Susan sarandon in Drama DVDs & Videos

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Robert Altman's adaptation of Michael Tolkin's novel gives the notorious director a chance to address perhaps his greatest nemesis: the Hollywood studio system. Disguised as a thriller, the film assembles virtually every famous actor in Hollywood to create an exhilarating blend of real life and fiction. Tim Robbins plays Griffin Mill, a studio executive who begins to fear for his job when upstart Larry Levy's (Peter Gallagher) name becomes a hot topic on the lot. After receiving threatening postcards from an unidentified writer, Griffin tracks down David Kahane (Vincent D'Onofrio), who he thinks is the guilty party. The two argue, with disastrous results. Later, as Griffin struggles to keep his job while trying to distance himself from the law, he finds himself falling in love with Kahane's mysterious girlfriend (Greta Scacchi). THE PLAYER is a vicious satire that exposes the Hollywood industry as fraudulent, weak, and shallow. Altman's film also sends up both the noir genre and filmmaking technique, the latter notably in an extended opening shot which is a sprawling one-take that covers the studio's entire lot and features a series of hysterical pitches by actual screenwriters, including Buck Henry offering forth on his concept for THE GRADUATE 2. Bitter and electric, THE PLAYER ends on an ironic upbeat note that perfectly concludes a stellar picture.

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As in his 1977 film THE LATE SHOW, Robert Benton focuses on a private detective who's playing the back nine. With the passing of a quarter century, however, the director's tone had grown more somber. Paul Newman stars as the detective, Harry Ross, living in semiretirement in Santa Monica on the estate owned by his movie-star friends, Jack (Gene Hackman) and Catherine Ames (Susan Sarandon). When Harry delivers a package as a favor to Jack, he finds fellow private dick Lester Ivar (M. Emmett Walsh) dying from a bullet wound. Harry checks out Ivar's apartment, where he uncovers 20-year-old clippings relating to the disappearance of Catherine's first husband. As he tries to get to the bottom of the case, he enlists the help of a former lover, LAPD lt. Verna Hollander (Stockard Channing), and receives unsolicited assistance from feckless chauffeur Reuben Escobar (Giancarlo Esposito). Ex-cop and former studio security chief Raymond Hope (James Garner) also seems to know a thing or two about the case. Strong ensemble acting and Benton's characteristically nuanced and intelligent writing highlight this sinuous, richly textured murder mystery.

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In fairly short order, Brad Pitt became one of the biggest, most poised stars in Hollywood history. Revisit two of the movies that helped kick-start his popularity, Ridley Scott's feminist classic THELMA AND LOUISE and Dominic Sena's challenging crime-thriller KALIFORNIA, before watching him revel in it alongside Angelina Jolie in MR. & MRS. SMITH. See individual titles for complete details.

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Fed up with her boyfriend (Michael Madsen), live-wire Arkansas waitress Louise Sawyer (Susan Sarandon) persuades her friend Thelma Dickinson (Geena Davis), a naive housewife burdened with a negligent, sexist husband (Christopher McDonald), to hit the road with her for a weekend of freedom. One of their first stops is a bar where the women relax, dance, and flirt with some of the locals. But the situation turns ugly when one man (Timothy Carhart) follows Thelma to the parking lot and attempts to rape her, causing Louise to shoot and accidentally kill him. Convinced that the police will never believe their version of the incident, the women take off, now fugitives from the law. Emboldened by recent events, Thelma picks up studly young cowboy J.D. (Brad Pitt) in Oklahoma and enjoys a one-night stand that leads to even more trouble. Director Ridley Scott's infamous feminist road movie ranks among the best films of the 1990s. Along with BLADE RUNNER and ALIEN, the film is one of Scott's finest works, largely because of Callie Khourie's vivid, brilliantly idiosyncratic script, wonderful performances from the two leads, and Adrian's Biddle's crisp photography of the American Southwest.

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Director John G. Avildsen's violent and gritty portrayal of the clash between the counterculture and establishment of 1970s New York became an instant cult classic. Dennis Patrick stars as Bill Compton, a New York advertising executive whose hippie daughter, Melissa (Susan Sarandon in her film debut), is sent to rehab after she's found overdosing in an East Village drugstore. Melissa's unrepentant junkie boyfriend, Frank (Patrick McDermott), wallows in drugs and squalor until Bill visits him and flies into a violent rage that ends in murder. This act of violence wins him the admiration of Joe (Peter Boyle), a flag-waving bigoted blue-collar worker, as the two strike up an unlikely friendship in a local bar. Joe's knowledge of Bill's heinous crime becomes a subtle form of emotional blackmail as the two men spend time together in a bizarre class struggle between their two disparate worlds. When Melissa runs away, the two friends, joined in their fear and hatred of the counterculture, begin a search for her in the bohemian haunts of New York's East Village. Their search turns into an ironic night of liberation as the two men carouse with a group of young hippies. However, as the evening comes to a close the two men are consumed by their hatred and guilt. A final conflict with the hippies ends in a deeply disturbing and violent climax. This stylized and stark view of hate crimes and the 1970s counterculture remains shocking and relevant to this day.

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ANYWHERE BUT HERE: Director Wayne Wang, known for family dramas about Chinese Americans that focus on mother-daughter relationships (DIM SUM, THE JOY LUCK CLUB), here adapts Mona Simpson's ANYWHERE BUT HERE, a novel perfectly suited to his talents. Teenage Ann (Natalie Portman) wants a normal life, but her mother, Adele (Susan Sarandon), has her own idea of what is normal. When Adele grows tired of claustrophobic small-town life in Wisconsin, she takes the constantly complaining Ann across the country to Los Angeles to start a new life. Ann, however, doesn't want to go, and her behavior wavers between typical adolescent annoyance to real insight into her mother's character. Much of this comes from the voice-over provided by the adult Ann, who explains it all from her mature point of view. This sentimental story, long on feelings and more feelings, is nicely played, with Sarandon enthusiastic as the eccentric single mother her daughter can't wait to get away from. GARDEN STATE: Andrew "Large" Largeman (Zach Braff of TV's SCRUBS) is returning home to New Jersey for the first time in nine years to attend his mother's funeral. A struggling actor in Los Angeles, he's been living under clouds of medication prescribed by his psychiatrist father (Ian Holm). After drifting through the funeral with the same emotional numbness he's felt for years, he reconnects with old friends Mark (Peter Sarsgaard), a grave digger, and Albert (Denis O'Hare), a millionaire who invented noiseless Velcro. In a doctor's office, he meets ebullient Sam (Natalie Portman), an epileptic whose lust for life inspires Andrew to feel things that his medication long denied him. Over the course of four days, he develops feelings for Sam he didn't know he was capable of, and faces up to the resentment his father holds toward him about an accident that happened long ago. Writer, director, and star Zach Braff makes his debut feature with this off-kilter, unusually smart, self-assured coming-of-age film. GARDEN STATE has a knack for sharp-edged humor, character quirks, and finding lovely imagery in the mundanity of the suburbs. These things combined are abundant evidence that Braff's filmmaking future is filled with limitless promise. WHERE THE HEART IS: A lighthearted drama about finding your place in the world under the most unlikely circumstances, WHERE THE HEART IS stars Natalie Portman as Novalee Nation, a pregnant young girl who is running away to California with her boyfriend, an aspiring country singer. When he abandons her at an Oklahoma Wal-Mart, Novalee has no choice but to stay behind. She lives in the Wal-Mart until the baby comes, and the resulting birth turns her into a celebrity. As the years go by, Novalee continues to live in the small town, and eventually finds herself falling in love with the kindhearted local librarian.

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Jude Law stars in this trenchant dramatic-comedy, a remake of the 1966 British counterculture classic that launched the career of Michael Caine. This version is set in New York City and is pumped up with giddy, cleverly experimental editing. The story has Alfie (Law), a Don Juan-esque limo driver, speaking directly to the camera as he seduces the lovely ladies of the city. Eventually he's forced to take stock of the damage he's caused, and acknowledge the emptiness at the core of his chosen lifestyle. Playing the role of Alfie requires a fine balancing act from Law--he must be so charming that he seduces both the audience and himself, while also conveying the self-delusion and sadness at the character's core--and Law is up for the challenge, expertly conveying glimpses of the unfathomed depth beneath his polished shallowness. Equally good are his array of conquests, including Marisa Tomei as a single mom, Sienna Miller as a mood-swinging party girl, and Susan Sarandon as a rich older woman. A soundtrack by Mick Jagger and David Stewart (Eurythmics) adds liberal dollops of self-aware rock & roll melancholy. Dick Latessa is great as an old man who offers Alfie some sage advice, and Omar Epps plays the screwed-over limo driving buddy.

