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Undoubtedly one of the greatest films in the sci-fi pantheon, THE DAY THE EARTH STOOD STILL is one of the few science-fiction flicks from the McCarthy era that is not an anti-communist allegory. A literate and thought-provoking film, it presents extraterrestrials as humanoid in appearance and intelligent and peaceful in demeanor, as opposed to the reptilian, googly-eyed creatures with a bent for world domination that are the norm in most other Hollywood space operas of the early 1950s.

The story revolves around Klaatu (Michael Rennie), an extraterrestrial being who comes to Earth as the representative of an intergalactic peacekeeping organization. Now that the people of Earth have reached the nuclear age, they have become a potential threat to life on other planets, and the violent history of earthlings indicates that, if left unchecked, a threat is what they will indeed become. So Klaatu's league of interplanetary peacekeepers have sent him to offer an ultimatum: Either the Earth agrees to join the league and abide by its rules--basically, a no-nukes, no-aggression policy--or the Earth will be utterly annihilated. And to demonstrate that he and his fellows have the power to carry through, Klaatu arranges for all non-essential electrical devices to completely cease functioning for a full 24 hours. (The Earth stands still for an entire day--get it?)

Although there is no real evidence to support it, many contemporary fans of THE DAY THE EARTH STOOD STILL have wondered if director Robert Wise and scriptwriter Edmund North were not waxing prophetic about the global role the U.S. was, circa 1950, poised to assume. Since WWII--and even more so after the fall of the USSR--the United States has grown to become the dominant world power both militarily and economically, and it has used this position to muscle the other nations of the world into conforming to its basic principals or, at the very least, into maintaining a non-combative relationship with its allies. In retrospect, then, Klaatu and the organization he represents can easily be viewed as an allegory of the U.S., with the Earthlings in the film representing the other nations of the world. And the dropping of THE BOMB on Japan can therefore be seen as the U.S.'s demonstration of power--its proof that it can, indeed, make the Earth stand still.

Prophetic allegory or not, THE DAY THE EARTH STOOD STILL is a well-written and well-directed motion picture. Wise and North's powerful storytelling techniques create concepts and images that are hard to ignore and not easy to forget. Indeed, it's likely that Klaatu and his towering robo-cop sidekick, Gort, are cinematic icons that will remain in the sci-fi lexicon long after other 20th-century film characters are considered to be grossly passé.

The DVD offers a beautiful restored version of the film; an excellent feature commentary with the film's director, Robert Wise, and renowned writer/director Nicolas Meyer (Meyer spurs Wise with pertinent questions and comments); theatrical trailers; an interesting documentary/featurette on the making of the film; a period newsreel; and more. At Amazon's price, adding this science-fiction classic to your DVD collection is well worth the investment!

This film, directed by Robert Wise, shows what truly competent direction can give to science fiction without all the Jim Cameron razzle dazzle. The hint of love and development of intrigue and compassion between handsome Michael Rennie and lovely Patricia Neal compels from their first glance, and Gort is just downright chic. I love this film. It never dates. But I'm always sad to see Michael Rennie wave bye to Patricia Neal, and I still am unclear how long he survives after the spaceship exits. Bernard Herrmann (Taxi Driver) score is classic and minimal, with early use of Theremin.

Nearly everyone who has seen THE DAY THE EARTH STOOD STILL hails it as a classic of science fiction, even if they are not quite sure why. For a film that has withstood the test of time, it cannot be because of those elements that mark other and similar successful science fiction films. There are no corresponding battle sequences that stamp, say, INDEPENDENCE DAY, or special effects that characterize any of the ALIENS saga. What director Robert Wise did was to adapt the original short story, "Farewell to the Master," by Harry Bates to transform a tale warning Earth to forego its mutually assured nuclear destruction into a riveting story that forces viewers to ponder some serious issues of why they are here on this planet and how they can avoid massive self-genocide. Surprisingly enough, Wise does this without allowing the film's didacticism to dilute audience involvement.

