PG (MPAA), Amazon Marketplace in Music & Musicals DVDs & Videos

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This film adaptation of GREASE is the zippy smash hit translation from the Broadway musical tribute to the fabulous 1950s. As a new school year begins, wholesome Australian exchange student Sandy (pop star Olivia Newton-John) and duck-tailed, leather-jacketed Danny (John Travolta) parlay their summertime romance into an on-and-off attraction that may or may not cross clique lines. Sandy seriously cramps Danny's style, so he dumps her. In response, Sandy begins dating a wholesome athlete, but, as a hedge, she also joins the gum-chewin', tough-talkin' clique known as the Pink Ladies. One of the most beloved musicals of all time, the popular soundtrack includes "You're the One that I Want," "Hopelessly Devoted to You," "Sandy," "Summer Nights," and the title tune.

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Originally written and directed by filmmaker John Waters in 1988, and then put on Broadway, the camp musical HAIRSPRAY could easily have run its course with viewers. But thanks to playful direction, flashy costumes, over-the-top performances, and a positive message of peace, this newest spin proves to be yet another enjoyable incarnation. Set in 1960s Baltimore, the story follows a plump young girl named Tracy Turnblad (played by impressive newcomer Nikki Blonski) on an amazing journey as her dream of dancing on the popular Corny Collins Show becomes a reality. The local television program is a shiny spectacle spear-headed by Corny Collins (James Marsden), a gang of young dancers, and producer Velma Von Tussle (Michelle Pfeiffer), a seductress ice queen whose manipulative ways ensure her daughter Amber (Brittany Snow) gets more than her fair share of screen time as one of the show's stars. When Tracy shows up at an open call, Velma can barely contain her rage, and sets out to rid the show of Tracy and the talented black dancers who make up the show's popular "Negro Day." Thus begins a war of talent and a battle for justice, with those in favor of integration meeting many obstacles along the way. While less out-there than Waters's original, the film still contains some very quirky humor. John Travolta playing Tracy's overweight mother may seem an odd concept at first, but in this context it works. Scenes that would ordinarily be cheesy are made more interesting due to the odd dynamic between Christopher Walken and John Travolta playing man and wife. As the two dance and woo one another, the strange smile on Travolta's lipsticked lips and the grace of Walken's dancing will be sure to fascinate viewers. Viewers should also watch for cameos by Ricki Lake, and by John Waters as a Baltimore streaker. With all the wacky comedy, it's often easy to forget that the meat of HAIRSPRAY is a battle over racial integration. The film manages to create some touching moments in the midst of sparkling musical numbers.

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Big-screen shenanigans from the Spice Girls, who cavort harmlessly in backstage vignettes whilst changing costumes, mugging in the kitschy environs of their Union Jack tour bus (piloted by no less significant a personage than Meat Loaf), and evading a bothersome paparazzo. Trashy, guilty fun, littered with celebrity cameos.

starting at

$5
 

starting at

$13
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This film adaptation of GREASE is the zippy smash hit translation from the Broadway musical tribute to the fabulous 1950s. As a new school year begins, wholesome Australian exchange student Sandy (pop star Olivia Newton-John) and duck-tailed, leather-jacketed Danny (John Travolta) parlay their summertime romance into an on-and-off attraction that may or may not cross clique lines. Sandy seriously cramps Danny's style, so he dumps her. In response, Sandy begins dating a wholesome athlete, but, as a hedge, she also joins the gum-chewin', tough-talkin' clique known as the Pink Ladies. One of the most beloved musicals of all time, the popular soundtrack includes "You're the One that I Want," "Hopelessly Devoted to You," "Sandy," "Summer Nights," and the title tune.

starting at

$13
 

starting at

$9
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In the post Civil War South, an embittered old southern gent (Lionel Barrymore) turns his back on his daughter (Evelyn Venable) when she marries the "wrong man." Years later, the daughter returns with her husband and youn daughter (Shirley Temple), the latter of whom manages to mend the broken family ties. She does this by charming him with several charming song and dance numbers, as well as her irresistible personality.

