignity. Newman gives the finest performance of his career. James Mason is perfect as Edward J. Concannon the slimy lawyer for the defense. David Mamet provides the face-paced, honest, and suspenseful screenplay. Shot sparsely in gray tones in the cold climate of a Boston winter, the film was deservedly nominated for five Academy Awards.

starting at

$8
 

starting at

$4
  • product
Taking its title from the stenographer's record in a criminal investigation, Sidney Lumet's brutal look at police corruption peers at the rotten center of crime-fighting institutions and spotlights one man's naïve attempt to intervene. Timothy Hutton is young District Attorney Al Reilly, called in on a cut and dry case. In the seemingly simple investigation of the shooting of a Puerto Rican drug lord by supposed model cop Brennan (Nick Nolte), Reilly discovers telling inconsistencies and delves further. Despite the stern advice from Chief of Homicide Quinn to resolve the case and quickly clear Brennan, the older cop's suspicious behavior and conflicting stories spur Reilly to delve further. Reilly's former fiancée, Nancy, complicates matters because she is now involved with the prime witness, Bobby Texador (Armand Assanté). With this emotional baggage, Reilly uncovers a vast web of corruption stretching from Manhattan to Puerto Rico that leads all the way to Quinn. Brennan realizes that Reilly is on to him, and he becomes ruthless, stopping at nothing to prevent the truth from surfacing. The gritty and poisonous world of hardened urban cops surfaces as Lumet illustrates the crusading Reilly's uncompromising honesty against the landscape of racism, lies, and illicit allegiances that lurk below every surface of the city.

starting at

$4
 

starting at

$8
  • product
Sidney Lumet's directorial debut is a snapshot of the American judicial system in action. Twelve average New York males convene in a very small jury room on a very hot day in order to reach a verdict in a murder trial. Almost everyone wants to vote guilty and get on with their lives except for Juror No. 8 (Henry Fonda), a conscientious citizen who insists on establishing reasonable doubt. Arguments are made, cigarettes are smoked, murder weapons examined, diagrams drawn, and prejudices revealed. Firm opinions weaken and reverse; voices get raised, the clock ticks, and a ghetto kid's life hangs in the balance. Lumet's direction and camerawork steadily builds pressure into the plot. Things start out casual, but wind up so close and tight you can count the pores on the actors' noses. Fonda is good in a role well-suited to his extra-large sense of human dignity but the stealth giant in this actors dozen is the ferocious Lee J. Cobb. Jack Klugman, E.G. Marshall, Martin Balsam, Ed Begley, and Jack Warden play some of the other jurors, and a better assemblage of grizzled method actors shouting at each other won't likely come again. 12 ANGRY MEN was originally written for television, it is a true classic of the anti-McCarthy message era, and is not to be missed.

starting at

$8
 

starting at

$13
  • product
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.

starting at

$13
 

starting at

$4
  • product
Shot on location on the crime-filled streets of New York City, Sidney Lumet's unflinching adaptation of Peter Maas's best-selling book is a rousing portrait of courage in the face of insidious corruption. This is a motif that Lumet would continue to mine in later films, including 1981's PRINCE OF THE CITY and 1997's NIGHT FALLS ON MANHATTAN. Al Pacino is forcefully real as Frank Serpico, an independent young recruit entering the police force in the late 1960s, fulfilling a childhood dream. The good old boys of the NYPD lose no time in initiating Serpico into the ways of cutting corners, forging documents, and taking payoffs from local gambling operations and narcotic rings. His refusal to take illegal protection money and his counterculture lifestyle make Serpico a target for harassment by his unified and powerful peers. Lumet hones in on the evocative details of Serpico's personal struggles and inner turmoil as his obsessive fight for truth begins to have disastrous effects on his personal life and threatens his safety. SERPICO is a stellar example of gritty '70s filmmaking, featuring another electrifying performance from Pacino.