Michael Rennie is Klaatu, an emissary who lands on Earth with the stated intention of saving humanity from itself. He offers the olive branch of his race, a device that would have eliminated some of man's most persistent problems only to find that a collective fear of the unknown blasted that device to pieces and severely wounded him. Rennie plays Klaatu as an earnest Christ figure so subliminally that the film morphs into an allegory of man's turning on the One who would die for their collective sins. Klaatu escapes from a hospital to assume the name of Carpenter, Jesus's occupation. He performs miracles: where Jesus turned stone to water, Carpenter turns motion to non-motion by literally turning off Earth's electricity, thus the day of the title. Jesus here is Tom Stevens (slimingly played by Hugh Marlowe), who betrays Klaatu, not for thirty pieces of silver but for the love of a woman (Patricia Neal), who painfully learns that behind the smiling face of that Judas lies the smallness of the insecure mind. Then there is the resurrection of Klaatu, who ascends, if not to heaven, than at least to his spaceship, which is almost the same thing. Yet all these allusions to traditional Christianity do not intrude suffocatingly. Indeed, most viewers scarcely recognize them, and it is only after repeated viewings that such correspondances suggest why audiences continually flock to witness Klaatu's Good News.

It is not only the religious coating that marks this film as a classic. It has a literate script that requires one to listen to well-reasoned ideas rather than to ooh and aah at FX. Rennie's interpretation of Klaatu is both fluid and soothing. In his exhortations to mankind to rise from the muck of squalor and viciousness, Klaatu is seen ultimately not so much as a representative of an alien power seeking to impose its will on a protesting humanity, but more as an inverted symbol of that humanity. If Jesus were crucified for being both mortal and semi-devine, then surely Klaatu is meant to be the scapegoat for man's failure to heed his wisdom. In nearly every scene that Klaatu is in, he is scorned, hunted, shot at, and mocked. In lashing out at him, the Sanhendrin-like government and mass media exhibit the same lack of acumen that stamps most of the citizens.

The number of special effects are kept to a minimum. The robot Gort is huge and menacing, but his lethality rests more in what he can do than what he does do. Klaatu's spaceship does little but squat serenely on the White House lawn, with Klaatu spending only one brief scene aboard. Some of the film's best moments are of the quiet sort, usually with Rennie in contemplative dialogue with others. The words that pass back and forth suggest a subtext that if human beings are to avoid self-immolation, then it can occur only through the medium of verbalized reason that will negate the mushrooming clouds. If and when the nukes fall, it will be because no one had the sense to cry out,"Klaatu Barada Nikto," to stop the madness.

Highlights: Brandon Lee's doomed performance, resonating dread and malice; astounding sets that possibly rank amongst the best in comic book adaptations (except, perhaps, the original Batman and Alex Proyas' later Dark City), non-stop full-throttle energy.

Lowpoints: Over-dramatized bits; lack of decent dialogue.

Conclusion: The Crow, famous for its protagonist's death during the shoot, is a startlingly uncompromising visual experience that will be cherished by fans of dark comic books, such as Spawn, The Punisher and even Alien. Watch it for its groundbreaking special effects, efficient rock soundtrack and possibly the most agreeably gothic atmosphere ever created in a film.

SEE THIS IF YOU LIKED: Spawn, Batman I, II, Dark City, Aliens.
DON'T SEE THIS IF YOU LIKED: Daredevil, Spiderman, or any other PG-13 atrocity out there.

I never saw this originally in '94 because I dismissed it as A. a martial arts film (and I hate those) and B. adapted from a comic (and I just can't get into those) and C. aimed at a teen/goth/punk audience (and I am way too old for that). What a mistake! Finally almost ten years on, a friend heard me say I really liked Alex Proyas' DARK CITY -- a neat sci fi film with a very different story but the same kind of dark fantasy look -- and couldn't believe I had never seen THE CROW and made me watch it.

