R (MPAA), Amazon Marketplace in Foreign DVDs & Videos

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The first part of a trilogy, NIGHT WATCH is an old-fashioned good vs. evil parable that relies on some thoroughly modern special effects to ensnare its audience. Set in present-day Moscow, the movie begins with a quick skip back through the centuries to inform us how a delicate truce was struck between the forces of Light and Dark. These forces still exist in Moscow, with both sides keeping a close eye on each other as they attempt to disguise themselves from the earth's mere mortals. NIGHT WATCH's central character is Anton Gorodetsky (Konstantin Khabensky), who is defined as an "Other" by the legions of Light and Dark. Anton and his cohorts live as vampires, and await the arrival of a virgin who will announce the resumption of hostilities between the forces of Light and Dark; as the film progresses, it becomes apparent that an epic battle is just around the corner. One of the biggest films of all time in its native Russia, director Timur Bekmambetov's NIGHT WATCH positions itself somewhere in between THE MATRIX and BLADE in the pantheon of CGI-fueled sci-fi flicks. Although the plot is mind-boggling and occasionally verges on the incomprehensible, Bekmambetov is presumably using this first part of the trilogy to lure viewers into his wild cinematic world. Impressively, Bekmambetov's film was shot on a tiny budget, but it belies its meager origins. Even the English subtitles are integrated into several scenes, with words zipping across the screen and melting into the action as a heavy-metal soundtrack thumps away. Knowing he is set to film two sequels, Bekmambetov leaves his audience hanging as NIGHT WATCH nears its climax, with his second installment (DAY WATCH) promising further FX-laden feuding, and, in an intriguing twist, an English-language climax to the trilogy with DUSK WATCH.

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The first part of a trilogy, NIGHT WATCH is an old-fashioned good vs. evil parable that relies on some thoroughly modern special effects to ensnare its audience. Set in present-day Moscow, the movie begins with a quick skip back through the centuries to inform us how a delicate truce was struck between the forces of Light and Dark. These forces still exist in Moscow, with both sides keeping a close eye on each other as they attempt to disguise themselves from the earth's mere mortals. NIGHT WATCH's central character is Anton Gorodetsky (Konstantin Khabensky), who is defined as an "Other" by the legions of Light and Dark. Anton and his cohorts live as vampires, and await the arrival of a virgin who will announce the resumption of hostilities between the forces of Light and Dark; as the film progresses, it becomes apparent that an epic battle is just around the corner. One of the biggest films of all time in its native Russia, director Timur Bekmambetov's NIGHT WATCH positions itself somewhere in between THE MATRIX and BLADE in the pantheon of CGI-fueled sci-fi flicks. Although the plot is mind-boggling and occasionally verges on the incomprehensible, Bekmambetov is presumably using this first part of the trilogy to lure viewers into his wild cinematic world. Impressively, Bekmambetov's film was shot on a tiny budget, but it belies its meager origins. Even the English subtitles are integrated into several scenes, with words zipping across the screen and melting into the action as a heavy-metal soundtrack thumps away. Knowing he is set to film two sequels, Bekmambetov leaves his audience hanging as NIGHT WATCH nears its climax, with his second installment (DAY WATCH) promising further FX-laden feuding, and, in an intriguing twist, an English-language climax to the trilogy with DUSK WATCH.

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A well-crafted horror film in the tradition of Guillermo del Toro's THE DEVIL'S BACKBONE, Swedish import LET THE RIGHT ONE IN ably blends genre chills with genuine feeling. Oskar (Kåre Hedebrant) is a 12-year-old outcast who is frequently picked on by his classmates. He dreams of getting his revenge, but he never stands up to the boys. With the arrival of his new next-door neighbor, 12-year-old Eli (Lina Leandersson), Oskar may finally have found a friend, ally, and first love. But Eli is no ordinary girl: she must keep her pale skin out of the sunlight, she can perform inhuman physical feats, and she has thirst for blood. The bodies begin to pile up, but Oskar can't stay away from the girl who has finally given him courage. Based on the novel by John Ajvide Linqvist (who also wrote the script), LET THE RIGHT ONE IN is the best kind of horror film: one that transcends the tropes of the genre to become something new. This is director Tomas Alfredson's first foray into horror, and he doesn't hesitate to include bits of vampire mythology. But his background making comedies and dramas gives the film a surprising depth; the relationship between Oskar and Eli is tentative and sweet, even though their interactions may be surrounded by blood and violence. Composer Johan Soderqvist and the sound department create a fascinating palette of music and sounds that add to the film's perfectly chilly mood, and setting the film in a snowy Swedish suburb gives director of photography Hoyte Van Hoytema a starkly beautiful environment for shooting. Though LET THE RIGHT ONE IN is ostensibly about a pair of children, this is a horror film for adults. There are plenty of scares, but it remains moving and intelligent, a rare feat for the genre.