starting at

$4
 

starting at

$11
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RUNNING ON EMPTY, directed by Sidney Lumet, is the moving tale of a young man whose parents were political agitators in the 1960s. Ever since, the family has been changing locations, changing their names, and hiding from the FBI. The young man wants to pursue a career in music, but he fears that his ever-changing identity will eventually expose his parents.

starting at

$11
 

starting at

$19
  • product
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?

starting at

$19
 

starting at

$20
  • product
In Sidney Lumet's NIGHT FALLS ON MANHATTAN, an ex-policeman who takes a job as a district attorney is forced to choose between upholding the law and protecting his family when his father--also a cop--is implicated on corruption charges.

starting at

$20
 

starting at

$40
  • product
In Sidney Lumet's NIGHT FALLS ON MANHATTAN, an ex-policeman who takes a job as a district attorney is forced to choose between upholding the law and protecting his family when his father--also a cop--is implicated on corruption charges.

starting at

$40
 

starting at

$44
  • product
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?

starting at

$44
 

starting at

$80
  • product
This two volume set includes the comedies DEATHTRAP and NIGHT SHIFT. Please see individual titles for further details.

starting at

$80
 

starting at

$8
  • product
Sidney Lumet directs Paul Newman as an alcoholic lawyer whose once-promising legal career is on the skids and who gets and one last chance to prove himself in this tense courtroom drama. Frank Galvin (Newman) can't even scare up clients anymore until a colleague Mickey Morrissey (Jack Warden) helps him out by passing a routine malpractice case his way. Frank is just going through the motions until he meets the victim, a woman who has suffered complications during childbirth and is now reduced to a permanently comatose state. Rejecting the Catholic hospital's offer of a financial settlement, Frank decides to take the case to court, battling both for his client's rights and for his own dignity. Newman gives the finest performance of his career. James Mason is perfect as Edward J. Concannon the slimy lawyer for the defense. David Mamet provides the face-paced, honest, and suspenseful screenplay. Shot sparsely in gray tones in the cold climate of a Boston winter, the film was deservedly nominated for five Academy Awards.

starting at

$8
 

starting at

$13
  • product
From the unexpectedly graphic opening shot, director Sidney Lumet proves he hasn't lost any of his bite with age. BEFORE THE DEVIL KNOWS YOU'RE DEAD is a riveting suspense thriller that retains the director's classic approach to storytelling while updating it at the same time. Working from an intense, expertly woven script by playwright-turned-screenwriter Kelly Masterson, Lumet establishes his tragic tone immediately. The story concerns a New York family with a roiling undercurrent of dysfunction. The eldest son, Andy (Philip Seymour Hoffman), is a frustrated, drug-abusing stockbroker who is unable to satisfy his gorgeous wife (Marisa Tomei). The youngest son, Hank (Ethan Hawke), is passive and struggles to make alimony payments. Their parents (Albert Finney and Rosemary Harris) live in Westchester and operate a small jewelry store. Their lives begin to unravel when Andy approaches Hank about pulling off a heist that will seemingly solve all of their monetary problems. Everything about this idea is risky, yet Andy convinces his timid younger brother that this is his only way out of his current situation. Naturally, their plan falls apart, resulting in a series of tragedies that they never could have predicted. BEFORE THE DEVIL KNOWS YOU'RE DEAD belongs beside such Lumet classics as DOG DAY AFTERNOON, NETWORK, and SERPICO. The cinematography and editing and score are all excellent, but the performances are what launch the film into the stratosphere. Oscar-winner Hoffman (CAPOTE) and Finney have never been better, and the rest of the cast--Hawke, Tomei, Michael Shannon--rise to the occasion with unforgettable results.