I have to say that I really think this is a fine, well made movie and none of my preconceptions were remotely correct. The art direction is brilliant, with a wonderful and creepy gothic fantasy look, almost but not quite black-and-white, set in a mysteriously surreal "Detroit" that is in some kind of alternate universe from the real Motown. Brandon Lee is really charismatic and haunting in the role of Eric Draven, and not merely because of the tragic incident surrounding the film. He was real star material and just totally inhabits this part.

After seeing the film, I did read the O'Barr comic, which is very sincere and heartfelt, but I think the filmakers -- in what is a pretty rare event -- IMPROVED the plot and characters while keeping all of the angst and atmosphere. They totally honored the character of Eric and the basic idea of the avenger, the memories of his beautiful girlfriend, and sense of overwhelming grief that inhabits the graphic novel. Where they impoved the storyline in cinematic terms is in the treatment of the minor characters and villians. They really fleshed them out, and it enriches the movie and balances the storyline well.

Bookending the film with quotes from Sarah (Rochelle Davis), the little girl who narrates and observes much of the story is an example of a good idea that doesn't really exist in the comic, where the little girl is called Sherri and only appears briefly. Even more so is the expansion of the character of Top Dollar, who again is a minor episode in the comic and more of a grubby hell's angel/drug dealer -- in the film he has been transformed into a complex and compelling crimelord. Michael Wincott is simply amazing in this part, playing Top Dollar as a kind of depraved, satanic, renaissance prince, and clearly having a great deal of fun with this role, especially some wonderful and very clever dialogue. The very, very sick but quite sincere love story between Top Dollar and his psychic half-sister is the reversed-mirror image of the pure and innocent love of Eric and his fiance, a clever idea.

Wonderful music, great visuals, terrific acting...The Crow should NOT be missed.

NOTE: I bought the "Collector's DVD". Don't bother. There is NOTHING worth looking at on the second DVD, some production sketches and posters, nothing special. The director's commentary (on the first disk) is interesting to listen to ONCE, but you can get that on the single disk DVD. There is a smattering of extra footage, but nothing you will miss. Save some bucks and just get the one disk wide screen version.

This IS, without a doubt, the Greatest Movie of all Time! Brilliant, Brilliant, Brilliant! Lee's portrayal as the murdered Eric Draven may have won him countless awards and accolades had he not been the victim of a tragic on set accident. He made his character believable, which considering he came back from the dead, was no mean feat! "Ghostbusters" star Ernie Hudson gives a surprisingly impressive performance as the Police Officer who can't quite believe Draven is back. Michael Wincott, as Top Dollor, is also great.With the opening narrative, Graeme Revell's emotional score, fantasy, action, love, violence, comedy, and brilliant ending, this film is a phenomenon. Buy It, Watch It, Make your friends watch it, and Share a truly unique experience. WE MISS YOU, BRANDON! 1st February 1965 - 31st March 1993.

Highlights: Brandon Lee's doomed performance, resonating dread and malice; astounding sets that possibly rank amongst the best in comic book adaptations (except, perhaps, the original Batman and Alex Proyas' later Dark City), non-stop full-throttle energy.

Lowpoints: Over-dramatized bits; lack of decent dialogue.

Conclusion: The Crow, famous for its protagonist's death during the shoot, is a startlingly uncompromising visual experience that will be cherished by fans of dark comic books, such as Spawn, The Punisher and even Alien. Watch it for its groundbreaking special effects, efficient rock soundtrack and possibly the most agreeably gothic atmosphere ever created in a film.

SEE THIS IF YOU LIKED: Spawn, Batman I, II, Dark City, Aliens.
DON'T SEE THIS IF YOU LIKED: Daredevil, Spiderman, or any other PG-13 atrocity out there.