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A well-crafted horror film in the tradition of Guillermo del Toro's THE DEVIL'S BACKBONE, Swedish import LET THE RIGHT ONE IN ably blends genre chills with genuine feeling. Oskar (Kåre Hedebrant) is a 12-year-old outcast who is frequently picked on by his classmates. He dreams of getting his revenge, but he never stands up to the boys. With the arrival of his new next-door neighbor, 12-year-old Eli (Lina Leandersson), Oskar may finally have found a friend, ally, and first love. But Eli is no ordinary girl: she must keep her pale skin out of the sunlight, she can perform inhuman physical feats, and she has thirst for blood. The bodies begin to pile up, but Oskar can't stay away from the girl who has finally given him courage. Based on the novel by John Ajvide Linqvist (who also wrote the script), LET THE RIGHT ONE IN is the best kind of horror film: one that transcends the tropes of the genre to become something new. This is director Tomas Alfredson's first foray into horror, and he doesn't hesitate to include bits of vampire mythology. But his background making comedies and dramas gives the film a surprising depth; the relationship between Oskar and Eli is tentative and sweet, even though their interactions may be surrounded by blood and violence. Composer Johan Soderqvist and the sound department create a fascinating palette of music and sounds that add to the film's perfectly chilly mood, and setting the film in a snowy Swedish suburb gives director of photography Hoyte Van Hoytema a starkly beautiful environment for shooting. Though LET THE RIGHT ONE IN is ostensibly about a pair of children, this is a horror film for adults. There are plenty of scares, but it remains moving and intelligent, a rare feat for the genre.

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$14
 

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$2
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Tony Jaa follows in the powerful martial arts footsteps of Bruce Lee, Jackie Chan, and Jet Li in ONG-BAK: THE THAI WARRIOR, one of the first films to center on the ancient fighting system of Muay Thai, which utilizes the body's limbs to potentially devastating effect. Jaa stars as Ting, a quiet young man who lives in the peaceful village of Nong Pradu. As the village's special celebration approaches, a Bangkok villain named Don (Wannakit Siriput) steals the head of the Buddha statue Ong-Bak, which is said to protect the village from bad luck. Ting volunteers to go to the big city to bring back the head of Ong-Bak, but remembers what he was taught by sage monk Pra Cru (Woranard Tantipidok): he must not use his Muay Thai skills to harm people. However soon after arriving in Bangkok, Ting, a peaceful fish out of water, finds that the only way to recapture the village's sacred treasure is by using his arms, his legs--and his head. Influenced by the films of Thai action star Phanna Rithikrai, director Prachya Pinkaew hired the Muay Thai expert to serve as martial arts and stunt choreographer for ONG-BAK, resulting in highly effective and believable scenes between Ting and a multitude of criminals and evil boxers out to get him. Pinkaew adds a fun sense of humor to the serious story, not only in some of the crazy stunts but also in the character of George, played by Thai comic Petchthai Wongkamlao. Jaa is charmingly fearless in the lead role, performing all his own stunts without any special effects, computer enhancement, or ropes.

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Written and directed by Guillermo del Toro, PAN'S LABYRINTH is a thrilling, violent fairy tale set in post-Civil War Spain. Ivana Baquero stars as Ofelia, a young girl who moves with her mother, Carmen (Ariadna Gil), into the home of Captain Vidal (Sergi López), in an abandoned mill in the middle of dark, dangerous woods. Vidal is leading his team of soldiers against resistance fighters--and he will do whatever is necessary to kill every last one of them. As Vidal bosses around the pregnant Carmen, a flying creature leads Ofelia through a garden labyrinth and into an underground cave ruled by Pan (HELLBOY's Doug Jones), who believes that Ofelia might be the lost princess of this strange yet magical place. To prove she is royalty, Ofelia must complete three tasks, each more difficult and terrifying than the previous one. Meanwhile, Vidal is becoming more and more paranoid, torturing and murdering seemingly at will. Del Toro (THE DEVIL'S BACKBONE, HELLBOY, CRONOS) creates a marvelous battle between good and evil, between heroes and villains, in both the real world aboveground and the mystical land below. Baquero gives a compelling performance as the terrorized Ofelia, who is befriended by Mercedes (Maribel Verdú), a woman who harbors some secrets of her own. Stellar production design, superb special effects, and a stirring score by Javier Navarrete add to the scary fun. Selected as the closing-night entry in the 2006 New York Film Festival, PAN'S LABYRINTH is a captivating story that is not for the squeamish.