starting at

$13
 

starting at

$30
  • product
SYRIANA: Stephen Gaghan, who won an Oscar for best screenplay for TRAFFIC, makes his directorial debut with SYRIANA, an espionage thriller set in the Middle East. George Clooney stars as Bob Barnes, a longtime CIA agent preparing to slow down his life and spend more time with his teenage son (Max Minghella). But his last secret mission, getting rid of Prince Nasir (Alexander Siddig), turns out to be more complicated than he imagined, placing him in the middle of a dangerous conspiracy involving government corruption, oil, and international terrorism. Matt Damon, who starred with Clooney in OCEAN'S ELEVEN and OCEAN'S TWELVE (and made a cameo in Clooney's CONFESSIONS OF A DANGEROUS MIND, which was also about spies and conspiracies), plays Bryan Woodman, an energy executive whose ethics become vulnerable after the horrific loss of one of his sons. Meanwhile, in Washington, D.C., lawyers Bennett Holiday (Jeffrey Wright) and Dean Whiting (Christopher Plummer) also must choose between the government's special interests and what's best for the world (as well as their own special interests). Gaghan gives SYRIANA a documentary-like feel, using handheld cameras and shooting on location, adding to the believability of the complex plot. To heighten the realism, Clooney learned to speak Arabic and even put on 30 pounds for the role. A fast-paced, heart-pounding, relentless film, SYRIANA was inspired by the true story of former CIA agent Robert Baer, told in his book SEE NO EVIL: THE TRUE STORY OF A GROUND SOLDIER IN THE CIA'S WAR ON TERRORISM. RUNNING ON EMPTY: Directed by Sidney Lumet, this is the moving tale of a young man whose parents were political agitators in the 1960s. Ever since, the family has been changing locations, changing their names, and hiding from the FBI. The young man wants to pursue a career in music, but he fears that his ever-changing identity will eventually expose his parents.

starting at

$30
 
  • product
From the unexpectedly graphic opening shot, director Sidney Lumet proves he hasn't lost any of his bite with age. BEFORE THE DEVIL KNOWS YOU'RE DEAD is a riveting suspense thriller that retains the director's classic approach to storytelling while updating it at the same time. Working from an intense, expertly woven script by playwright-turned-screenwriter Kelly Masterson, Lumet establishes his tragic tone immediately. The story concerns a New York family with a roiling undercurrent of dysfunction. The eldest son, Andy (Philip Seymour Hoffman), is a frustrated, drug-abusing stockbroker who is unable to satisfy his gorgeous wife (Marisa Tomei). The youngest son, Hank (Ethan Hawke), is passive and struggles to make alimony payments. Their parents (Albert Finney and Rosemary Harris) live in Westchester and operate a small jewelry store. Their lives begin to unravel when Andy approaches Hank about pulling off a heist that will seemingly solve all of their monetary problems. Everything about this idea is risky, yet Andy convinces his timid younger brother that this is his only way out of his current situation. Naturally, their plan falls apart, resulting in a series of tragedies that they never could have predicted. BEFORE THE DEVIL KNOWS YOU'RE DEAD belongs beside such Lumet classics as DOG DAY AFTERNOON, NETWORK, and SERPICO. The cinematography and editing and score are all excellent, but the performances are what launch the film into the stratosphere. Oscar-winner Hoffman (CAPOTE) and Finney have never been better, and the rest of the cast--Hawke, Tomei, Michael Shannon--rise to the occasion with unforgettable results.
 
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Sidney Lumet's directorial debut is a snapshot of the American judicial system in action. Twelve average New York males convene in a very small jury room on a very hot day in order to reach a verdict in a murder trial. Almost everyone wants to vote guilty and get on with their lives except for Juror No. 8 (Henry Fonda), a conscientious citizen who insists on establishing reasonable doubt. Arguments are made, cigarettes are smoked, murder weapons examined, diagrams drawn, and prejudices revealed. Firm opinions weaken and reverse; voices get raised, the clock ticks, and a ghetto kid's life hangs in the balance. Lumet's direction and camerawork steadily builds pressure into the plot. Things start out casual, but wind up so close and tight you can count the pores on the actors' noses. Fonda is good in a role well-suited to his extra-large sense of human dignity but the stealth giant in this actors dozen is the ferocious Lee J. Cobb. Jack Klugman, E.G. Marshall, Martin Balsam, Ed Begley, and Jack Warden play some of the other jurors, and a better assemblage of grizzled method actors shouting at each other won't likely come again. 12 ANGRY MEN was originally written for television, it is a true classic of the anti-McCarthy message era, and is not to be missed.
 