I never saw this originally in '94 because I dismissed it as A. a martial arts film (and I hate those) and B. adapted from a comic (and I just can't get into those) and C. aimed at a teen/goth/punk audience (and I am way too old for that). What a mistake! Finally almost ten years on, a friend heard me say I really liked Alex Proyas' DARK CITY -- a neat sci fi film with a very different story but the same kind of dark fantasy look -- and couldn't believe I had never seen THE CROW and made me watch it.

I have to say that I really think this is a fine, well made movie and none of my preconceptions were remotely correct. The art direction is brilliant, with a wonderful and creepy gothic fantasy look, almost but not quite black-and-white, set in a mysteriously surreal "Detroit" that is in some kind of alternate universe from the real Motown. Brandon Lee is really charismatic and haunting in the role of Eric Draven, and not merely because of the tragic incident surrounding the film. He was real star material and just totally inhabits this part.

After seeing the film, I did read the O'Barr comic, which is very sincere and heartfelt, but I think the filmakers -- in what is a pretty rare event -- IMPROVED the plot and characters while keeping all of the angst and atmosphere. They totally honored the character of Eric and the basic idea of the avenger, the memories of his beautiful girlfriend, and sense of overwhelming grief that inhabits the graphic novel. Where they impoved the storyline in cinematic terms is in the treatment of the minor characters and villians. They really fleshed them out, and it enriches the movie and balances the storyline well.

Bookending the film with quotes from Sarah (Rochelle Davis), the little girl who narrates and observes much of the story is an example of a good idea that doesn't really exist in the comic, where the little girl is called Sherri and only appears briefly. Even more so is the expansion of the character of Top Dollar, who again is a minor episode in the comic and more of a grubby hell's angel/drug dealer -- in the film he has been transformed into a complex and compelling crimelord. Michael Wincott is simply amazing in this part, playing Top Dollar as a kind of depraved, satanic, renaissance prince, and clearly having a great deal of fun with this role, especially some wonderful and very clever dialogue. The very, very sick but quite sincere love story between Top Dollar and his psychic half-sister is the reversed-mirror image of the pure and innocent love of Eric and his fiance, a clever idea.

Wonderful music, great visuals, terrific acting...The Crow should NOT be missed.

NOTE: I bought the "Collector's DVD". Don't bother. There is NOTHING worth looking at on the second DVD, some production sketches and posters, nothing special. The director's commentary (on the first disk) is interesting to listen to ONCE, but you can get that on the single disk DVD. There is a smattering of extra footage, but nothing you will miss. Save some bucks and just get the one disk wide screen version.

This IS, without a doubt, the Greatest Movie of all Time! Brilliant, Brilliant, Brilliant! Lee's portrayal as the murdered Eric Draven may have won him countless awards and accolades had he not been the victim of a tragic on set accident. He made his character believable, which considering he came back from the dead, was no mean feat! "Ghostbusters" star Ernie Hudson gives a surprisingly impressive performance as the Police Officer who can't quite believe Draven is back. Michael Wincott, as Top Dollor, is also great.With the opening narrative, Graeme Revell's emotional score, fantasy, action, love, violence, comedy, and brilliant ending, this film is a phenomenon. Buy It, Watch It, Make your friends watch it, and Share a truly unique experience. WE MISS YOU, BRANDON! 1st February 1965 - 31st March 1993.

I've always enjoyed movies about the mafia and hearing about actual tales of real-life mafia clans, so I was really interested in seeing this critically-acclaimed HBO drama. However, I soon learned that too much of a good thing can be irritating. In my opinion, this is exactly what happened with The Sopranos. The whole mob storyline was interesting at first, but then you notice that it's just the exact same story happening over and over again. If you're really interested in the mafia, then don't watch this because you will quickly grow tired of anything that even remotely relates to the mafia after watching The Sopranos.