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$9
 

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$3
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A red-haired mop-top orphan (Aileen Quinn), yearning to break out of her dreary life in an orphanage run by an iron-fisted, boozy matron (Carol Burnett), charms billionaire Oliver "Daddy" Warbucks (Albert Finney) into adopting her--but what she really wants is to find her real parents. Academy Award Nominations: 2, including Best Art Direction-Set Decoration, Best Original Score.

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$3
 

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An all-star cast--including Val Kilmer, Ralph Fiennes, Michelle Pfeiffer, and Sandra Bulock--leads this full-length, animated musical version of the story of Moses. After being raised as the son of a Pharaoh, Moses learns that he is a Hebrew and must accept his destiny as the leader of his people. Moses' brother Rameses refuses to let the Hebrews go, and brings down the wrath of God upon Egypt. This triumph of animated storytelling and colorful design won the Academy Award for Best Song with "When You Believe."

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$3
 

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$6
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When Elvis stopped making movies in Hollywood and returned to making music following his triumphant 1968 comeback, he gathered together a group of hot Nashville cats to back him up. THAT'S THE WAY IT IS follows Elvis as he prepares to return to the stage and follows him up to his opening nights. This is a compelling, fascinating, and highly amusing musical documentary where Elvis' overall talent and musicality come through while watching him rehearse, jam and arrange his list of songs. Simultaneously celebrating and poking good-natured fun at the Las Vegas era of Elvis's career, director Denis Sanders often just sits back and lets the performances speak for themselves. The film includes the King preparing offstage for his 1970 tour and culminates in his opening night performance in Las Vegas. The film includes more than 30 of the King's fabulous songs.

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$6
 

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$13
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Since hitting the scene in the late 1970s, Elvis Costello (along with his band, The Attractions) has been both popular with knowledgeable music fans and enormously influential, and this collection brings together a treasure trove of material from the beloved, bespectacled, and extremely talented rock icon. The fascinating evolution of his brand of eclectic, geeky-yet-cool rock and bracingly intelligent lyrics is on full display here, as 27 of his music videos are arranged chronologically (from 1978 to 1994, when he made his last video for Warner). Costello's early videos are a bit rough around the edges, but the terrific songs always sustain them, and they provide a fascinating look at his less polished early persona. His later videos are often visually excellent in their own right; highlights are the lovely black-and-white "New Lace Sleeves," the odd and intense "I Wanna Be Loved," and "Veronica," which emphasizes the originally intended and often overlooked meaning behind one of Costello's most popular songs. Each video has optional commentary from the artist, who is alternately thoughtful and hilarious here (like many of us, Costello looks back at the clothing of the 1980s and winces). Always prolific and unusually generous with his material, Costello also includes 18 additional videos of rare live television performances. Taken all together, this collection is thorough enough to satisfy even the most ardent fans, and good enough to convert casual ones.

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A special collector's gift set featuring the nostalgic musicals GREASE and GREASE 2. See individual titles for details.

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$13
 

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A STAR IS BORN was conceived as a comeback vehicle for Judy Garland, who gives a fascinating and heartrending performance in perhaps the finest work of her career. This film was director George Cukor's first musical and first color picture; the tale of a doomed Hollywood couple, it was a remake of the 1937 William Wellman movie with Janet Gaynor and Fredric March. Garland plays young singer Esther, who saves Norman Maine (James Mason), a famous star, from making a fool of himself onstage. Maine is an alcoholic whose career is on the wane but who manages, nonetheless, to acknowledge Esther's talent and help her jump-start a career in Hollywood. But as her star rises and his declines, Maine's misery grows. Harold Arlen and Ira Gershwin provided Garland with songs that would become standards in her concert repertoire, including "The Man That Got Away," which earned an Oscar nomination for Best Song. A STAR IS BORN is also based on the earlier Cukor picture WHAT PRICE HOLLYWOOD?