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Sidney Lumet's directorial debut is a snapshot of the American judicial system in action. Twelve average New York males convene in a very small jury room on a very hot day in order to reach a verdict in a murder trial. Almost everyone wants to vote guilty and get on with their lives except for Juror No. 8 (Henry Fonda), a conscientious citizen who insists on establishing reasonable doubt. Arguments are made, cigarettes are smoked, murder weapons examined, diagrams drawn, and prejudices revealed. Firm opinions weaken and reverse; voices get raised, the clock ticks, and a ghetto kid's life hangs in the balance. Lumet's direction and camerawork steadily builds pressure into the plot. Things start out casual, but wind up so close and tight you can count the pores on the actors' noses. Fonda is good in a role well-suited to his extra-large sense of human dignity but the stealth giant in this actors dozen is the ferocious Lee J. Cobb. Jack Klugman, E.G. Marshall, Martin Balsam, Ed Begley, and Jack Warden play some of the other jurors, and a better assemblage of grizzled method actors shouting at each other won't likely come again. 12 ANGRY MEN was originally written for television, it is a true classic of the anti-McCarthy message era, and is not to be missed.
 
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Based on Tennessee Williams' ORPHEUS DECENDING, THE FUGITIVE KIND stars Marlon Brando as Val Xavier, a guitar playing, snakeskin jacket wearing drifter who wanders into a small southern town after giving up a life of crime. There, he meets Carol Cutere (Woodward in an incendiary performance), the local bad girl, with whom he begins a stormy love affair. However, Val also gets involved with his boss' wife, the Lady (Magnani), who will do anything she can to stop Val from running off with Carol and keep him in her town. Flamboyant, melodramatic, and, by turns, absurd and profoundly affecting, THE FUGITIVE KIND is a fascinating movie that provided the inspiration for David Lynch's WILD AT HEART.
 
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This United Artists gift set features the following dramas: 1757's 12 ANGRY MEN, PATHS TO GLORY, THE JUDGEMENT AT NUREMBERG, and A BRIDGE TOO FAR. See individual titles for descriptions.
 
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From the unexpectedly graphic opening shot, director Sidney Lumet proves he hasn't lost any of his bite with age. BEFORE THE DEVIL KNOWS YOU'RE DEAD is a riveting suspense thriller that retains the director's classic approach to storytelling while updating it at the same time. Working from an intense, expertly woven script by playwright-turned-screenwriter Kelly Masterson, Lumet establishes his tragic tone immediately. The story concerns a New York family with a roiling undercurrent of dysfunction. The eldest son, Andy (Philip Seymour Hoffman), is a frustrated, drug-abusing stockbroker who is unable to satisfy his gorgeous wife (Marisa Tomei). The youngest son, Hank (Ethan Hawke), is passive and struggles to make alimony payments. Their parents (Albert Finney and Rosemary Harris) live in Westchester and operate a small jewelry store. Their lives begin to unravel when Andy approaches Hank about pulling off a heist that will seemingly solve all of their monetary problems. Everything about this idea is risky, yet Andy convinces his timid younger brother that this is his only way out of his current situation. Naturally, their plan falls apart, resulting in a series of tragedies that they never could have predicted. BEFORE THE DEVIL KNOWS YOU'RE DEAD belongs beside such Lumet classics as DOG DAY AFTERNOON, NETWORK, and SERPICO. The cinematography and editing and score are all excellent, but the performances are what launch the film into the stratosphere. Oscar-winner Hoffman (CAPOTE) and Finney have never been better, and the rest of the cast--Hawke, Tomei, Michael Shannon--rise to the occasion with unforgettable results.
 
  • product
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.
 