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Tommy Lee Jones plays Hank Deerfield, a retired military man investigating the mysterious disappearance of his soldier son, Mike, in this somber mystery-drama from director Paul Haggis (CRASH). Charlize Theron is the civilian homicide cop in the small town near the base where Mike recently returned from a term of combat in Iraq. When this unlikely pair ends up investigating the mystery together, they encounter some suspicious covering-up from the army. Deerfield gets access to his son's camera phone which contains startling video footage from combat overseas. Using a muted palette of military browns and greens, Haggis shows the same sharp eye for humanistic detail that served him so well in CRASH, infusing desolate scenes of civilian life--sterile concrete barracks, sleazy strip clubs, homey but empty diners, drugs, fast food joints, and ghostly motels--with vivid detail. Performances are all Oscar-worthy: Jones's craggy, weather-beaten face hiding grief and anguish beneath a steely facade until they threatens to boil over. His mug becomes a symbol for an America with no other choice but to confront its own grave flaws if it's ever to find any answers. Susan Sarandon bring the pain to the surface as the anguished mother waiting at home, and Theron is strong and sure, as a single mother who bravely faces, among other challenges, harassment in the workplace. Josh Brolin is her ex, the chief of police, and Jason Patric and James Franco are among the impassive faces of the military.

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This collection presents four films showcasing the talents of screen actress Susan Sarandon: IGBY GOES DOWN, THE JANUARY MAN, SOMETHING SHORT OF PARADISE, and THELMA & LOUISE. See individual titles for plot details.

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Tommy Lee Jones plays Hank Deerfield, a retired military man investigating the mysterious disappearance of his soldier son, Mike, in this somber mystery-drama from director Paul Haggis (CRASH). Charlize Theron is the civilian homicide cop in the small town near the base where Mike recently returned from a term of combat in Iraq. When this unlikely pair ends up investigating the mystery together, they encounter some suspicious covering-up from the army. Deerfield gets access to his son's camera phone which contains startling video footage from combat overseas. Using a muted palette of military browns and greens, Haggis shows the same sharp eye for humanistic detail that served him so well in CRASH, infusing desolate scenes of civilian life--sterile concrete barracks, sleazy strip clubs, homey but empty diners, drugs, fast food joints, and ghostly motels--with vivid detail. Performances are all Oscar-worthy: Jones's craggy, weather-beaten face hiding grief and anguish beneath a steely facade until they threatens to boil over. His mug becomes a symbol for an America with no other choice but to confront its own grave flaws if it's ever to find any answers. Susan Sarandon bring the pain to the surface as the anguished mother waiting at home, and Theron is strong and sure, as a single mother who bravely faces, among other challenges, harassment in the workplace. Josh Brolin is her ex, the chief of police, and Jason Patric and James Franco are among the impassive faces of the military.

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During the turbulent years prior to the outbreak of the Second World War, a young French girl travels all over the world, involving herself in one sordid affair after another. Based on Sidney Sheldon's gratuitous novel. Academy Award Nominations: Best Costume Design.

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A first-rate cast comes together for this collection of intertwining tales of lonely New Yorkers reaching out to each other on Christmas Eve. Susan Sarandon plays Rose, a widowed editor who spends way too much time at the hospital bed of her Alzheimers-stricken mother. Robin Williams is the mysterious fellow who later prevents her from possibly jumping in the East River. Meanwhile Nina (Penelope Cruz) gets tired of the violently jealous outbreaks of her cop boyfriend, Mike (Paul Walker), and breaks their engagement. An obsessive old waiter (Alan Arkin) is convinced Mike is the reincarnation of his dead wife, while in another story a troubled young man (Marcus Thomas) attempts to smash up his hand so he can attend an emergency room Christmas party. Needless to say, these tales intersect movingly and the miracle of Christmas provides major healing to each character involved. Sarandon is a stand-out among the many fine performances here, Cruz is beautiful as always, but the real jaw-dropping surprise is Paul Walker. Famous as the dopey "white guy" in those FAST AND THE FURIOUS films, Walker reveals great depths of tortured feeling as the cop struggling to save his future family. Actor Chazz Palminteri (A BRONX TALE) directed this, his first feature film. Though set in New York, it was filmed in Montreal, so no, it's not a Christmas miracle that the city looks so nice and clean. Alan Menken (Disney's THE LITTLE MERMAID) provides the score.

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An underrated film penned by Oscar winner (Moonstruck) John Patrick Shanley about a modern day Sherlock Holmes asked by his policeman brother to discover a serial killer's identity before he strikes again. His romance with the Mayor's daughter has a touch of poetry that lifts the film above formula.

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In this taut legal drama a trailer-park kid witnesses the suicide of a mob lawyer and is pursued by authorities trying to find out if he knows anything. In an attempt to protect himself, the 11-year-old hires a feisty female attorney who takes up his case and develops a bond with him. Based on the novel by John Grisham. Academy Award Nominations: Best Actress--Susan Sarandon.

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While the rich are funding Mussolini's war efforts by purchasing ill-gotten masterpieces from fascist Margherita Sarfatti (Susan Sarandon), the poor, like Olive Stanton (Emily Watson), are singing on the street for a nickel. In an unlikely partnership, Nelson Rockefeller (John Cusack) commissions anti-capitalism artist Diego Rivera (Ruben Blades) to paint a mural. Meanwhile, Mark Blitzstein (Hank Azaria) is inspired to write a pro-union musical that is closed before it opens when Congress begins to investigate the Federal Theater Project. Based on actual events in the 1930s, writer-director Tim Robbins boldly tackles politics, the arts, and a cultural revolution.

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The Durham Bulls are in a slump and have spent a hefty sum of money acquiring an untested young pitcher in the hopes of reversing their standings. Crash Davis, a 12-year veteran ballplayer who has spent most of his time bumming around as a minor league catcher, is assigned to mature the rookie pitching phenom named "Nuke." But a beautiful and enigmatic team groupie comes between the tutor and his student, enlightening both with her game of life, love and verse.

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The fourth screen adaptation of Louisa May Alcott's classic 1869 novel, LITTLE WOMEN, is given a realistic and rounded treatment by screenwriter Jo Swicord and Australian director Gillian Armstrong, whose perspective emphasizes a feminist tone. The story chronicles the lives of a mother and four daughters and their daily toils during the Civil War in the absence of their father, a Union army chaplain. Winona Ryder (in an Oscar-nominated performance) is vibrant as Jo, the least conventional of the sisters. Christian Bale captures the ebullience of their neighbor, Laurie, whose company Jo enjoys so much it seems inevitable that they will end up together. Kirsten Dunst (at age 12) gives a fiery performance as the younger Amy, proving even more willful than Jo; Claire Danes brings a mysterious otherworldliness to Beth. LITTLE WOMEN, touchingly rendered, has many subtle moments and an appropriately moving visual sense to accompany the narrative. Susan Sarandon and Gabriel Byrne also star in this well-crafted film.

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The legalization of gambling in Atlantic City radically changes the life of Lou (Burt Lancaster), an aging small-time numbers runner. Infatuated with his waitress neighbor Sally (Susan Sarandon), Lou still holds on to the dream that he will one day be a high stakes player in organized crime. But when Sally's ex-husband turns up with a large amount of high quality cocaine in his possession, then is quickly murdered, Lou finally gets his chance to become involved with big money and the mob--getting closer to the woman of his dreams in the process. Louis Malle's heartfelt, character-driven drama, with a script by playwright John Guare (SIX DEGREES OF SEPARATION), is full of great performances.

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It made headlines when tobacco heiress Doris Duke died, leaving her Irish butler in charge of her billion-dollar estate. Insider squabbles and a string of lawsuits followed, but the relationship between the two people from opposite worlds remained a mystery. Inspired by their intriguing true story, this original HBO production imagines the evolving relationship between Doris and her butler, Bernard Lafferty, with Susan Sarandon and Ralph Fiennes in the title roles. Over six years the film traces Bernard and Doris slowly growing closer together and nourishing a love that surpasses the obstacles of alcoholism, wealth, and the pain of the past.

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Cheer on the most iconic athletes in cinema history with this collection featuring ROCKY, RAGING BULL, BULL DURHAM, and HOOSIERS. See individual titles for synopsis information.