Yes. I will admit it. I have never seen The Sopranos, until now. But what a great idea to release the series on DVD for all to see. The first 13 episodes of the first season (and as of this writing Season One, Two,Three and Four are available)are all on DVD and the series still continues and can be seen on HBO--Home Box Office. This night time soap opera is about a family who has a gangster as a father, Tony Soprano (played by James Gandolfini, who gained thirty pounds for the role). He tries to talk his mother into going into a retirement community building after she has had some dangerous incidents of her own. Tony's male friends and family are also in the organized crime business. Tony's daughter and 13-year old son do not know what their father does on the side, but are getting suspicious. By the way, Tony owns a bar with strip-girls (and one in-joke strip guy) and he is seeing a female psychiatrist every week to sort out his feelings. Adults Only! Includes violence, nudity and foul language. Disc #4 includes in "Special features", a 77-minute interview with David Chase. Featurette #1, "Family Life" is four minutes long. Featurette #2, "Meet Tony Soprano" runs 3 and a half minutes, Awards and Nominations and Cast Biographies. Note: If you cannot find episode 13 on Disc 4, try this. Go to "Language Selection" and click "resume episode".

Sopranos is a quality show. Just a well-done, unique peek at mob life. Realistic, funny at times, dramatic, and entertaining. The show somewhat waxes and wans as it continues on, but the first season is a masterpiece for sure. Don't hesitate here!

Can't add anything to what has already been said re: this being one of the best musicals ever made, except that this was one of the finest examples of what Mr Kelly had hoped to do with his dancing: use it to help move the story along. In the past, musicals had used songs and dances as mere entertaining sidelines. Mr Kelly sought to create dances which would add to your understanding of the character and help tell the story better. He did this here, as well as in Summer Stock, Thousands Cheer, On the Town and a little known, but very enjoyable Living in a Big Way. He was not only a fabulous dancer and an excellent actor, he was one very intelligent man. I feel lucky to have known him. Even at age 82, he was still handsome, well-built, huggable and with a great mind and a fabulous Irish smile. Thank you Gene!

Who cannot like Singin' in the Rain. It is a musical masterpiece, a love sotry set up against a time of change in movie production. Modern musicals like Moulin Rouge and Chicago have lost the magical touch, they are simply novelties that will die, but Singin' in the Rain will never die. It is purely a classic and should remain untouched and ruined in any way. The story takes place in 1920's, when the "talkie" movies where becoming more and more popular. And, of course, the actors have to look good, right! Well, Don Lockwood, played by Gene Kelly, looks and sounds pretty good, but what about his co-starlette, Lina Lamont. Lina has no talent and her voice sounds like a pull string that was run over by a car. How could the studio use such a bad actress. Fortunately, Don encounters a pretty young lady named Kathy. Kathy has the talent and the perfectly elegant voice that Lina lacks. When the picture the studio is currently working on is turned into a talkie with Lina's bad acting and a ton of terrible sound problems, it is a diaster. Meanwhile, Kathy and Don fall in love and Lina's jealousy is arosed. Kathy, Don, and Cosmo then decide to make the film into a musical with Kathy's voice used to represent Lina's voice. When Lina discovers what is up, she is furious and almost ruins the premier of the new musical. However, there is a happy ending. The music and dancing in this movie is absolutely amazing. The songs are catchy, I sing snatches of them quite often. Gene Kelly and Debbie Reynolds are absolutely perfectly cast in this movie. My mother, my sister, and I all love this musical. Give it a chance, and maybe you may end up singin' in the rain yourself, with your prasies for this musical.

When SINGING IN THE RAIN was released, people were certain it was Oscar material. AN AMERICAN IN PARIS had won the previous year, and certainly this was a more spectacular film. It did not win the Oscar that year. Cecil B. De Mille's THE GREATEST SHOW ON EARTH won the honor. The academy preferred Betty Hutton, Charlton Heston, James Stewart as a clown escaping the police, and the great train wreck scene of this film over the song and dance numbers of Gene Kelley, Debbie Reynolds, and Donald O'Connor. Over the years audiences seem to love this film, which is often considered the greatest Hollywood musical, or at least the greatest MGM musical, and are probably more familiar with it than the Academy Award Winner.

