R mpaa in DVDs & Videos

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In this funny documentary exploring the many talents of porn star Ron Jeremy, whose stout physical build and hairy back earned him the nickname The Hedgehog, director Scott J. Gill explores the actor from every possible angle while carefully avoiding hard core content. Bubbling with personality, Jeremy is extroverted and perverted, he loves attention of any kind, and he boasts a bold sexual aptitude (which viewers of his movies can certainly assert). Having starred in hundreds of films ranging from the campy THREE FOXES AND A DWEEB (which he directed, casting himself in the role of a professor whose students are especially eager to learn) to the trashy SNATCH MASTERS series (Jeremy starred in parts 9 through 12), this porn star has certainly been around the block. However, PORN STAR is not all breathy bedroom scenes, nor is it laugh-out-loud comedy. The documentary reveals a more human, lonely, vulnerable side of Jeremy that may make viewers reconsider the idea that the porn industry is all fun and games. In fact, maintaining such a prolific career has not been easy for Jeremy, and has taken a toll on his personal relationships. However, that does not subtract from Jeremy's celebrity status in the porn niche or his avid fan base.

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By all rights, THE HANGOVER should have been a minor success that did satisfactory box office and lived on through beer-laden guys? night viewings. The marquee boasts no big-name stars, and the premise--an alcohol-soaked bachelor party--seems tried and tired. But OLD SCHOOL director Todd Phillips?s boys-night-out comedy is a blockbuster revelation that revels in raunchy jokes and happily leaves the border of propriety behind. Groom-to-be Doug (Justin Bartha, NATIONAL TREASURE) has planned an epic night in Las Vegas with his two best friends, Phil (Bradley Cooper, YES MAN) and Stu (Ed Helms, THE OFFICE), and his fiancée's awkward brother, Alan (comedian Zach Galifianakis). But it turns out that they partied a little too hard: Phil, Stu, and Alan wake up the next morning with a missing groom, a tiger in the hotel-room bathroom, a baby in the closet, and no memory of the night before. Though the funny script glories in the gutter, the credit for most of the film?s laughs goes to the excellent cast. Phillips?s OLD SCHOOL had Will Ferrell, Vince Vaughn, and Luke Wilson, but even though THE HANGOVER?s cast members aren?t A-listers (yet), they?re just as talented. Cooper and Helms have gotten laughs in WEDDING CRASHERS and THE OFFICE, respectively, but the perfectly awkward Galifianakis is a hilarious surprise. THE HANGOVER is sure to please everyone in the audience, except the easily offended who will cringe from the film?s foul first moments to its over-the-top closing credits.

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This two pack features two of the ultimate "slacker" films, FAST TIMES AT RIDGEMONT HIGH and DAZED AND CONFUSED. Please see individual titles for complete story descriptions.

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"Some names have been changed to protect the guilty." Such is the cheeky spirit of THE BANK JOB, a solidly entertaining British heist film based on England's famous walkie-talkie bank job. The year is 1971 and Michael X--emerging black activist and budding crime lord--has British authorities over a barrel after he gets hold of sexually incriminating photos of royal Princess Margaret. Desperate to recover the photos, the government pressures troubled model Martine Love (Saffron Burrows) to recruit a team and steal the bank safety deposit box containing the photos. Martine promptly enlists small-time con man and old flame Terry Leather (Jason Statham), luring him and his crew with the promise of millions. But also in their loot is a ledger detailing payoffs made to crooked cops by reputed gangster Porn King Vogel (David Suchet). Leather and mates soon find themselves on the run from both the British spy community and the ruthless British underworld, needing to stay one step ahead if they are to stay alive. Veteran director Roger Donaldson (THE WORLD'S FASTEST INDIAN, NO WAY OUT) deftly juggles the shifting intricacies and loyalties of THE BANK JOB's plot, balancing backroom politics with bank caper humor and cringe-inducing criminal brutality. Statham (LOCK, STOCK & TWO SMOKING BARRELS) is excellent as the petty criminal who finds himself in over his head, and who will need some quick thinking and a whole lot of guts to protect his friends and family. Briskly paced and lively in its handling of some serious intrigue, THE BANK JOB is an enjoyable entry in the bank robbery genre.