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John Clark (Richard Gere) has everything going for him: a solid career, a beautiful wife (Susan Sarandon) who is both a career woman and Supermom, two great kids, and a gorgeous house in the suburbs. Still, although he hates to admit it, John wants to be happier. Each night during his commute home on the train, he sees the same woman staring forlornly out the window of a dance school. At last, his curiosity gets the better of him, and John finds himself signing up for ballroom dance lessons. Keeping his new secret life from his wife and family, John joyfully discovers his inner Fred Astaire as he and his new friends prepare for an amateur dance competition. At the same time, dance instructor Paulina (Jennifer Lopez), the woman in the window, finds her own passion for dance again, while John's wife becomes convinced that he is having an affair. Stanley Tucci costars in an hilarious turn as John's coworker who is a closet ballroom dancer--sequins and all. Inspired by a Japanese film, SHALL WE DANCE? is directed by Peter Chelsom (INDIAN SUMMER) and also stars Lisa Ann Walter, Anita Gillette, Bobby Cannavale, and Omar Miller.

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Jude Law stars in this trenchant dramatic-comedy, a remake of the 1966 British counterculture classic that launched the career of Michael Caine. This version is set in New York City and is pumped up with giddy, cleverly experimental editing. The story has Alfie (Law), a Don Juan-esque limo driver, speaking directly to the camera as he seduces the lovely ladies of the city. Eventually he's forced to take stock of the damage he's caused, and acknowledge the emptiness at the core of his chosen lifestyle. Playing the role of Alfie requires a fine balancing act from Law--he must be so charming that he seduces both the audience and himself, while also conveying the self-delusion and sadness at the character's core--and Law is up for the challenge, expertly conveying glimpses of the unfathomed depth beneath his polished shallowness. Equally good are his array of conquests, including Marisa Tomei as a single mom, Sienna Miller as a mood-swinging party girl, and Susan Sarandon as a rich older woman. A soundtrack by Mick Jagger and David Stewart (Eurythmics) adds liberal dollops of self-aware rock & roll melancholy. Dick Latessa is great as an old man who offers Alfie some sage advice, and Omar Epps plays the screwed-over limo driving buddy.

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Director Wayne Wang, known for family dramas about Chinese Americans that focus on mother-daughter relationships (DIM SUM, THE JOY LUCK CLUB), here adapts Mona Simpson's ANYWHERE BUT HERE, a novel perfectly suited for his talents. Teenage Ann (Natalie Portman) wants a normal life, but her mother, Adele (Susan Sarandon), has a different idea of what is considered normal. When Adele grows tired of claustrophobic small-town life in Wisconsin, she takes the constantly complaining Ann across the country to Los Angeles, where she wants to start a new life. Ann, however, doesn't want to go, and her behavior wavers between typical adolescent annoyance to real insightfulness into her mother's character. Much of this comes from the voice-over provided by the adult Ann, who explains it all from her mature point of view. This sentimental story, long on feelings and more feelings, is nicely played, with Sarandon enthusiastic as the eccentric single mother that her daughter can't wait to get away from.

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Though it revolves around death, Cameron Crowe's hotly anticipated follow-up to VANILLA SKY is optimistic overall, beaming with the same life-affirming mood as the crowd-pleasers JERRY MAGUIRE and ALMOST FAMOUS. Promising young shoe-designer Drew Baylor (Orlando Bloom) quickly learns how failure feels when his innovative but foolish design for a winged sneaker becomes the humiliation of the footwear industry. Informed of the magnitude of his mistake, Drew applies his design skills to the task of suicide by duct-taping a knife to an exercise machine. This melodramatic act is interrupted, however, when Drew receives a call from his sister, informing him that his father has died while on a trip to his home town of Elizabethtown, Kentucky. Drew's mother, Hollie (Susan Sarandon), elects him to go deal with the arrangements because he is the "responsible" and "successful" one. The only passenger on his flight, Drew meets Claire (Kirsten Dunst), a perky stewardess, who takes the opportunity to talk his ear off despite his apparent desire for some personal space. Supplying Drew with detailed hand-drawn maps, instructions for how not to get lost, and three phone numbers where she can be reached, Claire tenderly sends him off to confront a town full of relatives he has never met. Once in Elizabethtown, Drew is subjected to relentless family wackiness from people who seem to have known his father better than he did. Meanwhile, he stumbles into a hesitant romance with neurotic but charming Claire, whose anal-retentive wisdom, lust for life, and good taste in music may help Drew come to terms with his newly diminished place in the world--and to see it as possibly a better one. A love story, family drama, and road trip in one, ELIZABETHTOWN boasts another of Crowe's excellent soundtracks, with artists like Tom Petty and Elton John giving the film much of its emotional drive.

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Suzette (Goldie Hawn) and Vinnie (Susan Sarandon) were groupies in their heyday, partying with the likes of Frank Zappa (who dubs them the Banger Sisters), Jim Morrison, and virtually every other rock star and roadie that passed through Los Angeles. Twenty years later, Suzette is a bartender who finds herself too old to stay in the Los Angeles rock scene. Distraught, she heads to Phoenix in search of her former best friend, picking up neurotic and quirky Harry (Geoffrey Rush) at a gas station along the way. But when Suzette arrives in Phoenix, she is surprised to find that her once wild friend may as well be a different person. Married to a lawyer with political aspirations and the mother of two teenage daughters, Vinnie is now LaVinia, a refined, cultured pillar of the community. With Suzette back in town, LaVinia is confronted with her past and finds that she must make peace with it to fully embrace her true self. Hawn and Sarandon are well cast, and Rush is a scene-stealer as a wounded man who finds new inspiration in Suzette. Writer Bob Dolman makes his directorial debut with THE BANGER SISTERS.

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This acclaimed film traces the relationship between a death-row inmate and the local nun to whom he turns for spiritual guidance in the days leading up to his scheduled execution. Matthew Poncelet (Sean Penn) has been convicted of the rape and murder of two young lovers and is awaiting execution. Susan Sarandon plays Sister Helen Prejean, a nun who has devoted herself to God and to helping the less fortunate. Prejean faces a moral crisis as she tries to reconcile her anti-death penalty views with the truth of Poncelet's actions and the pain felt by the victim's families.

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A woman is forced to reexamine her future plans and her life when one of her seven sons is threatened with grave danger.

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A prominent white school teacher living in South Africa and accepting the apartheid system, finds his life shattered when his black gardener is killed after trying to investigate his son's death. He hires a lawyer to help him expose the injustices of the government. Academy Award Nominations: Best Supporting Actor--Marlon Brando.

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An American boy is born to lead his people. Film gives a fascinating insight into gypsy culture and traditions. Hayden is hilariously miscast as the King of the Gypsies.

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Master performers Susan Sarandon, Christopher Plummer, Gabriel Byrne, and Max von Sydow star in this moving drama about enduring friendships and the lasting wounds of war. Thirty-five years after being interred together in a concentration camp, now-married Melanie (Sarandon) reunites with Jakob (von Sydow) and Christopher (Byrne), who still carries a torch for her. As the old companions sort through the pain of the past amidst the pressures of the present, old passions are stirred and powerful memories are resurrected.

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Court TV's THE EXONERATED is a conscience-pricking docudrama about six real-life death-row inmates who faced last minute reprieves on the eves of their executions due to newly acquired DNA evidence. Director Bob Balaban (best known for his role as Russell Dalrymple on SEINFELD) assembles a topnotch, star-studded cast for this emotionally harrowing study of social injustice, with Susan Sarandon, Brian Dennehy, Danny Glover, Delroy Lindo, Aidan Quinn, and David Brown, Jr., turning in powerful performances as the wrongly accused.

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John Clark (Richard Gere) has everything going for him: a solid career, a beautiful wife (Susan Sarandon) who is both a career woman and Supermom, two great kids, and a gorgeous house in the suburbs. Still, although he hates to admit it, John wants to be happier. Each night during his commute home on the train, he sees the same woman staring forlornly out the window of a dance school. At last, his curiosity gets the better of him, and John finds himself signing up for ballroom dance lessons. Keeping his new secret life from his wife and family, John joyfully discovers his inner Fred Astaire as he and his new friends prepare for an amateur dance competition. At the same time, dance instructor Paulina (Jennifer Lopez), the woman in the window, finds her own passion for dance again, while John's wife becomes convinced that he is having an affair. Stanley Tucci costars in an hilarious turn as John's coworker who is a closet ballroom dancer--sequins and all. Inspired by a Japanese film, SHALL WE DANCE? is directed by Peter Chelsom (INDIAN SUMMER) and also stars Lisa Ann Walter, Anita Gillette, Bobby Cannavale, and Omar Miller.

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John LeTour (Willem Dafoe) is loyal, decent, lumbering--a 40-year-old drug runner who suffers from insomnia but seems to be sleep-walking through life in LIGHT SLEEPER. When John's boss, the bubbly but sharp-witted Ann (Susan Sarandon), decides to retire, John must rethinks his life's path. But breaking out of the life he's led will take some doing, especially after coming into contact with his ex-girlfriend (Dana Delany), a recovering drug addict, and becoming embroiled in a mysterious murder. This gently haunting drama is all the more interesting because of the wonderful performances of the actors, the film's steady, relaxed pace, and the careful way all the colors of each character are drawn out.