I remember the first time I saw SINGING IN THE RAIN. It was pre-cable, on a rainy Sunday afternoon, when I was in the sixth grade. With nothing better to do, I watched this movie and was mesmerized. Even though I had seen THE WIZARD OF OZ many times, and even got to stay up late and watch THE TEN COMMANDMENTS, I had never seen a movie quite like this one. Though I will have to admit THE SOUND OF MUSIC is my favorite movie musical, SINGING IN THE RAIN got me addicted to film.

The reason this film has lasting value is that it works. We genuinely like the characters so we hope they fall in love. The musical numbers, though not originally written for the film, fit together. The dancing can transport the viewer to another time and place. Though the plot may be simplistic, it is sincere entertainment. We see three great performers, perhaps at their best (though I would argue that Kelley is slightly, but just slightly better in AMERICAN IN PARIS) in a film that could never be duplicated today.

The two disk DVD set has an added bonus of a second disk containing a history of MGM musicals produced by Arthur Freed. This historical piece which includes snippets of other MGM greats such as SHOWBOAT, AN AMERICAN IN PARIS, THE HARVEY GIRLS, THE WIZARD OF OZ, and GIGI is definitely a treat.

I'd heard that this was a very good movie about a misunderstood social outcast with a beautifully gothic appearance, but it exceeded even my wildest expectation. What caught me by surprise was Edward's complete innocence. He's not brooding and angsty. I like that sort of character, but they're rather over-done. The movie has an almost whimsical nature. Things that would be absurd in other types of films (Why does he have scissors instead of something more logical like hooks or droid hands a la Star Wars? What is such an out of place castle doing looming over a hilariously cliche suburb?) instead help to transport you to this world where such innocence, such a pure desire to simply love and be loved, can be embodied in one beautiful young man. And yet that very innocence is also his weakness, as people with intentions less pure can easily exploit his naivete and caring heart.

I think this movie can be best summed up by one of it's taglines: His story will touch you, even though he can't.

This film truly is Tim Burton's master work. Both Johnny Depp and Winona Ryder's performances are award-worthy. This story is heart-breaking and can easily be seen as a universal metaphor for the judgemental and superficial patterns that human relations often follow. Simply because Edward is different, the town's people take advantage of him, betray him, and finally, condemn him. In the middle of all of this is a romance in the style of Romeo and Juliet - that of Kim and Edward. Edward's pure, innocent, almost naive personality is what has made him one of the best-loved movie characters of all time. This film is one of the saddest I've seen, but also one of the best.

its visions are spectacular and wild. its characters are wild and spectacular, well you get my drift. Burton creates the world of Edward around him and inside of him. the story never flaws and Depp captures the feelings and emotions like Edward was a new baby or something. I gotta say Anthony Michael Hall is a prick in this one, seriously, trying to hurt old Edward, bastard. one of Depp's best no doubt.

This movie made me lose faith in humanity. Truly a waste of time for both creator and audience. I found it profoundly distrubing the film was brought from conception in the first place. It's so bad on so many levels...I have trouble just finding words to describe it after much reflection. Please....just avoid it all together.

Empire Records is managed by a man named Joe ( Without a Trace's Anthony LaPaglia ). The store is in danger of being shut down unless he can come up with the money to buy it himself. One of the employees named Lucas ( Rory Cochrane)decides to take the night deposit off to Las Vegas in an attempt to help Joe out. Unfortunately, he loses all the money, and the owner of the store is coming by later the next day to pick up the deposit. The next day proves to be an interesting one as Joe struggles to get the $7,000 bucks back, and we are introduced to all of the different employees. Corey (Liv Tyler)is in love with rock star Rex Manning (Maxwell Caulfield). He is coming to Empire for a signing. She wants to lose her virginity to him. This is upsetting to A.J. (Johnny Whitworth) because he is in love with Corey and must think of a way to convince her that he is the right one. Warren ( Brendan Sexton)is a kid who gets caught shoplifitng, and tries to hit Joe up for a job. The rest of the colorful crew includes an antisocial girl with suicidal tendencies named Debra ( Robin Tunney), a pot head named Mark (Ethan Embry), and a nymphomaniac named Gina ( Renee Zelwigger). But despite their differences, they are forced to come together when they learn that their beloved record store might be shut down for good.