  • product
Sidney Lumet's directorial debut is a snapshot of the American judicial system in action. Twelve average New York males convene in a very small jury room on a very hot day in order to reach a verdict in a murder trial. Almost everyone wants to vote guilty and get on with their lives except for Juror No. 8 (Henry Fonda), a conscientious citizen who insists on establishing reasonable doubt. Arguments are made, cigarettes are smoked, murder weapons examined, diagrams drawn, and prejudices revealed. Firm opinions weaken and reverse; voices get raised, the clock ticks, and a ghetto kid's life hangs in the balance. Lumet's direction and camerawork steadily builds pressure into the plot. Things start out casual, but wind up so close and tight you can count the pores on the actors' noses. Fonda is good in a role well-suited to his extra-large sense of human dignity but the stealth giant in this actors dozen is the ferocious Lee J. Cobb. Jack Klugman, E.G. Marshall, Martin Balsam, Ed Begley, and Jack Warden play some of the other jurors, and a better assemblage of grizzled method actors shouting at each other won't likely come again. 12 ANGRY MEN was originally written for television, it is a true classic of the anti-McCarthy message era, and is not to be missed.
 
  • product
Sidney Lumet faithfully adapts Ira Levin's witty play of intertwining intentions and duplicitous loyalties in his stinging thriller DEATHTRAP. Set in the glittering milieu of New York's Hamptons, the film stars Michael Caine as Sidney Bruhl, a washed-up writer of Broadway hit thrillers reeling from the unmitigated flop of his most recent play. Upon returning to his wife, Myra--a heart-murmur-afflicted, pill-popping, and incredibly wealthy hysterical played to great effect by Dyan Cannon--Sidney reveals that to add to his chagrin, a former student (Christopher Reeve) has sent him his brilliant first play, entitled DEATHTRAP. Much to his wife's dismay, Sidney concocts a mad scheme to lure the young playwright out to East Hampton and then promptly kill him in order to claim the play as his own. When the wheels of Sidney's plan are set in motion, the three characters launch into a tense, high-pitched game of double entendres, hidden intentions, and unexpected twists. The genre's typical propensity for reversals is magnified tenfold as DEATHTRAP begins to feed upon its own script, taking the characters on a blind ride through sheer suspense and manipulation. Caine, Cannon, and Reeve turn in bravado performances that inject the already taught script with fine-tuned tension and raise the viewer's suspension of disbelief to dizzying and hilarious heights.
 
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This collection contains two films about justice and politics. Included are the films POWER (1986) and TRIAL BY JURY (1994). Individual titles contain synopses information.
 
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Sidney Lumet directs Paul Newman as an alcoholic lawyer whose once-promising legal career is on the skids and who gets and one last chance to prove himself in this tense courtroom drama. Frank Galvin (Newman) can't even scare up clients anymore until a colleague Mickey Morrissey (Jack Warden) helps him out by passing a routine malpractice case his way. Frank is just going through the motions until he meets the victim, a woman who has suffered complications during childbirth and is now reduced to a permanently comatose state. Rejecting the Catholic hospital's offer of a financial settlement, Frank decides to take the case to court, battling both for his client's rights and for his own dignity. Newman gives the finest performance of his career. James Mason is perfect as Edward J. Concannon the slimy lawyer for the defense. David Mamet provides the face-paced, honest, and suspenseful screenplay. Shot sparsely in gray tones in the cold climate of a Boston winter, the film was deservedly nominated for five Academy Awards.
 
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Paul Newman, one of Hollywood's most complicated, challenging, and beloved leading men, is the star of the three films in this boxed set. This trilogy of Newman pictures includes his Oscar-nominated work in THE HUSTLER (1961), THE VERDICT (1982), and BUTCH CASSIDY AND THE SUNDANCE KID (1969). Please see individual titles for further details.
 
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The acclaimed film actor Jason Robards (PARENTHOOD, MAGNOLIA) made the transition from up and coming theatre actor to bonified star after his critically acclaimed performance in the now legendary 1956 New York production of Eugene O'Neill's THE ICEMAN COMETH. Along with a star-studded cast which includes James Broderick, Myron McCormick, and Robert Redford, Robards brings new depth to O'Neill's masterpiece of battered lives and failed dreams in 1912 New York.
 