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Jackie (Susan Sarandon) and Luke (Ed Harris) are divorcing after years of marriage and two children, Anna and Ben. Their new stepmother, Isabel (Julia Roberts), wants to be involved in the children's life, but is unwilling to sacrifice anything for her work. Jackie considers this to be selfish and rude, sparking a conflict between the two women. When cancer enters the picture, everyone is forced to grow in order to settle their differences. A tearjerker in the truest sense of the word.

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John Clark (Richard Gere) has everything going for him: a solid career, a beautiful wife (Susan Sarandon) who is both a career woman and Supermom, two great kids, and a gorgeous house in the suburbs. Still, although he hates to admit it, John wants to be happier. Each night during his commute home on the train, he sees the same woman staring forlornly out the window of a dance school. At last, his curiosity gets the better of him, and John finds himself signing up for ballroom dance lessons. Keeping his new secret life from his wife and family, John joyfully discovers his inner Fred Astaire as he and his new friends prepare for an amateur dance competition. At the same time, dance instructor Paulina (Jennifer Lopez), the woman in the window, finds her own passion for dance again, while John's wife becomes convinced that he is having an affair. Stanley Tucci costars in an hilarious turn as John's coworker who is a closet ballroom dancer--sequins and all. Inspired by a Japanese film, SHALL WE DANCE? is directed by Peter Chelsom (INDIAN SUMMER) and also stars Lisa Ann Walter, Anita Gillette, Bobby Cannavale, and Omar Miller.

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An offbeat romance is sparked when an advertising executive mourning the death of his wife has a late-night encounter with a fiercely independent woman who works in a hamburger joint, lives on the wrong side of town and is at least 15 years his senior.

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Wiley Boon (Don Johnson) has lived in the same small Vermont town his entire life. As he coasts into middle age, things begin to get rocky between his wife Sandra (Susan Sarandon) and him. At the same time, his best friend, Sam (Jeff Daniels) is embarking on a sweet romance with a young schoolteacher, Adie (Elizabeth Perkins). Sam takes on the responsibility of trying to patch things up between Wiley and Sandra, not realizing that Wiley and Sandra are learning how to communicate again by observing his blossoming love affair. This warmhearted love uses beautiful New England locales and a fine ensemble cast to make the most of a script by Ernest Thompson (ON GOLDEN POND).

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Though it revolves around death, Cameron Crowe's hotly anticipated follow-up to VANILLA SKY is optimistic overall, beaming with the same life-affirming mood as the crowd-pleasers JERRY MAGUIRE and ALMOST FAMOUS. Promising young shoe-designer Drew Baylor (Orlando Bloom) quickly learns how failure feels when his innovative but foolish design for a winged sneaker becomes the humiliation of the footwear industry. Informed of the magnitude of his mistake, Drew applies his design skills to the task of suicide by duct-taping a knife to an exercise machine. This melodramatic act is interrupted, however, when Drew receives a call from his sister, informing him that his father has died while on a trip to his home town of Elizabethtown, Kentucky. Drew's mother, Hollie (Susan Sarandon), elects him to go deal with the arrangements because he is the "responsible" and "successful" one. The only passenger on his flight, Drew meets Claire (Kirsten Dunst), a perky stewardess, who takes the opportunity to talk his ear off despite his apparent desire for some personal space. Supplying Drew with detailed hand-drawn maps, instructions for how not to get lost, and three phone numbers where she can be reached, Claire tenderly sends him off to confront a town full of relatives he has never met. Once in Elizabethtown, Drew is subjected to relentless family wackiness from people who seem to have known his father better than he did. Meanwhile, he stumbles into a hesitant romance with neurotic but charming Claire, whose anal-retentive wisdom, lust for life, and good taste in music may help Drew come to terms with his newly diminished place in the world--and to see it as possibly a better one. A love story, family drama, and road trip in one, ELIZABETHTOWN boasts another of Crowe's excellent soundtracks, with artists like Tom Petty and Elton John giving the film much of its emotional drive.

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This double feature contains the following two coming-of-age dramas. ANYWHERE BUT HERE: Director Wayne Wang, known for family dramas about Chinese Americans that focus on mother-daughter relationships (DIM SUM, THE JOY LUCK CLUB), here adapts Mona Simpson's ANYWHERE BUT HERE, a novel perfectly suited for his talents. Teenage Ann (Natalie Portman) wants a normal life, but her mother, Adele (Susan Sarandon), has a different idea of what is considered normal. When Adele grows tired of claustrophobic small-town life in Wisconsin, she takes the constantly complaining Ann across the country to Los Angeles, where she wants to start a new life. Ann, however, doesn't want to go, and her behavior wavers between typical adolescent annoyance to real insightfulness into her mother's character. Much of this comes from the voice-over provided by the adult Ann, who explains it all from her mature point of view. This sentimental story, long on feelings and more feelings, is nicely played, with Sarandon enthusiastic as the eccentric single mother that her daughter can't wait to get away from. STEALING BEAUTY: When 19-year-old Lucy Harmon (Liv Tyler) arrives in Tuscany, wondering about her mother (a recent suicide) and still nursing a crush on Niccolo, the local playboy she met on a visit four years earlier, everyone sits up and takes notice--especially director Bernardo Bertolucci, who trains his camera on the ingénue with understandable enthusiasm. The Graysons, who own the artists' colony and villa where Lucy's mother once wrote poetry, take the young girl in, and their guests enjoy the infusion of youth. Perhaps most deeply affected is Alex Parrish (Jeremy Irons), a terminally ill writer who finds Lucy charming and vital. Before such attentions, Lucy's interest in Niccolo (who turns out to be a jerk) quickly fades, replaced by an unexpected mystery regarding the identity of her father and a possible new love. And in a further attempt to understand her mother, Lucy writes light little poems as well. (Bertolucci has her words appear on the screen as she scribbles.) In fact, everything seems light in lush and lovely in Tuscany, which provides a gorgeous setting for the gifted ensemble to play out their intrigues.

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In director Paul Mazursky's very loose adaptation of Shakespeare's great tragedy, John Cassavetes stars as Phillip, a famous New York city architect on the verge of a midlife crisis. Frustrated by his failing relationship with his wife, Antonia (Gena Rowlands), and riddled with guilt for all the personal and professional compromises he has made, he deserts Antonia and flees with his daughter, Miranda (Molly Ringwald, in her feature film debut), to Greece. Upon their arrival, Phillip and Miranda meet Aretha (Susan Sarandon), a seductive expatriate who becomes Phillip's mistress and helps them escape to a desolate Greek island where they set up a home in remote isolation. In the solitude of nature, Phillip flourishes, attempting to piece together his battered sense of morals and to find his dignity. However, their island becomes like a prison for Miranda and Aretha, who have nothing or no one to spend time with except for the batty servant, Kalibanos (Raul Julia), who slithers about the island making lewd sexual advances. One day, Phillip spies a yacht offshore and recognizes Antonia, her new lover (Vittorio Gassman), and his entourage. Fearful that they have come to take Miranda away, he conjures up a violent storm that washes the passengers to shore with magical results. Under the starry skies of the remote Grecian paradise, old lovers are reunited and new lovers are found in this bewitching and dreamlike locale. This nonlinear exploration of Shakespeare's universal themes combines the intimacy of an almost theatrical improvisational setting, including song and dance, with vivid visuals and powerful performances from its all-star cast.

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The Durham Bulls are in a slump and have spent a hefty sum of money acquiring an untested young pitcher in the hopes of reversing their standings. Crash Davis, a 12-year veteran ballplayer who has spent most of his time bumming around as a minor league catcher, is assigned to mature the rookie pitching phenom named "Nuke." But a beautiful and enigmatic team groupie comes between the tutor and his student, enlightening both with her game of life, love and verse.

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HOOSIERS (1987), BULL DURHAM (1988), and KINGPIN (1996) are the three films included on this collection. Please see individual titles for synopsis information.

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Susan Sarandon has an early starring role in this 1971 drama about a French-Canadian man who gets caught in a love triangle after his former girlfriend refuses to end their relationship despite her boyfriend's obvious interest in Sarandon's character.

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The fourth screen adaptation of Louisa May Alcott's classic 1869 novel, LITTLE WOMEN, is given a realistic and rounded treatment by screenwriter Jo Swicord and Australian director Gillian Armstrong, whose perspective emphasizes a feminist tone. The story chronicles the lives of a mother and four daughters and their daily toils during the Civil War in the absence of their father, a Union army chaplain. Winona Ryder (in an Oscar-nominated performance) is vibrant as Jo, the least conventional of the sisters. Christian Bale captures the ebullience of their neighbor, Laurie, whose company Jo enjoys so much it seems inevitable that they will end up together. Kirsten Dunst (at age 12) gives a fiery performance as the younger Amy, proving even more willful than Jo; Claire Danes brings a mysterious otherworldliness to Beth. LITTLE WOMEN, touchingly rendered, has many subtle moments and an appropriately moving visual sense to accompany the narrative. Susan Sarandon and Gabriel Byrne also star in this well-crafted film.