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In the midst of World War II, as the tide turns against the Axis, a German U-boat crew is sent out to patrol the Atlantic and fire at Allied ships bringing supplies to England. The submarine also carries a press correspondent, there to report from the front lines of nautical warfare. Meanwhile, the crew's captain (Jürgen Prochnow) is becoming disillusioned with the Nazi regime and with war in general. What starts out as a routine mission is soon livened up beyond the crew's expectations when their boat's surprise attack on a convoy is thwarted by a fast-moving destroyer. Battered by depth charges, the crew must pull together to survive the attacks of their unseen enemy. Widely considered to be director Wolfgang Petersen's best film and one of the finest German films ever made, DAS BOOT is stunningly realistic in its portrayal of the cramped conditions aboard a German submarine. Based on a novel by Lothar G. Buchheim, it is a striking example of an intelligent antiwar film clothed in the guise of a military thriller.

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When an oddball pair of Russian soldiers are captured and taken prisoner by a Chechen father hoping to barter them for the release of his captive son, the two disparate hostages begin to develop an unexpected--and frequently humorous--bond of friendship. Inspired by the Leo Tolstoy novella "A Prisoner of the Caucasus." Academy Award Nomination: Best Foreign Language Film.

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$18
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In the midst of World War II, as the tide turns against the Axis, a German U-boat crew is sent out to patrol the Atlantic and fire at Allied ships bringing supplies to England. The submarine also carries a press correspondent, there to report from the front lines of nautical warfare. Meanwhile, the crew's captain (Jürgen Prochnow) is becoming disillusioned with the Nazi regime and with war in general. What starts out as a routine mission is soon livened up beyond the crew's expectations when their boat's surprise attack on a convoy is thwarted by a fast-moving destroyer. Battered by depth charges, the crew must pull together to survive the attacks of their unseen enemy. Widely considered to be director Wolfgang Petersen's best film and one of the finest German films ever made, DAS BOOT is stunningly realistic in its portrayal of the cramped conditions aboard a German submarine. Based on a novel by Lothar G. Buchheim, it is a striking example of an intelligent antiwar film clothed in the guise of a military thriller.

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$18
 

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$5
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A sensuous comic fable of a young Mexican woman's tortured life and her main influences--her domineering mother, her forbidden lover, and the overwhelmingly sensual power of food and cooking. Based on the novel by Laura Esquivel.

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Two young Indians, a brother and sister, travel from their remote Guatemalan village to the "promised land" of the north--Los Angeles. Academy Award Nominations: Best (Original) Screenplay.

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This World War I mystery finds limitless beauty in the nostalgia of loss. Directed by Jean-Pierre Jeunet, whose whimsical AMELIE riveted audiences, A VERY LONG ENGAGEMENT also stars Audrey Tautou--the 21st century's Audrey Hepburn--in the stubbornly emotional role of a widow in denial. Here she is Mathilde, a waifish young woman with a pronounced limp from childhood polio. Living with her quirky aunt and uncle in a farmhouse by the sea, and waiting desperately for her fiance Manech (Gaspard Ulliel) to return from the war, she believes that if he were truly lost she would feel it in her heart. Thus, when the bad news arrives--Manech and five fellow soldiers were exiled to No Man's Land for shooting off their own fingers in hope of being discharged--Mathilde refuses to believe he is dead. Instead, she begins her own investigation into Manech's infantry, hiring a private detective and tracking down the wives and girlfriends of each of Manech's compatriots. Conducting countless interviews, Mathilde pieces together Manech's war stories--which are told in earthshaking flashbacks involving gruesome explosions, flying guts, and massive suffering. And yet, the all-in-this-together humanity of these awful scenes, and the heartfelt bravery with which Mathilde absorbs the details of each battle, is undeniably moving. Jodie Foster appears as Elodie, one of the widows, in a charismatic yet muted performance and with a flawless accent. However, the most intriguing of the widows is Tina Lombardi (Marion Cotillard), a thrilling dominatrix-assassin bent on avenging her lover. A timeless masterwork that raises the bar for breathtaking camerawork, vivid landscapes, and fantastical storytelling, A VERY LONG ENGAGEMENT is adapted from the novel by Sebastien Japriscot.