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As its explicit title suggests, Kevin Smith's ZACK AND MIRI MAKE A PORNO is a foul-mouthed and filthy film that probably isn't fit for the very young, the very old, or the easily offended. But for those who enjoy Smith's brand of humor, this raunchy but romantic comedy could be the perfect date movie (though perhaps not for a first date). With mountains of past-due bills piling up, Zack (Seth Rogen, KNOCKED UP) and his roommate/childhood friend Miri (Elizabeth Banks, SCRUBS) aren't sure how they're going to stay in their Pittsburgh apartment. But a chance encounter at their 10-year reunion gives them the idea to make a porn movie. When it comes time for the friends to do the deed, they realize that perhaps they're more than just friends. With all the talk of sexual positions and bodily functions, it'd be easy to say that Smith is hopping on the Judd Apatow bandwagon that has dominated the box office in the latter half of the aughts with KNOCKED UP and THE 40-YEAR-OLD VIRGIN, and ZACK AND MIRI even features a few Apatow alumni. But Smith perfected this schtick down back in the '90s with CLERKS, when some of Apatow's fans were still in diapers. ZACK AND MIRI is most reminscent of Smith's own CHASING AMY; there are plenty of gag- or giggle-inducing moments, but Smith's script is also surprisingly sweet. Rogen and Banks make a perfect couple, and the always hilarious Rogen could be Smith's new Ben Affleck or Jason Lee.

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By all rights, THE HANGOVER should have been a minor success that did satisfactory box office and lived on through beer-laden guys? night viewings. The marquee boasts no big-name stars, and the premise--an alcohol-soaked bachelor party--seems tried and tired. But OLD SCHOOL director Todd Phillips?s boys-night-out comedy is a blockbuster revelation that revels in raunchy jokes and happily leaves the border of propriety behind. Groom-to-be Doug (Justin Bartha, NATIONAL TREASURE) has planned an epic night in Las Vegas with his two best friends, Phil (Bradley Cooper, YES MAN) and Stu (Ed Helms, THE OFFICE), and his fiancée's awkward brother, Alan (comedian Zach Galifianakis). But it turns out that they partied a little too hard: Phil, Stu, and Alan wake up the next morning with a missing groom, a tiger in the hotel-room bathroom, a baby in the closet, and no memory of the night before. Though the funny script glories in the gutter, the credit for most of the film?s laughs goes to the excellent cast. Phillips?s OLD SCHOOL had Will Ferrell, Vince Vaughn, and Luke Wilson, but even though THE HANGOVER?s cast members aren?t A-listers (yet), they?re just as talented. Cooper and Helms have gotten laughs in WEDDING CRASHERS and THE OFFICE, respectively, but the perfectly awkward Galifianakis is a hilarious surprise. THE HANGOVER is sure to please everyone in the audience, except the easily offended who will cringe from the film?s foul first moments to its over-the-top closing credits.

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Terrence Malick returns to Hollywood after a two-decade hiatus with this adaptation of the classic WWII novel by James Jones. The story follows the efforts of an army platoon to capture the Japanese-controlled island of Guadalcanal in the Pacific Ocean, which will have a major effect on the outcome of the war. The members of C-for-Charlie Company are all fighting for different reasons: some to achieve glory, some to fight for democracy, and some simply to remain alive. They spend the quieter moments reflecting upon their existence, searching for meaning amid the senselessness of war. Malick's reputation as one of cinema's most brilliant directors, based on his masterworks BADLANDS and DAYS OF HEAVEN, enabled him to pull together one of the largest ensemble all-star casts in Hollywood history. The result is a sprawling epic that carries itself like a poem read in a dream, a feeling that is greatly enhanced by John Toll's floating camerawork and Hans Zimmer's haunting score. Rather than concentrating solely on the violence and destruction of war, Malick uses the situation to address philosophical questions such as man versus nature, war versus peace, and good versus evil. THE THIN RED LINE proves that after a 20-year layoff, Malick hasn't lost a step.

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Longtime sweethearts David (Woody Harrelson), an architect, and Diana (Demi Moore), a real estate agent, find themselves on hard times when financial troubles bring them to the verge of losing their house, which David designed. Taking their last $5,000, they go to Vegas in hopes of multiplying their money. Luck fails them, but they are faced with a major moral dilemma when billionaire John Gage (Robert Redford) spots Diana in the casino and offers her $1,000,000 to spend the night with him. What ensues causes them to question their relationship more than anything they've ever encountered. Based on the novel by Jack Engelhard.