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Director Louis Malle tackled a social taboo and made 12-year-old Brooke Shields a star with this controversial examination of child prostitution in turn-of-the-century New Orleans. Violet (Shields) is the daughter of a prostitute (Susan Sarandon) who works at one of the brothels in New Orleans' legendary red-light district, Storyville. One day photographer Ernest Bellocq (Keith Carradine) arrives at the brothel to take photos of the prostitutes and becomes fascinated with Violet, who is fast approaching her 12th birthday and a subsequent initiation into prostitution. When her mother moves to St. Louis in search of marriage and respectability, Violet determines to marry the much older Bellocq. Malle infuses the potentially lurid subject matter with a lyrical beauty that brings humanity to his characters and story, with the assistance of a sensitive script by Polly Platt and superb cinematography by Sven Nykvist.

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Starring Jake Gyllenhaal, Dustin Hoffman, and Susan Sarandon, MOONLIGHT MILE is a romantic drama set in 1966. Joe (Gyllenhaal) is grieving over the death of his fiancee, Diana, and is living with her parents, Ben (Hoffman) and JoJo (Sarandon). Though Joe just wants to do what's right, he openly admits that he has no plan, no answers, and needs time to sort things out. Meanwhile, Ben and JoJo cling to him as their only hope after losing their daughter, and the rest of the world expects him to bounce back into dating without a moment's pause. Joe's awkwardness and unquenchable efforts to be helpful provide for some touching and softly comedic moments. The New England setting of the film, the '60s cars and clothes, and the excellent soundtrack (Sly & The Family Stone, T-Rex, Bob Dylan) provide enough atmosphere to move this emotional story right along. But it isn't until Joe meets another woman (Ellen Pompeo), who also lost someone she loved, that he regains hope and begins to be true to himself and to the people around him.

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Lanford Wilson's haunting play, performed on the Broadway stage, tells the story of a small, rundown American town that has the eerie character of a near ghost town. When a girl is raped and a nearby town experiences a draining murder trial, the community must deal with horror previously unfamiliar to them. Stunning performances by award-winning actresses Rue McClanahan and Susan Sarandon make this adaptation particularly stirring.

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The two 1990s-era gems in this prestigious double feature prove that, when it comes to writing Oscar-winning cinema, take-charge female leads get the job done. Included here are Ridley Scott's feminist road movie THELMA & LOUISE and the Coen Brothers' subversive comedy-thriller FARGO. Please see individual titles for synopsis information.

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Bob Hoskins stars as Benito Mussolini in this riveting account of the family conflict and political intrigue which surrounded the rise and fall of the Italian fascist dictator. The four-hour mini-series not only examines Il Duce's career in politics--from his early days as a terrorist to his later alliance with Hitler--but also delves into his tragic personal affairs, such as his estrangement from favorite daughter Edda (Susan Sarandon) and his ultimate betrayal of beloved son-in-law Count Ciano (Anthony Hopkins).

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America's favorite pastime throws a curveball at romance in this double feature of the Kevin Costner baseball classic BULL DURHAM and the Farrelly Brothers-directed love fest FEVER PITCH, starring Drew Barrymore and Jimmy Fallon and based on the novel by Nick Hornby. See individual titles for complete details.

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The studio 20th Century Fox will leave it up to viewers to decide on Kevin Costner's sex appeal, but, just as a reminder, the star is three for three with the sexy crimes-of-passion Cold War thriller NO WAY OUT, the sexy and ribald baseball comedy BULL DURHAM, and the historically sexy Oscar winner DANCES WITH WOLVES. See individual titles for details.

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MGM presents an inspiration marathon of a magnitude not seen since...well, maybe ever! Let the hard-hitting ROCKY II, the incredible HOOSIERS, and the waggish BULL DURHAM exceed the legal limits of pride and joy allowable by the human heart. See individual titles for complete details.

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Fed up with her boyfriend (Michael Madsen), live-wire Arkansas waitress Louise Sawyer (Susan Sarandon) persuades her friend Thelma Dickinson (Geena Davis), a naive housewife burdened with a negligent, sexist husband (Christopher McDonald), to hit the road with her for a weekend of freedom. One of their first stops is a bar where the women relax, dance, and flirt with some of the locals. But the situation turns ugly when one man (Timothy Carhart) follows Thelma to the parking lot and attempts to rape her, causing Louise to shoot and accidentally kill him. Convinced that the police will never believe their version of the incident, the women take off, now fugitives from the law. Emboldened by recent events, Thelma picks up studly young cowboy J.D. (Brad Pitt) in Oklahoma and enjoys a one-night stand that leads to even more trouble. Director Ridley Scott's infamous feminist road movie ranks among the best films of the 1990s. Along with BLADE RUNNER and ALIEN, the film is one of Scott's finest works, largely because of Callie Khourie's vivid, brilliantly idiosyncratic script, wonderful performances from the two leads, and Adrian's Biddle's crisp photography of the American Southwest.

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A two-pack of two family hits, HOOK and LITTLE WOMEN. HOOK (PG): Director Steven Spielberg brings J.M. Barrie's PETER PAN to the screen with a delightfully modernized twist. Forty-year-old Peter (Robin Williams) has grown up to be a workaholic lawyer with more affection for his cell phone than his wife and two children. When the family travels to England to visit Granny Wendy (Maggie Smith), Peter's son and daughter are kidnapped by the villainous Captain Hook (Dustin Hoffman). Peter's faithful pal, Tinkerbell (Julia Roberts), helps him return to Neverland--"Second star to the right and straight on ?til morning"--to the world Peter has forgotten. There the Lost Boys welcome Peter back and try to get him in shape for his fight with Captain Hook. Peter must somehow remember his long-forgotten boyhood in Neverland and learn how to fly again before he can rescue his children away from the evil clutches of Captain Hook. Bob Hoskins costars as Hook's right-hand man, Smee, and Gwyneth Paltrow, in her first film role, plays the young Wendy. The film received an Academy Award nomination for Best Song for John Williams's "When You're Alone." LITTLE WOMEN (PG): The fourth screen adaptation of Louisa May Alcott's classic 1869 novel, LITTLE WOMEN, is given a realistic and rounded treatment by screenwriter Jo Swicord and Australian director Gillian Armstrong, whose perspective emphasizes a feminist tone. The story chronicles the lives of a mother and four daughters and their daily toils during the Civil War in the absence of their father, a Union army chaplain. Winona Ryder (in an Oscar-nominated performance) is vibrant as Jo, the least conventional of the sisters. Christian Bale captures the ebullience of their neighbor, Laurie, whose company Jo enjoys so much it seems inevitable that they will end up together. Kirsten Dunst (at age 12) gives a fiery performance as the younger Amy, proving even more willful than Jo; Claire Danes brings a mysterious otherworldliness to Beth. LITTLE WOMEN, touchingly rendered, has many subtle moments and an appropriately moving visual sense to accompany the narrative. Susan Sarandon and Gabriel Byrne also star in this well-crafted film.

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Director Wayne Wang, known for family dramas about Chinese Americans that focus on mother-daughter relationships (DIM SUM, THE JOY LUCK CLUB), here adapts Mona Simpson's ANYWHERE BUT HERE, a novel perfectly suited for his talents. Teenage Ann (Natalie Portman) wants a normal life, but her mother, Adele (Susan Sarandon), has a different idea of what is considered normal. When Adele grows tired of claustrophobic small-town life in Wisconsin, she takes the constantly complaining Ann across the country to Los Angeles, where she wants to start a new life. Ann, however, doesn't want to go, and her behavior wavers between typical adolescent annoyance to real insightfulness into her mother's character. Much of this comes from the voice-over provided by the adult Ann, who explains it all from her mature point of view. This sentimental story, long on feelings and more feelings, is nicely played, with Sarandon enthusiastic as the eccentric single mother that her daughter can't wait to get away from.

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This acclaimed film traces the relationship between a death-row inmate and the local nun to whom he turns for spiritual guidance in the days leading up to his scheduled execution. Matthew Poncelet (Sean Penn) has been convicted of the rape and murder of two young lovers and is awaiting execution. Susan Sarandon plays Sister Helen Prejean, a nun who has devoted herself to God and to helping the less fortunate. Prejean faces a moral crisis as she tries to reconcile her anti-death penalty views with the truth of Poncelet's actions and the pain felt by the victim's families.