"Empire Records" is without a doubt one of the best movies that I have ever seen. The script is outstanding, and provides for oustanding dialogue and a well rounded story. Anthony LaPaglia, Maxwell Caulfield, Rory Cochrane, Johnny Whitworth, Robin Tunney, Renée Zellweger, Liv Tyler, and Brendan Sexton are all phenomenal. It is impossible to choose a favorite because they all are equally good and bring something to the story. One of the things that I love most about this film, is the fact that it is not ruined by a bad ending. The ending of the film is actually great and it wraps up the film quite effectively. The soundtrack to this film is great. It includes music from the Gin Blossoms, The Cranberries, Better than Ezra, and a lot more.

All I can say is that you should buy this film. The story is outstanding, all of the actors are outstanding, the ending is great, and the music is wonderful. Every aspect of this film comes together to achieve one thing : perfection. This DVD is definately the way to go, because it was released with an extra 16 minutes of unseen footage, as well as 4 additional scenes, and three music videos.

I love this movie! Makes me want to work at a record store!

After three brilliant seasons, this was a lousy followup to the third season, and is often considered the worst season of Buffy. While that title goes hands down to seasons 6 and 7, this one isn't that far behind.

The loss of characters Angel and Cordelia to the Angel spinoff was greatly felt in the beginning of the season. The loss of Oz only a few episodes later didn't help the situation, either. But perhaps the biggest blow to the head was the introduction of Riley, the most unbearable character Buffy has ever had, and a sad choice to replace David Boreanaz's footsteps.

The once brilliant stand alone episodes were starting to lack in quality as witnessed by such horrendous episodes as Beer Bad and Living Conditions. And the transition from high school to college didn't exactly gel over too well, the show working so much better in the high school atmosphere.

And finally, the choice of Frankenstein-esque Adam as the season's villain was a questionable choice indeed, headed up by the melodramatic Professor Walsh.

The charisma of the cast is also missing this year as characters begin to drift apart and spend less screen time together.

But the set is almost worth owning for episodes such as Hush and Restless alone.

So should you buy this? If you loved the first 3 seasons, sure, but be aware this is a big change in pace for the show and the turning point for what was to come later. After 2 brilliant seasons, this was a lackluster followup that didn't quite live up to what had come before.

Of course, some episodes are worth buying the set on their own, but be warned of the majority of stinkers.

Most of the original cast is gone starting this season. James Marsters (Spike) returns for good and looks better than ever. Just have to say James turned 41 a few months ago.

The forth season of Buffy the Vampire Slayer was the seaosn before the show took a new direction. It was the season where it got a breath of fresh air (not being in high school anymore) and the characters became so much more.

Buffy in college at UC Sunmnydale. The government involvement. Willow realizing she's a lesbian. Xander and Anya dateing. Rylie entering Buffy's life. And "Hush" and "Restless" in the same season. All that equals out to one amazing season.

The characters grew up in this season, a season of a change in the winds.

I really want to talk about one episode in particular, "Restless." "Restless" is the seasons finalie. It was the one episode that changed everything. It told of what was to come in the next three seasons and it named Buffy's little sister, Dawn. It's probably one of the finest hours on televison to ever air.