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The silver-screen version of SEX AND THE CITY is sure to inspire lust, though it may not be after its sexy male cast. Instead, Carrie Bradshaw (Sarah Jessica Parker) and her friends wear enviable fashions from the industry's biggest names such as Zac Posen, Louis Vuitton, and, of course, Manolo Blahnik, and their gorgeous clothes--and accessories--threaten to steal the show. But for fans of the series' wit, drama, and sex, there's plenty to like in this romantic comedy filled with familiar characters. Though four years have passed since the events of the series, not much has changed as the film begins: Carrie and Mr. Big (Chris Noth) are happy as they search for an apartment, Charlotte (Kristin Davis) is blissful with her husband (Evan Handler) and adopted daughter, Samantha (Kim Cattrall) is still with actor Smith Jerrod (Jason Lewis), and Miranda (Cynthia Nixon) is trying to balance life as a mother, wife, and lawyer as she lives in Brooklyn with Steve (David Eigenberg). But Carrie and Big's apartment hunt leads them down the road to marriage, and the destination may not be quite everything Carrie hoped for. Though the film runs nearly two and a half hours, it flies by the way a marathon of episodes would for the devoted. Even minor characters from the show--Vogue editor Enid Frick (Candice Bergen), beloved Carrie pal Stanford Blatch (Willie Garson), and hyper wedding planner Anthony Marentino (Mario Canton)--make fan-pleasing appearances. SEX AND THE CITY is full of glitz, glamour, and giggles, but be sure to have a tissue nearby. These characters have become like friends to fans, and it's tough not to tear up when things don't go exactly as they'd hoped.

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Radio's larger-than-life bad boy, and self-proclaimed "King of All Media," Howard Stern exposes his "Private Parts" in this adaptation of his best-selling autobiography. Tracing his evolution from hopelessly geeky student to top-rated shock jock, the film not only chronicles his legendarily off-color on-air demeanor (Lesbian Dial-a-Date; frequent nude guests) and his continuous battles with management over content and co-hosts, but it also examines his unexpectedly touching and sincere relationship with his wife, Alison.

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Steven Soderbergh explodes onto the scene with this provocative, intelligent drama about infidelity and voyeurism. Ann Milaney (Andie MacDowell) lives in a comfortable Louisiana home with her lawyer husband, John (Peter Gallagher). She spends her days fretting over the insurmountable problems of the world and her own unfocused sense of melancholy. Although she doesn't know it, she has a good reason to be upset: John is having a torrid affair with her younger, more extroverted sister, Cynthia (the sexy Laura San Giacomo). When Graham Dalton (James Spader), an old college pal of John's, comes to visit, all three are momentarily distracted from personal problems and intrigues as they scrutinize the odd outsider. Ann soon discovers that Graham has some strange habits and problems of his own. Plagued by impotency since the calamitous breakup of his last relationship, the young drifter finds sexual gratification by videotaping women willing to talk about their sexual past and fantasies in front of the camera. A chain of attraction and jealousy develops as the four interconnect in several varied pairings, culminating with Ann's decision to become Graham's latest subject. Soderbergh's highly influential debut independent feature plays like a dangerous thriller that builds in tension until everyone's secrets are bitterly exposed.

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The TRAILER PARK BOYS television show is based on a group of trailer park dwellers who live just outside of Nova Scotia. This feature-length version of their exploits finds the crew spending time in jail after a botched robbery, then planning one last crime spree so they can retire happily.

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LONDON: When his former girlfriend leaves for New York City to live with her new boyfriend, Syd (Chris Evans) decides to rudely interrupt her going-away party by turning up with a small mountain of cocaine and his drug dealer in tow. Most of the movie takes place in the bathroom at the party--where Syd entertains the guests and shares his drug stash with them. LONDON is a stark look at the effect love can have on a man. But there are a few twists and turns in store as the movie lurches toward a surprising conclusion. SPUN: Ross (Jason Schwartzman) is an addict badly in need of some speed. He pays a visit to his dealer, Spider Mike (John Leguizamo), where he encounters fellow "tweakers" Nikki (Brittany Murphy), a stripper named Frisbee (Patrick Fugit), a metalhead, and Cookie (Mena Suvari), Mike's girlfriend. But the trip turns into an odyssey when Mike can't find his stash. Nikki tells Ross that her boyfriend, a crazed cowboy known as the Cook (Mickey Rourke), can supply whatever he needs. The two of them visit the Cook at his motel lab, and Ross quickly gets his fix. Ross, however, is put into service as The Cook's errand boy and chauffeur, with only brief periods of freedom to check up on the stripper girlfriend he left tied to his bed back at his apartment. Ross's three days without sleep reach a feverish head when it becomes evident that two cops (Peter Stormare and Alexis Arquette) have raided Spider Mike's pad in search of the Cook. This relentlessly crude and graphic feature from Swedish music video director Jonas Ackerlund is not for the faint-of-heart. Lightening-fast edits, sexually explicit animation, Farrelly-Brothers-level rudeness, and a pervasive sense of nihilism swirl together to create a morally empty Los Angeles of seedy abodes and cinder block strip malls inhabited by corrupt cops and thrill-seeking lawbreakers. Set to a memorable score by Billy Corgan, Mickey Rourke's memorable turn paves the way for a game young cast.