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MEMOIRS OF A GEISHA: Arthur Golden's blockbuster bestseller, MEMOIRS OF A GEISHA, has been brilliantly brought to the big screen by Oscar-nominated director Rob Marshall (CHICAGO). The film opens in a remote Japanese fishing village in 1929, where two sisters, Chiyo and Satsu, are sold by their troubled father to people who place Chiyo in a classy geisha house known as an okiya in Gion and Satsu in a much more vulgar and dangerous district. Chiyo becomes a maid to Hatsumomo, a cold, controlling, and calculating geisha who is instantly jealous of Chiyo's unusual, beautiful eyes and childish innocence. Chiyo is befriended by Pumpkin, another maid at the okiya, but the two are soon driven apart. Chiyo is shown compassion by the Chairman and another, more successful geisha, Mameha, who takes her under her wing as her "little sister," furthering the battle between Chiyo, now called Sayuri, and Hatsumomo. As Sayuri is trained in the art of being a geisha, learning how to walk, talk, dance, and serve (up to a point) in order to please and honor her distinguished male clients, World War II looms on the horizon, threatening to upend Japan and its old ways. MEMOIRS OF A GEISHA is a lush, sweeping historical and romantic epic, featuring gorgeous period costumes, primarily the exquisite kimono worn by the geisha. Ziyi Zhang (HOUSE OF FLYING DAGGERS) is outstanding as Sayuri, who stands up to the oppressive Hatsumomo (the effervescent Gong Li), while Michelle Yeoh, who starred with Zhang in CROUCHING TIGER, HIDDEN DRAGON, is splendid as the wise and elegant Mameha. Ken Watanabe (THE LAST SAMURAI), Koji Yakusho (SHALL WE DANCE?), and Cary-Hiroyuki Tagawa (ELEKTRA) are among the men who take an interest in Sayuri, who is continually faced with difficult choices that will shape her destiny, just as Japan's destiny is changing shape with the coming of the West. John Williams's soaring score is enhanced by solos from virtuosos Yo-Yo Ma and Itzhak Perlman. LITTLE WOMEN: The fourth screen adaptation of Louisa May Alcott's classic 1869 novel, LITTLE WOMEN, is given a realistic and rounded treatment--and a feminist perspective--by screenwriter Jo Swicord and Australian director Gillian Armstrong. The story chronicles the lives of a mother and four daughters during the Civil War in the absence of the father of the family, a Union army chaplain. Winona Ryder (in an Oscar-nominated performance) is vibrant as Jo, the least conventional of the sisters. Christian Bale captures the ebullience of their neighbor, Laurie, whose company Jo enjoys so much it seems inevitable that they will end up together. Kirsten Dunst (at age 12) gives a fiery performance as the younger Amy, proving even more willful than Jo; Claire Danes brings a mysterious otherworldliness to Beth. LITTLE WOMEN, touchingly rendered, has many subtle moments and an appropriately moving visual sense to accompany the narrative. Susan Sarandon and Gabriel Byrne also star in this well-crafted film.

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This bat-swinging, base-stealing collection contains four dramas centered around the baseball diamond. Includes BULL DURHAM, EIGHT MEN OUT, THE JACKIE ROBINSON STORY, and THE PRIDE OF THE YANKEES. See individual titles for detailed information.

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The story of a woman who decides to leave her husband and skip town. That plan is altered when she becomes the hostage of a young bank robber. The ensuing road trip is filled with crashes, smashes, and even a little romance.

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Director Wayne Wang, known for family dramas about Chinese Americans that focus on mother-daughter relationships (DIM SUM, THE JOY LUCK CLUB), here adapts Mona Simpson's ANYWHERE BUT HERE, a novel perfectly suited for his talents. Teenage Ann (Natalie Portman) wants a normal life, but her mother, Adele (Susan Sarandon), has a different idea of what is considered normal. When Adele grows tired of claustrophobic small-town life in Wisconsin, she takes the constantly complaining Ann across the country to Los Angeles, where she wants to start a new life. Ann, however, doesn't want to go, and her behavior wavers between typical adolescent annoyance to real insightfulness into her mother's character. Much of this comes from the voice-over provided by the adult Ann, who explains it all from her mature point of view. This sentimental story, long on feelings and more feelings, is nicely played, with Sarandon enthusiastic as the eccentric single mother that her daughter can't wait to get away from.

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Fed up with her boyfriend (Michael Madsen), live-wire Arkansas waitress Louise Sawyer (Susan Sarandon) persuades her friend Thelma Dickinson (Geena Davis), a naive housewife burdened with a negligent, sexist husband (Christopher McDonald), to hit the road with her for a weekend of freedom. One of their first stops is a bar where the women relax, dance, and flirt with some of the locals. But the situation turns ugly when one man (Timothy Carhart) follows Thelma to the parking lot and attempts to rape her, causing Louise to shoot and accidentally kill him. Convinced that the police will never believe their version of the incident, the women take off, now fugitives from the law. Emboldened by recent events, Thelma picks up studly young cowboy J.D. (Brad Pitt) in Oklahoma and enjoys a one-night stand that leads to even more trouble. Director Ridley Scott's infamous feminist road movie ranks among the best films of the 1990s. Along with BLADE RUNNER and ALIEN, the film is one of Scott's finest works, largely because of Callie Khourie's vivid, brilliantly idiosyncratic script, wonderful performances from the two leads, and Adrian's Biddle's crisp photography of the American Southwest.

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An offbeat romance is sparked when an advertising executive mourning the death of his wife has a late-night encounter with a fiercely independent woman who works in a hamburger joint, lives on the wrong side of town and is at least 15 years his senior.

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Though it revolves around death, Cameron Crowe's hotly anticipated follow-up to VANILLA SKY is optimistic overall, beaming with the same life-affirming mood as the crowd-pleasers JERRY MAGUIRE and ALMOST FAMOUS. Promising young shoe-designer Drew Baylor (Orlando Bloom) quickly learns how failure feels when his innovative but foolish design for a winged sneaker becomes the humiliation of the footwear industry. Informed of the magnitude of his mistake, Drew applies his design skills to the task of suicide by duct-taping a knife to an exercise machine. This melodramatic act is interrupted, however, when Drew receives a call from his sister, informing him that his father has died while on a trip to his home town of Elizabethtown, Kentucky. Drew's mother, Hollie (Susan Sarandon), elects him to go deal with the arrangements because he is the "responsible" and "successful" one. The only passenger on his flight, Drew meets Claire (Kirsten Dunst), a perky stewardess, who takes the opportunity to talk his ear off despite his apparent desire for some personal space. Supplying Drew with detailed hand-drawn maps, instructions for how not to get lost, and three phone numbers where she can be reached, Claire tenderly sends him off to confront a town full of relatives he has never met. Once in Elizabethtown, Drew is subjected to relentless family wackiness from people who seem to have known his father better than he did. Meanwhile, he stumbles into a hesitant romance with neurotic but charming Claire, whose anal-retentive wisdom, lust for life, and good taste in music may help Drew come to terms with his newly diminished place in the world--and to see it as possibly a better one. A love story, family drama, and road trip in one, ELIZABETHTOWN boasts another of Crowe's excellent soundtracks, with artists like Tom Petty and Elton John giving the film much of its emotional drive.

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John LeTour (Willem Dafoe) is loyal, decent, lumbering--a 40-year-old drug runner who suffers from insomnia but seems to be sleep-walking through life in LIGHT SLEEPER. When John's boss, the bubbly but sharp-witted Ann (Susan Sarandon), decides to retire, John must rethinks his life's path. But breaking out of the life he's led will take some doing, especially after coming into contact with his ex-girlfriend (Dana Delany), a recovering drug addict, and becoming embroiled in a mysterious murder. This gently haunting drama is all the more interesting because of the wonderful performances of the actors, the film's steady, relaxed pace, and the careful way all the colors of each character are drawn out.

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The fourth screen adaptation of Louisa May Alcott's classic 1869 novel, LITTLE WOMEN, is given a realistic and rounded treatment by screenwriter Jo Swicord and Australian director Gillian Armstrong, whose perspective emphasizes a feminist tone. The story chronicles the lives of a mother and four daughters and their daily toils during the Civil War in the absence of their father, a Union army chaplain. Winona Ryder (in an Oscar-nominated performance) is vibrant as Jo, the least conventional of the sisters. Christian Bale captures the ebullience of their neighbor, Laurie, whose company Jo enjoys so much it seems inevitable that they will end up together. Kirsten Dunst (at age 12) gives a fiery performance as the younger Amy, proving even more willful than Jo; Claire Danes brings a mysterious otherworldliness to Beth. LITTLE WOMEN, touchingly rendered, has many subtle moments and an appropriately moving visual sense to accompany the narrative. Susan Sarandon and Gabriel Byrne also star in this well-crafted film.