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This Sidney Lumet-directed film focuses on two brothers in a small town in Texas who have both had relationships with a woman named Molly. LOVIN' MOLLY is based on a novel by Larry McMurtry.
 
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Sidney Lumet directs Sharon Stone in this lively character study of a woman on her own with the odds stacked against her. Stone plays Gloria, a loud-mouthed gangster's moll who is working on starting a new life when a mob hit leaves her suddenly responsible for an orphaned six-year-old. This dramatic, emotionally heavy film is a remake of an earlier version starring Gina Rowlands (1980), and uses the same screenplay by John Cassavetes.
 
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Sidney Lumet directs Sharon Stone in this lively character study of a woman on her own with the odds stacked against her. Stone plays Gloria, a loud-mouthed gangster's moll who is working on starting a new life when a mob hit leaves her suddenly responsible for an orphaned six-year-old. This dramatic, emotionally heavy film is a remake of an earlier version starring Gina Rowlands (1980), and uses the same screenplay by John Cassavetes.
 
  • product
In Sidney Lumet's NIGHT FALLS ON MANHATTAN, an ex-policeman who takes a job as a district attorney is forced to choose between upholding the law and protecting his family when his father--also a cop--is implicated on corruption charges.
 
  • product
A tale of disparity between life in the depression era slums and the life of the upper classes. A young businessman falls in love with a single mother (Sidney) of a crippled child living in the ghetto housing complex he inherits.
 
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In Sidney Lumet's A STRANGER AMONG US, an undercover police detective, Emily Eden (Melanie Griffith), integrates into a Hasidic neighborhood in New York City in order to identify a murderer who is suspected to be a member of the community.
 
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Sidney Lumet directs Paul Newman as an alcoholic lawyer whose once-promising legal career is on the skids and who gets and one last chance to prove himself in this tense courtroom drama. Frank Galvin (Newman) can't even scare up clients anymore until a colleague Mickey Morrissey (Jack Warden) helps him out by passing a routine malpractice case his way. Frank is just going through the motions until he meets the victim, a woman who has suffered complications during childbirth and is now reduced to a permanently comatose state. Rejecting the Catholic hospital's offer of a financial settlement, Frank decides to take the case to court, battling both for his client's rights and for his own dignity. Newman gives the finest performance of his career. James Mason is perfect as Edward J. Concannon the slimy lawyer for the defense. David Mamet provides the face-paced, honest, and suspenseful screenplay. Shot sparsely in gray tones in the cold climate of a Boston winter, the film was deservedly nominated for five Academy Awards.
 
  • product
Sidney Lumet directs Paul Newman as an alcoholic lawyer whose once-promising legal career is on the skids and who gets and one last chance to prove himself in this tense courtroom drama. Frank Galvin (Newman) can't even scare up clients anymore until a colleague Mickey Morrissey (Jack Warden) helps him out by passing a routine malpractice case his way. Frank is just going through the motions until he meets the victim, a woman who has suffered complications during childbirth and is now reduced to a permanently comatose state. Rejecting the Catholic hospital's offer of a financial settlement, Frank decides to take the case to court, battling both for his client's rights and for his own dignity. Newman gives the finest performance of his career. James Mason is perfect as Edward J. Concannon the slimy lawyer for the defense. David Mamet provides the face-paced, honest, and suspenseful screenplay. Shot sparsely in gray tones in the cold climate of a Boston winter, the film was deservedly nominated for five Academy Awards.
 