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An international cast of beauties brings cosmopolitan flavor to what could have been a typical melodrama. Adapted from the best-selling novel by Peruvian author Jaime Bayly, LA MUJER DE MI HERMANO (English translation--MY BROTHER'S WIFE) is a soap-operatic tale, complete with adulterous transgressions, hysterical breakdowns, devastating betrayals, and a shocking finale. Stunning Uruguayan actress Barbara Mori is the focal point of this Byzantine affair, entrancing viewers with her nuanced performance as Zoe. In the tradition of those Douglas Sirk heroines who made it a gorgeous act to suffer quietly, Zoe is wildly unhappy and frustrated with her dying marriage to Ignacio (Peruvian soap star Christian Meier). Not content to remain isolated in her high-class Mexico city apartment--a stylishly cold fortress of minimalist design and shiny surfaces--Zoe seeks out Ignacio's estranged brother Gonzalo (Colombian hunk Manolo Cardona). A volatile artist, Gonzalo is a man of sensations and extremes, thus serving as the perfect antidote to Zoe's dull, stale life. The two strike up the inevitable passionate affair, but what follows is as unexpected as the set-up is standard. Zoe's transgression leads not only to her debilitating Catholic guilt, but also to a revived relationship between the brothers, whose new communication brings a startling revelation about the past. Peruvian director Ricardo de Montreuil leads this production with a sure hand, eliciting performances more complex than in the typical soap opera. Though it can veer toward slightly over-the-top melodrama, the film is too intelligently written and acted to be passed off as fluff, and instead is a serious, deep look into the eternal problems of love, sexuality, and betrayal.

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Youth gangs took over the slums of Rio de Janiero during the 1960s and didn't relinquish their stronghold until the mid-1980s. Only a sucker wouldn't have turned to crime and this is exactly how naive teen Rocket (Alexandre Rodrigues) views himself. His attempts in illegal activity fail as he finds potential victims too friendly. Equally unsuccessful in love, he regularly fails to lose his virginity. Blood spills throughout the streets of the Ciudad de Deus as gang leader Li'l Ze (Leandro Firmino da Hora) is challenged by local druglords and a gang of pre-teens known as the Runts. Rocket shoots all of this action with his weapon of choice, a camera. Director Fernando Meirelles combines visual flashiness with dark history in telling the story of three decades of unrest in underground Rio de Janiero. Technically flawless, the Brazilian film uses a rapid-cutting style to flash back and forth in time. Cinematographer Cesar Charlone shoots with an overexposed glow in a film that may seem numb to violence, but reveres photography. Director Meirelles was assisted by Katia Lund, a filmmaker who had previously shot in the Rio ghettos.

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Written and directed by Guillermo del Toro, PAN'S LABYRINTH is a thrilling, violent fairy tale set in post-Civil War Spain. Ivana Baquero stars as Ofelia, a young girl who moves with her mother, Carmen (Ariadna Gil), into the home of Captain Vidal (Sergi López), in an abandoned mill in the middle of dark, dangerous woods. Vidal is leading his team of soldiers against resistance fighters--and he will do whatever is necessary to kill every last one of them. As Vidal bosses around the pregnant Carmen, a flying creature leads Ofelia through a garden labyrinth and into an underground cave ruled by Pan (HELLBOY's Doug Jones), who believes that Ofelia might be the lost princess of this strange yet magical place. To prove she is royalty, Ofelia must complete three tasks, each more difficult and terrifying than the previous one. Meanwhile, Vidal is becoming more and more paranoid, torturing and murdering seemingly at will. Del Toro (THE DEVIL'S BACKBONE, HELLBOY, CRONOS) creates a marvelous battle between good and evil, between heroes and villains, in both the real world aboveground and the mystical land below. Baquero gives a compelling performance as the terrorized Ofelia, who is befriended by Mercedes (Maribel Verdú), a woman who harbors some secrets of her own. Stellar production design, superb special effects, and a stirring score by Javier Navarrete add to the scary fun. Selected as the closing-night entry in the 2006 New York Film Festival, PAN'S LABYRINTH is a captivating story that is not for the squeamish.