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In this taut legal drama a trailer-park kid witnesses the suicide of a mob lawyer and is pursued by authorities trying to find out if he knows anything. In an attempt to protect himself, the 11-year-old hires a feisty female attorney who takes up his case and develops a bond with him. Based on the novel by John Grisham. Academy Award Nominations: Best Actress--Susan Sarandon.

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Jonathan Demme directed this romantic seriocomic tale based on a short story by novelist Kurt Vonnegut Jr. that reveals the power inherent in role-playing. When a small-town theater puts on a production of Tennessee Williams's A STREETCAR NAMED DESIRE, two of the town's most shy individuals find an outlet for their usually repressed emotions. Christopher Walken plays Harry Nash, a shy hardware store owner who is cast as the notoriously impassioned Stanley Kowalski. Susan Sarandon plays Helene Shaw, a lonely nomadic telephone employee who is new in town. When Helene is cast as Stella, she begins to fall for Harry's version of the super-brutish Stanley without ever having met him out of character. Offstage, Harry is still terminally shy. Once Helene discovers the truth about Harry, she refuses to let go of the idea of comingling with the man she knows is lurking in him somewhere. The film is well peppered with a number of extremely likable and believable characters, making for a small, delightful picture.

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The fourth screen adaptation of Louisa May Alcott's classic 1869 novel, LITTLE WOMEN, is given a realistic and rounded treatment by screenwriter Jo Swicord and Australian director Gillian Armstrong, whose perspective emphasizes a feminist tone. The story chronicles the lives of a mother and four daughters and their daily toils during the Civil War in the absence of their father, a Union army chaplain. Winona Ryder (in an Oscar-nominated performance) is vibrant as Jo, the least conventional of the sisters. Christian Bale captures the ebullience of their neighbor, Laurie, whose company Jo enjoys so much it seems inevitable that they will end up together. Kirsten Dunst (at age 12) gives a fiery performance as the younger Amy, proving even more willful than Jo; Claire Danes brings a mysterious otherworldliness to Beth. LITTLE WOMEN, touchingly rendered, has many subtle moments and an appropriately moving visual sense to accompany the narrative. Susan Sarandon and Gabriel Byrne also star in this well-crafted film.

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THIRTEEN: HIRTEEN is Catherine Hardwicke's explosive portrait of teenage girls at their very worst. Mean, manipulative, conniving, and utterly out of control, these skinny, sexy, drug-addicted, 13-year-old time bombs are nothing short of terrifying. Hardwicke's movie is brilliant in its ability to portray this phenomenon, which comes off as very real. The skillful photography from cinematographer Elliot Davis communicates the most complicated themes of the film: insecurity, confusion, wanting to be liked and accepted, and feeling like it's time to grow up fast. In an early scene, protagonist Tracy (Evan Rachel Wood), a shy girl and good student, approaches Evie (Nikki Reed), the school's ultra-popular bad girl, and the two size up each other's clothing, jewelry, hair, shoes, socks, and decide to go on a shopping spree. From there Tracy spirals downward, copying Evie's every move in an aggressive game of daring each other to take increasingly dangerous risks--stealing, getting piercings, experimenting with sex, drinking and taking drugs, and much more. All the while Tracy's mom (Holly Hunter) who is a bohemian ex-alcoholic trying to be open-minded and supportive about her daughter's rebellion, slowly loses her authority and her ability to cope with these volatile teens. A booming, excellent soundtrack punctuates the hyper, desperate, manic mood of the girls' behavior, and catalyzes the adrenaline rush that is THIRTEEN. THE BANGER SISTERS: Suzette (Goldie Hawn) and Vinnie (Susan Sarandon) were groupies in their heyday, partying with the likes of Frank Zappa (who dubs them the Banger Sisters), Jim Morrison, and virtually every other rock star and roadie that passed through Los Angeles. Twenty years later, Suzette is a bartender who finds herself too old to stay in the Los Angeles rock scene. Distraught, she heads to Phoenix in search of her former best friend, picking up neurotic and quirky Harry (Geoffrey Rush) at a gas station along the way. But when Suzette arrives in Phoenix, she is surprised to find that her once wild friend may as well be a different person. Married to a lawyer with political aspirations and the mother of two teenage daughters, Vinnie is now LaVinia, a refined, cultured pillar of the community. With Suzette back in town, LaVinia is confronted with her past and finds that she must make peace with it to fully embrace her true self. Hawn and Sarandon are well cast, and Rush is a scene-stealer as a wounded man who finds new inspiration in Suzette. Writer Bob Dolman makes his directorial debut with THE BANGER SISTERS.

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IN HER SHOES: In this screen adaptation of Jennifer Weiner's bestselling novel, Toni Collette (MURIEL'S WEDDING) is Rose Feller, an overweight, overworked, and painfully undersexed lawyer who fills an emotional void with pints of Haagen-Dazs and a closetful of expensive shoes that she never wears. Little sis Maggie (an always radiant Cameron Diaz), who is prone to public drunkenness, one-night stands, and wearing lingerie as outerwear, is as lacking in career prospects as her sister is in romantic ones. When her irresponsible behavior gets her kicked out of her father's house by her spiteful stepmother, Maggie has nowhere to crash but her elder sister's couch. But, after she ignites a series of disasters ranging from the minor to the catastrophic, Maggie is cast out by her angry older sibling, with no job, no money, and no one to take her in. She finds a stash of hidden letters in her father's desk drawer that enable to track down her estranged grandmother (the wonderfully centered Shirley MacLaine) in a Florida retirement community, hoping to use her impressive skills of manipulation and false charm for financial benefit. While Maggie begins to adapt to life as a nubile young fish in the waters of shuffleboard and wheelchairs, Rose, up in the wintry north, quits her stifling job and begins her own personal transformation. Both women's paths to spiritual growth and self-actualization might ring false if handled by less nuanced performers and a flashier director, but here they are subtle enough to be both inspiring and realistic. Director Curtis Hanson has proven to be a flexible artist, jumping from genre to genre with the prowess and confidence of those studio directors of Hollywood's Golden Age. With IN HER SHOES, the man behind L.A. CONFIDENTIAL and 8 MILE elevates the "chick flick" out of that pigeonhole, crafting a story of surprising depth and universal appeal. THE BANGER SISTERS: Suzette (Goldie Hawn) and Vinnie (Susan Sarandon) were groupies in their heyday, partying with the likes of Frank Zappa (who dubs them the Banger Sisters), Jim Morrison, and virtually every other rock star and roadie who passed through Los Angeles. Twenty years later, Suzette is a bartender who finds herself too old to stay in the Los Angeles rock scene. Distraught, she heads to Phoenix in search of her former best friend, picking up neurotic and quirky Harry (Geoffrey Rush) at a gas station along the way. But when Suzette arrives in Phoenix, she is surprised to find that her once wild friend may as well be a different person. Married to a lawyer with political aspirations and the mother of two teenage daughters, Vinnie is now LaVinia, a refined, cultured pillar of the community. With Suzette back in town, LaVinia is confronted with her past and finds that she must make peace with it to fully embrace her true self. Hawn and Sarandon are well cast, and Rush is a scene-stealer as a wounded man who finds new inspiration in Suzette. Writer Bob Dolman makes his directorial debut with THE BANGER SISTERS.

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This 2-pack contains the hit Hollywood dramas THE BANGER SISTERS and WHERE THE HEART IS. See individual titles for descriptions.

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This collection features nine classic romance movies with star performances by Faye Dunaway, Susan Sarandon, Colin Firth, Richard Chamberlain, and Blythe Danner among many others. The films included are: THE LAST OF THE BELLES, CAMILLE, ARCH OF THE TRIUMPH, PROMISE OF LOVE, JANE EYRE, THE RIGHT-HAND MAN, THE GAMBLE, HAZARDS OF THE HEART, and LADY AND THE HIGHWAYMAN. See individual releases for more synopsis information.

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Fed up with her boyfriend (Michael Madsen), live-wire Arkansas waitress Louise Sawyer (Susan Sarandon) persuades her friend Thelma Dickinson (Geena Davis), a naive housewife burdened with a negligent, sexist husband (Christopher McDonald), to hit the road with her for a weekend of freedom. One of their first stops is a bar where the women relax, dance, and flirt with some of the locals. But the situation turns ugly when one man (Timothy Carhart) follows Thelma to the parking lot and attempts to rape her, causing Louise to shoot and accidentally kill him. Convinced that the police will never believe their version of the incident, the women take off, now fugitives from the law. Emboldened by recent events, Thelma picks up studly young cowboy J.D. (Brad Pitt) in Oklahoma and enjoys a one-night stand that leads to even more trouble. Director Ridley Scott's infamous feminist road movie ranks among the best films of the 1990s. Along with BLADE RUNNER and ALIEN, the film is one of Scott's finest works, largely because of Callie Khourie's vivid, brilliantly idiosyncratic script, wonderful performances from the two leads, and Adrian's Biddle's crisp photography of the American Southwest.