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$4
 

starting at

$9
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Originally written and directed by filmmaker John Waters in 1988, and then put on Broadway, the camp musical HAIRSPRAY could easily have run its course with viewers. But thanks to playful direction, flashy costumes, over-the-top performances, and a positive message of peace, this newest spin proves to be yet another enjoyable incarnation. Set in 1960s Baltimore, the story follows a plump young girl named Tracy Turnblad (played by impressive newcomer Nikki Blonski) on an amazing journey as her dream of dancing on the popular Corny Collins Show becomes a reality. The local television program is a shiny spectacle spear-headed by Corny Collins (James Marsden), a gang of young dancers, and producer Velma Von Tussle (Michelle Pfeiffer), a seductress ice queen whose manipulative ways ensure her daughter Amber (Brittany Snow) gets more than her fair share of screen time as one of the show's stars. When Tracy shows up at an open call, Velma can barely contain her rage, and sets out to rid the show of Tracy and the talented black dancers who make up the show's popular "Negro Day." Thus begins a war of talent and a battle for justice, with those in favor of integration meeting many obstacles along the way. While less out-there than Waters's original, the film still contains some very quirky humor. John Travolta playing Tracy's overweight mother may seem an odd concept at first, but in this context it works. Scenes that would ordinarily be cheesy are made more interesting due to the odd dynamic between Christopher Walken and John Travolta playing man and wife. As the two dance and woo one another, the strange smile on Travolta's lipsticked lips and the grace of Walken's dancing will be sure to fascinate viewers. Viewers should also watch for cameos by Ricki Lake, and by John Waters as a Baltimore streaker. With all the wacky comedy, it's often easy to forget that the meat of HAIRSPRAY is a battle over racial integration. The film manages to create some touching moments in the midst of sparkling musical numbers.

starting at

$9
 

starting at

$8
  • product
As early as autumn 2006, surreal and hilarious video clips of Stephen Walker's documentary (which originally aired on the BBC) were making the rounds on YouTube and in email inboxes all over the U.S.--tantalizing, out-of-context glimpses of the Young@Heart vocal choir, composed of elderly men and women, having a go at chestnuts by Sonic Youth, the Clash, and the Ramones. It seemed that the feature film, re-released for the screen in 2008, would perhaps be an uncomfortably comic look at a bunch of geezers set up to look ridiculous for the smug delectation of hipster audiences everywhere. The reality is not so far off-base, at least on first glance, but Walker's film, tracking the progress of the chorus as they prepare for a big gig, provides enough good-natured humor, personal narrative, and intimate details to inspire respect and admiration--and some major heart-string-plucking--in filmgoers. Viewers witness the blossoming of long-buried or completely latent musical talents in the elderly folks; learning the new, unfamiliar material, under the direction of irascible 50-something conductor Bob Cilman, keeps their neurons firing and their emotions kindled, while communing with and trusting each other staves off the isolating effects of old age, even as they cope with heartbreaking losses within their ranks. It is undeniably funny to watch them struggle with the more challenging punk, classic rock, and soul songs as their leader kvetches wearily, but Walker skillfully ensures that, by the end of the film, we are laughing with the intrepid Young@Hearters, and not at them.

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Paul Justman's inspiring documentary pays tribute to one of the most influential, yet unrecognized, collection of musicians that has ever been assembled. The Funk Brothers played the background music on the seemingly endless string of Motown classics in the 1960s and 1970s, resulting in a resume that boasts more number one hits than The Beatles, the Beach Boys, The Rolling Stones, and Elvis Presley combined. Shot on location in Detroit, STANDING IN THE SHADOWS OF MOTOWN reunites the surviving members as they reflect on the groups' storied past. Most celebrated is departed bassist James Jamerson, whose fiery presence and technical prowess was largely responsible for shaping the Funk Brothers' supremely distinct sound. In addition to interviews, as well as reenactments and archival footage, Justman gathers together the musicians for an unforgettable reunion concert. Featuring the vocal support of several contemporary artists, including Joan Osborne, Ben Harper, Chaka Kahn, Gerald Levert, and Bootsy Collins, the Funk Brothers prove that they haven't lost a beat. Based on the book by Allan "Dr. Licks" Slutsky, STANDING IN THE SHADOWS OF MOTOWN gives overdue credit to a group of unassuming musicians who quietly created one of popular music's most enduring and spectacular musical legacies.