starting at

$10
 

starting at

$3
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A northern Spanish coastal town suffers from its own isolationism as shipyards close down, leaving the labor force scouring the streets for temp jobs with only their stubborn pride to show for it. Among the disillusioned is Santa (Javier Bardem), a cocksure, angry rebel who refuses to admit his own failures. Santa is the ring leader of a group of rapidly aging friends whose unemployed status causes them mounting grief. They drown their sorrows in an otherwise empty bar owned by Rico (Joaquin Climent), one of their coworkers from what now seems another life. While Santa tries to clumsily seduce women and pay for a lamp post he vandalized in anger, his companions battle serious alcoholism, loan denials, and marriage troubles, as they all face their own insignificance. Javier Bardem perfectly embodies the defiant loser that is Santa. Letting himself go and carrying a hefty gut, Bardem manages to exude the false charm of a bitter sad sack who has remained a lady's man. Captured in gritty detail, director Fernando Leon de Aranoa offers a shattered image of the proud work force of northern Spain in a picture that won five Goya Awards, Spain's equivalent to the Oscars.

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A Madrid waitress, Lucia (Paz Vega), is mourning the loss of her boyfriend Lorenzo (Tristan Ulloa), a young novelist who died suddenly under mysterious circumstances. Unable to come to terms with his death, she takes a trip to a Mediterranean island that he told her about long ago, thinking about the novels Lorenzo wrote and the way that his work moved her. In flashbacks Lucia remembers her passionate relationship with him, and tries to reconcile unresolved feelings while sorting through the events of the confusing weeks leading up to his death. Shifting time frames and memories combine with Lorenzo's stories and blur the activity of the present. Meanwhile, characters who may or may not be linked to her life with Lorenzo--Carlos (Daniel Freyre), Elena (Najwa Nimri), and Belen (Elena Anaya)--turn Lucia's stay on the island into an intriguing tangle of interconnected stories. SEX AND LUCIA, with its sultry eroticism, testing and questioning of fate and the unpredictability of life, and its brightly bleached beach scenes, is a winding, nostalgic journey. Directed by Julio Medem (LOVERS OF THE ARCTIC CIRCLE), SEX AND LUCIA was received with acclaim at the 2002 Sundance Film Festival.

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$8
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Based on a novel by Ramsey Campbell, LOS SIN NOMBRE (THE NAMELESS) is a stylish and atmospheric horror film from director Jaume Balaguero (DARKNESS). After she goes missing, the body of Claudia's daughter Angela is discovered by the police. Five years later, Claudia is still distraught over the senseless murder when she receives a phone call from a young woman claiming to be her daughter. Bruno, a now-retired cop who was in charge of the original investigation, takes pity on Claudia and decides to help her track down the caller. What they find, however, is shadowy organization known only as "the Nameless" who may have some sort of supernatural power.

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$8
 

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$3
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Tadanobu Asano stars in this violent thriller/comedy as Samehada, the Shark Skin Man of the title. The film begins as Samehada is making a getaway from some former yakuza cohorts when his car is struck by a pretty young woman piloting an SUV. Named Toshiko, she is also on the run, and the two quickly team up to become an unlikely couple. Stylish and bizarre, SHARK SKIN MAN AND PEACH HIP GIRL is based on Minetaro Mochizuki's popular series of mangas.

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$3
 

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DOG DAYS is a scathing satire, exposing the ugly underbelly of contemporary suburban mores. It is the first dramatic feature of notorious documentarian Ulrich Seidl (ANIMAL LOVE). With a keen visual sense and lacerating wit, Seidl weaves together the sordid tales of a large group of people in suburban Austria during a heat wave. There's the Greek divorced couple who continue to live together, miserable and haunted by the memory of their young daughter's death. There's the alarm system salesman who has to find a scapegoat when the cars in a housing complex that he has serviced are vandalized. There's the desperate older woman whose sadistic boyfriend brings a friend along to watch him humiliate her. There's the elderly control freak who weighs every item he's bought at the supermarket when he gets home. Tying them all together is Anna (Maria Hofstatter), who hitches rides to nowhere, verbally assaulting those who pick her up with a constant barrage of inane top ten lists, advertising jingles, and embarrassing personal questions. Seidl gets solid performances from his cast, many of whom are not professional actors. For those who can stomach it, he offers a compelling glimpse of hell on earth. This film was included in the 31st New Directors/New Films 2002 series presented by The Film Society of Lincoln Center and The Department of Film and Media of The Museum of Modern Art in New York City.

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$7
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