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Edward Zwick directs this sumptuously designed, action-packed period epic that stars Tom Cruise as Captain Nathan Algren. Algren, a former Civil War hero, is adrift in 1870s San Francisco after the war, a lost soul struggling to stay afloat in a booze-soaked stupor. When he is recruited by the Japanese government to train the Emperor's army, he departs for the unknown shores of Japan and begins training the soldiers in American military tactics. But these skills are useless against a band of samurai rebels led by the proud warrior Katsumoto (Ken Watanabe), and Algren is easily defeated. He is taken to a remote samurai village where he learns samurai warrior codes and ways of life, developing a deep bond with Katsumoto and sharing philosophical conversations with him. Caught between the feudal culture of the ancient samurai warriors and the encroachment of modern society, Algren is forced to choose between his own culture or Katsumoto's. THE LAST SAMURAI is lavish in its dramatic period costumes and intense performances, and will thrill fans of both historical drama and action films.

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After KNOCKED UP and 27 DRESSES, Katherine Heigl continues her reign as queen of the romantic comedies with this film from director Robert Luketic. The versatile Gerard Butler of 300 and P.S. I LOVE YOU stars as an obnoxious man who gets under the skin of Heigl's TV producer character.

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When Jamie, who's already been wed and divorced numerous times, accepts yet another marriage proposal, her wildly varied group of girlfriends throw a bachelorette party at a local restaurant. There, the women gab about sexual frustrations and fantasies.

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Bringing John Berendt's international best-selling novel, MIDNIGHT IN THE GARDEN OF GOOD AND EVIL, to the screen must have been a challenge. The book is essentially an anecdotal travelogue of the fascinating city of Savannah, Georgia. The filmmakers decided to add a character, John Kelso (well played by John Cusack), a writer from New York, who's meant to represent Berendt's point of view. They also put most of the focus of the narrative on the murder trial of local millionaire socialite Jim Williams (the redoubtable Kevin Spacey). This is slightly problematic in that Kelso, a mere observer, now becomes the central character of the film. But director Clint Eastwood (straying from his usual milieu, and, atypically, not appearing the film) and writer John Lee Hancock still manage to capture the quirky spirit of the book. They're greatly aided in this regard by the lush images of cinematographer Jack N. Green and the detailed work of production designer Henry Bumstead, who create just the right atmosphere for the small city and its environs. The strong cast, including actual Savannah residents such as sparkplug transsexual the Lady Chablis, makes the film an enjoyable idyll in a strange yet welcoming place.

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Julius St. John is an up and coming Jamaican DJ with big dreams of making it big in the United States. When he joins the company of a deadly American Don, it is like he has made a pact with the devil himself and finds that his future and his dreams could be jeopardized.

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Writer-director Kevin Smith's fifth and final installment of his New Jersey Chronicles (which began in 1994 with the breakout, low-budget comedy CLERKS) is a chance for scene-stealing, foulmouthed stoner Jay (Jason Mewes) and his taciturn sidekick/"hetero life mate" Silent Bob (Smith) to carry their own movie. When comic store mogul Brodie (Jason Lee, reprising his MALLRATS role) informs Jay and Silent Bob that a movie featuring their comic book alter egos, Bluntman and Chronic, is about to be made, the duo demands a cut from the comic's creator, Holden (Ben Affleck, in his CHASING AMY role). Holden explains that his ex-partner, Banky (Lee again) has sold them out, and shows them some angry Internet posts from Bluntman and Chronic fans. Fearing for their reputations, Jay and Silent Bob embark on a cross-country odyssey to Hollywood to stop the film. En route, they run afoul of a Charlie's Angels-type jewelry thief ring--one of whom, Justice (Shannon Elizabeth) takes a liking to Jay--an orangutan, a Federal Wildlife Marshall (Will Ferrell), and Miramax studio security. Smith's fond farewell to his intertwined Jersey characters is a lovingly crude, broad comedy rife with celebrity cameos, slapstick movie spoofs, and clever jabs at Hollywood.

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Gia

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Gia
America's first supermodel Gia Carangi lives hard and dies young in the glamorous, excessive urban wilds of 1970s New York City. Adapted by Cristofer and novelist Jay McInerney from the biography "Thing of Beauty" by Stephen Fried. Made for HBO. Available in rated and unrated versions.

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