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Seventeen-year-old Igby Slocumb (Kieran Culkin) comes from a wealthy but dysfunctional family. His mother (Susan Sarandon) is a pill-popping lunatic, his brother (Ryan Phillipe) is a collegiate, money-obsessed snob, and his father (Bill Pullman) is a hospitalized schizophrenic. After Igby is expelled from boarding school, his mother sends him to a military academy where he is brutalized by the other kids. He escapes to the Hamptons, where he meets Sookie Sapperstein (Claire Danes), an enigmatic and artistic vegetarian on a break from Bennington College. Igby then goes to New York, where he holes up in the loft of the heroin-addicted mistress (Amanda Peet) of his reptilian godfather D.H. (Jeff Goldblum). He once again runs into Sookie, and the two begin an affair, which eventually falls apart as Igby realizes that he has never had anyone to trust, and he decides to try and change his life for the better. Burr Steers' impressive debut is clearly inspired by THE CATCHER IN THE RYE, though his film takes more pains to graphically show the familial reasons for its young protagonist's instability. At times a black comedy and sometimes something darker, IGBY creates a world where everyone's warmth and humanity is inversely proportional to their wealth--and most of the characters have money to spare. Culkin deftly carries an altogether impressive cast filled with strong performances.

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Tommy Lee Jones plays Hank Deerfield, a retired military man investigating the mysterious disappearance of his soldier son, Mike, in this somber mystery-drama from director Paul Haggis (CRASH). Charlize Theron is the civilian homicide cop in the small town near the base where Mike recently returned from a term of combat in Iraq. When this unlikely pair ends up investigating the mystery together, they encounter some suspicious covering-up from the army. Deerfield gets access to his son's camera phone which contains startling video footage from combat overseas. Using a muted palette of military browns and greens, Haggis shows the same sharp eye for humanistic detail that served him so well in CRASH, infusing desolate scenes of civilian life--sterile concrete barracks, sleazy strip clubs, homey but empty diners, drugs, fast food joints, and ghostly motels--with vivid detail. Performances are all Oscar-worthy: Jones's craggy, weather-beaten face hiding grief and anguish beneath a steely facade until they threatens to boil over. His mug becomes a symbol for an America with no other choice but to confront its own grave flaws if it's ever to find any answers. Susan Sarandon bring the pain to the surface as the anguished mother waiting at home, and Theron is strong and sure, as a single mother who bravely faces, among other challenges, harassment in the workplace. Josh Brolin is her ex, the chief of police, and Jason Patric and James Franco are among the impassive faces of the military.

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Based on a true 1985 story, "Lorenzo's Oil" chronicles a couple's search for a cure for their son's fatal disease. After diagnosing 5-year-old Lorenzo Odone's condition as an extremly rare degeneration of the nervous system known as Adrenoleukodystrophy (ALD), the doctors tell his parents that there is nothing that can be done, and that he has only two years to live. Refusing to accept the word of the medical establishment, the Odones begin researching ALD themselves. As her husband desperately seeks a cure, the boy's mother devotes herself to keeping her child alive with a single-minded fanaticism that alienates everyone around her, including, at times, her husband. Academy Award Nominations: 2, including Best (Original) Screenplay, Best Actress--Susan Sarandon.

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MEMOIRS OF A GEISHA: Arthur Golden's blockbuster bestseller, MEMOIRS OF A GEISHA, has been brilliantly brought to the big screen by Oscar-nominated director Rob Marshall (CHICAGO). The film opens in a remote Japanese fishing village in 1929, where two sisters, Chiyo and Satsu, are sold by their troubled father to people who place Chiyo in a classy geisha house known as an okiya in Gion and Satsu in a much more vulgar and dangerous district. Chiyo becomes a maid to Hatsumomo, a cold, controlling, and calculating geisha who is instantly jealous of Chiyo's unusual, beautiful eyes and childish innocence. Chiyo is befriended by Pumpkin, another maid at the okiya, but the two are soon driven apart. Chiyo is shown compassion by the Chairman and another, more successful geisha, Mameha, who takes her under her wing as her "little sister," furthering the battle between Chiyo, now called Sayuri, and Hatsumomo. As Sayuri is trained in the art of being a geisha, learning how to walk, talk, dance, and serve (up to a point) in order to please and honor her distinguished male clients, World War II looms on the horizon, threatening to upend Japan and its old ways. MEMOIRS OF A GEISHA is a lush, sweeping historical and romantic epic, featuring gorgeous period costumes, primarily the exquisite kimono worn by the geisha. Ziyi Zhang (HOUSE OF FLYING DAGGERS) is outstanding as Sayuri, who stands up to the oppressive Hatsumomo (the effervescent Gong Li), while Michelle Yeoh, who starred with Zhang in CROUCHING TIGER, HIDDEN DRAGON, is splendid as the wise and elegant Mameha. Ken Watanabe (THE LAST SAMURAI), Koji Yakusho (SHALL WE DANCE?), and Cary-Hiroyuki Tagawa (ELEKTRA) are among the men who take an interest in Sayuri, who is continually faced with difficult choices that will shape her destiny, just as Japan's destiny is changing shape with the coming of the West. John Williams's soaring score is enhanced by solos from virtuosos Yo-Yo Ma and Itzhak Perlman. LITTLE WOMEN: The fourth screen adaptation of Louisa May Alcott's classic 1869 novel, LITTLE WOMEN, is given a realistic and rounded treatment--and a feminist perspective--by screenwriter Jo Swicord and Australian director Gillian Armstrong. The story chronicles the lives of a mother and four daughters during the Civil War in the absence of the father of the family, a Union army chaplain. Winona Ryder (in an Oscar-nominated performance) is vibrant as Jo, the least conventional of the sisters. Christian Bale captures the ebullience of their neighbor, Laurie, whose company Jo enjoys so much it seems inevitable that they will end up together. Kirsten Dunst (at age 12) gives a fiery performance as the younger Amy, proving even more willful than Jo; Claire Danes brings a mysterious otherworldliness to Beth. LITTLE WOMEN, touchingly rendered, has many subtle moments and an appropriately moving visual sense to accompany the narrative. Susan Sarandon and Gabriel Byrne also star in this well-crafted film.

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Two powerful law-based dramas from famed director Joel Schumacher. Included are THE CLIENT and A TIME TO KILL. See individual titles for details.

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The holiday films contained in this festive double-feature are appropriate for the entire family. NOEL: A first-rate cast comes together for this collection of intertwining tales about lonely New Yorkers reaching out to each other on Christmas Eve. Susan Sarandon plays Rose, a widowed editor who spends way too much time at the hospital bed of her Alzheimers-stricken mother. Robin Williams is the mysterious fellow who later prevents her from possibly jumping into the East River. Meanwhile, Nina (Penelope Cruz) gets tired of the violently jealous outbursts of her cop boyfriend, Mike (Paul Walker), and breaks off their engagement. An obsessive old waiter (Alan Arkin) is convinced Mike is the reincarnation of his dead wife, while in another story a troubled young man (Marcus Thomas) attempts to smash up his hand so he can attend an emergency room Christmas party. Needless to say, these tales intersect movingly, and the miracle of Christmas provides major healing for each character involved. THE TWELVE DOGS OF CHRISTMAS: This holiday tale has all the elements of a classic heartwarmer--cuddly dogs, small-town spirit, and even a full-fledged Christmas pageant. Set during the meager years of the Great Depression, 12 DOGS OF CHRISTMAS follows the story of Emma, a 12-year-old who is sent to live in rural Doverville with her aunt. The town, like the rest of the nation, has fallen on lean times and seems to have lost all interest in celebrating. However, Emma manages to enlist the town's dogs in a colorful holiday pageant that reminds the inhabitants that even the Great Depression cannot ruin the spirit of Christmas.

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Set in Alabama at the turn of the 20th Century, this is the semi-mythical tale of how F. Scott Fitzgerald (Richard Chamberlain) met his future wife, Zelda (Blythe Danner). Sadly the couple both run the full gamut of human insecurities when Fitzgerald's life takes a downswing, and Zelda's fragile mental state begins to dominate her personality. The performances, coupled with intelligent direction from George Schaefer, make this an extraordinarily moving portrait of a couple clinging to each other while staring into the abyss of human despair.

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