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In the 1990s, following California's passing of the Zero Emission Vehicle mandate, American car companies began producing electric cars for mainstream consumption. GM's EV1, which was by all accounts quiet, fast, and capable of driving up to 80 miles on one charge, used no gasoline and quickly developed an intensely devoted following in California. But even as its popularity grew, car manufacturers were fighting the mandate; it was overturned, and by 2005 just about every single EV1 had been recalled, crushed, and shredded. GM put its resources into the Hummer instead. WHO KILLED THE ELECTRIC CAR? looks at the tangled web of interests behind the car's untimely demise, laying out convincing cases against the auto industry, big oil, corrupt federal and state governments, and consumers themselves. Chris Paine's directorial debut is not especially stylish, but it is effective. He leads viewers through the twisty maze of politics and profit that surrounds the main story, taking time to dwell on the passionate attachment that many of the cars' drivers still feel for them. Appropriately, the film is narrated by Martin Sheen--the embodiment for many Americans of socially conscious leadership, thanks to his many years on THE WEST WING--and features interviews with a motley array of celebrities from Mel Gibson to Ed Begley, Jr., but the real star of the movie is the doomed car itself and all that it stands for. The film is not especially fair or balanced; very little screen time is devoted to criticism of electric cars, and the only person on camera defending the oil companies is a singularly slimy and unappealing spokesperson from whom most viewers would be unwilling to buy a used car of any variety. But it certainly succeeds as a rousing, if occasionally depressing, call to awareness and action.

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This acclaimed film version of Peter Stone's Pulitzer Prize-winning musical, which was one of the last big-budget studio musicals, stars William Daniels (TV's Saint Elsewhere) as John Adams and Howard Da Silva as Ben Franklin. A rollicking, anachronistic treatment of the creation of the Declaration of Independence, with the American forefathers conducting themselves with uncharacterstic--and comical--indignity. Academy Award Nominations: Best Cinematography (Harry Stradling, Jr.)

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Madonna tackles the title role in Alan Parker's ambitious recounting of the brief, amazing life of former Argentine first lady Eva Perón. Presented almost entirely in song and narrated by Antonio Banderas as a fictional everyman, the film charts the alternately revered and reviled Evita's rise from poverty to become a film and radio actress; her relationship with President Juan Perón (Jonathan Pryce); and her tragic death from cancer at age 33. Banderas, a surprisingly moving singer, and the inimitable Madonna, who took voice lessons before filming commenced to expand her vocal range, provide the emotional bedrock for the eminently enjoyable film with their charismatic screen presences. The music, including the Oscar-winning song "You Must Love Me," weaves an entrancing web, and the sets and costumes are awe inspiring. Parker does a fine job of adapting Andrew Lloyd Webber's musical for the big screen. The director's vision shines clearly here: Like PINK FLOYD: THE WALL, EVITA is an enchanting mixture of epic fairy tale and sociopolitical psychodrama.

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So much mayhem ensues that it takes two Elvises to handle it! In his only dual role, Presley is both of the titular cousins: a redneck moonshiner, and an emissary sent by the Army to convince the hillbillies on Tatum Mountain to allow the government to use half their land as a missile launch site. The locals' antipathy for Uncle Sam provides a convenient opportunity for a fistfight between the dueling Elvises.

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Henry Edwards creates a thin story line to tie the Beatles' popular album together. Grinch-like Mean Mr. Mustard menaces the happy hamlet of Heartland until pop wunderkind Billy Shears (Frampton) resurrects the villain's musical nemeses--the titular band--and brings mirth back to the town.

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That red-headed orphan is back in this made-for-TV movie based on the classic Harold Gray comic strip. This time she and her faithful canine pal Sandy are up to hijinks in jolly olde England after Daddy Warbucks is called over to be knighted by the Queen.

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