Based on a true story that unfolded behind-the-scenes on the CBS tv series "60 Minutes", Russell Crowe (L.A. Confidential) plays a scientist, Dr. Wigand, now a teacher, who use to work for a tobacco company. The producer, Lowell Bergman (Al Pacino) wants him to do an interview for 60 Minutes, however Dr. Wigand life ends up in danger. Someone is stalking him around the new house and sends a threat to kill by email. Christopher Plummer plays "Mike Wallace". Lidsay Crouse (All The President's Men [1976], Places In The Heart [1984]) also has a role. Russell Crowe gained 30 pounds for the role and was nominated for an Academy Award. Christopher Plummer was also nominated. The next year Crowe got back in perfect shape for the film "Gladiator" (2000) and won the Academy Award for Best performance by An Actor. Then the next year, he was nominated again for an Academy award for "A Beautiful Mind" (2001). Many people thought he should have won for outstanding performance by an actor for A Beautiful Mind. I'm sure Russell Crowe will be nominated again for an Academy Award in the future, perhaps sooner. He is considered the most modern, versitile and talented actor of our time. DVD includes a seven-minute production featurette, go inside a scene, read notes to actors, read the script, view the scene, and rated "R" theatrical trailer. Thanks for filming in Louisville, Kentucky and the Seelbach Hotel.

Based on a true story, The Insider chronicles the personal and professional trials of Jeffrey Wigand, a top scientist and tobacco industry insider possessing knowledge that, if made public, would devastate "big tobacco." He's a family man with a wife and two young girls. He's also unemployed thanks to a sudden and unceremonious dismissal by cigarette maker Brown & Williamson. That's when he meets Lowell Bergman. Chasing information for an unrelated story, the 60 Minutes producer contacts Wigand for his technical expertise. The more Bergman chats with Wigand, the more he senses the doctor carefully sidestepping an even bigger story. Will Wigand speak up and violate the confidentiality agreement he signed with Brown & Williamson? How far will that corporate empire go to protect its interests?

Wigand, already suffocating beneath the weight of his awesome secret, is pushed to the limit when his former employer questions his integrity and threatens his family. Bitterness, anger and a concern for the public welfare lead Wigand to tell his story in court and as a taped television interview, both exposing the tobacco industry's deliberate manipulation of nicotine. Wigand risks his family, his reputation, lawsuits and possible jail time to release this information. But before the segment can air on 60 Minutes, CBS gets cold feet. The insider is hung out to dry. Fortunately, Bergman refuses to accept defeat. He works the system in a desperate attempt to get the truth out, fighting as much for journalistic freedom as for public safety and his new friend.
The Insider is a methodical drama about moral imperatives. No car chases. No sleazy sex scenes. It follows flawed, yet principled people as they strive to do what they believe is right, regardless of the consequences. Outstanding performances by Crowe and Pacino--ranging from explosive passion to brooding introspection--support the rest of this riveting "man against the system" story. In fact, the duo battle two greedy behemoths. The first is a multibillion-dollar tobacco industry. The second is CBS, a multibillion-dollar media conglomerate more concerned about a pending merger than in airing the most important public-health story in recent history. Unfortunately, those worthwhile character studies and history lessons are shrouded in obscenities that linger like a cloud of second-hand smoke. It's toxic and it stinks. Stay out of the theater. Resist the temptation to rent this movie on home video. Rather, wait for The Insider to air on prime-time television and pray the networks filter out the inappropriate language.

Michael Mann's The Insider is one of the most important films made since the 1970s. It is a superb dissection of the corporate amorality that is rampant in America and is a seminal film in that it shows the collaboration of the media with the corporate state.

Russell Crowe is outstanding as the tobacco company executive turned whistle blower who is betrayed by the powers that be in the media world. Al Pacino is at his best (and least hammiest) as the 60 Minutes producer who tries to break Crowe's story. (Christopher Plummer also is fine as 60 Minutes correspondent Mike Wallace.)

Mann has a through understanding of the paradoxes of the modern capitalist society. 60 Minutes will not run the story of the whistle blower due to its fiduciary responsibility to its own stock holders since it cannot do anything negative that will adversely affect its own financial portfolio and hurt the investment position of its own corporate officers. The only morality, ultimately, is money. This is a world far removed from the Hardy Boys ethos of All the President's Men.

An important film with a great performance by one of the outstanding new talents of the cinema.