  • product
Shot on location on the crime-filled streets of New York City, Sidney Lumet's unflinching adaptation of Peter Maas's best-selling book is a rousing portrait of courage in the face of insidious corruption. This is a motif that Lumet would continue to mine in later films, including 1981's PRINCE OF THE CITY and 1997's NIGHT FALLS ON MANHATTAN. Al Pacino is forcefully real as Frank Serpico, an independent young recruit entering the police force in the late 1960s, fulfilling a childhood dream. The good old boys of the NYPD lose no time in initiating Serpico into the ways of cutting corners, forging documents, and taking payoffs from local gambling operations and narcotic rings. His refusal to take illegal protection money and his counterculture lifestyle make Serpico a target for harassment by his unified and powerful peers. Lumet hones in on the evocative details of Serpico's personal struggles and inner turmoil as his obsessive fight for truth begins to have disastrous effects on his personal life and threatens his safety. SERPICO is a stellar example of gritty '70s filmmaking, featuring another electrifying performance from Pacino.
 
  • product
Shot on location on the crime-filled streets of New York City, Sidney Lumet's unflinching adaptation of Peter Maas's best-selling book is a rousing portrait of courage in the face of insidious corruption. This is a motif that Lumet would continue to mine in later films, including 1981's PRINCE OF THE CITY and 1997's NIGHT FALLS ON MANHATTAN. Al Pacino is forcefully real as Frank Serpico, an independent young recruit entering the police force in the late 1960s, fulfilling a childhood dream. The good old boys of the NYPD lose no time in initiating Serpico into the ways of cutting corners, forging documents, and taking payoffs from local gambling operations and narcotic rings. His refusal to take illegal protection money and his counterculture lifestyle make Serpico a target for harassment by his unified and powerful peers. Lumet hones in on the evocative details of Serpico's personal struggles and inner turmoil as his obsessive fight for truth begins to have disastrous effects on his personal life and threatens his safety. SERPICO is a stellar example of gritty '70s filmmaking, featuring another electrifying performance from Pacino.
 
  • product
RUNNING ON EMPTY, directed by Sidney Lumet, is the moving tale of a young man whose parents were political agitators in the 1960s. Ever since, the family has been changing locations, changing their names, and hiding from the FBI. The young man wants to pursue a career in music, but he fears that his ever-changing identity will eventually expose his parents.
 
  • product
Sidney Lumet returns to the complex and interwoven worlds of New York City police and criminals in his grand-scale film PRINCE OF THE CITY. The cops from the Special Investigative Unit are known as Princes of the City, working out of uniform and closely together, like a renegade family, peppering their drug-fighting duties with payoffs and behind-the-scenes drug deals of their own. Lumet's complex and operatic film commences with just such a deal, with Danny Ciello (played with swaggering magnetism by Treat Williams) and his squad busting a group of Colombian drug lords and netting themselves a clean $48,000 on the side. When Ciello is called in for questioning by the Chase Commission investigating police corruption--like Serpico before him--the seeds of doubt and guilt lead him into a dangerous game of truth and lies as he begins to inform on his colleagues. At first the adrenaline gleaned from the illegal activities of the SIU carries over to the equally dangerous tasks of ensnaring his fellow cops; however; as the countdown to redemption and revenge becomes fever-pitched, Ciello's resolve begins to crumble, so does his carefully constructed world of family, informants, stool pigeons, and partners.
 
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Sidney Lumet's POWER focuses on the powerful media circus that plays into American politics. Starring Richard Gere as an influential press consultant, the film paints a picture of political candidates who are bought and sold like pawns in a bigger game.
 
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Sidney Lumet's POWER focuses on the powerful media circus that plays into American politics. Starring Richard Gere as an influential press consultant, the film paints a picture of political candidates who are bought and sold like pawns in a bigger game.
 
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Sidney Lumet's POWER focuses on the powerful media circus that plays into American politics. Starring Richard Gere as an influential press consultant, the film paints a picture of political candidates who are bought and sold like pawns in a bigger game.
 
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THE PAWNBROKER, directed by Sidney Lumet, stars Rod Steiger in this grim, dark tale of a Holocaust survivor who runs a pawnshop in Harlem. The film traces his deterioration as modern times force old memories to painfully flood back to him.
 
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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?
 
  • product
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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