Beerfest (Unrated Widescreen Edition)

• After a humiliating false start in Germany's super-secret underground beer competition, America's unlikely team vows to risk life, limb and liver to dominate the ultimate chug-a-lug championship. The laughs are on the haus!Running Time: 116 min. Format: DVD MOVIE Genre: COMEDY Rating: NR Age: 085391102076 UPC: 085391102076 Manufacturer No: 110207

After a humiliating false start in Germany's super-secret underground beer competition, America's unlikely team vows to risk life, limb and liver to dominate the ultimate chug-a-lug championship. The laughs are on the haus!

DVD Features:
Audio Commentary
Deleted Scenes
Featurette
Interviews
Other

While it didn't quite spark a trend in chug-a-lug brew comedies, Beerfest is the kind of zany time-killer that's a lot funnier if you're within reach of a six-pack and Doritos. In ! other words, this is yet another low-brow laff-a-thon from the Broken Lizard gang (Super Troopers) that's likely to draw a bigger audience on DVD than it did in theaters, especially since there's a lot of duds (and flat suds) to sit through while waiting for the next big beer-belly-laugh. It's the kind of movie that thinks masturbating frogs are funny (OK, you decide), while serving up a gang of guzzling Americans (the aforementioned Broken Lizard troupe, who also write this stuff with director Jay Chandrasekhar) who compete in an epic beer-drinking contest against the nefarious German challenger Baron Wolfgang Von Wolfhausen (played by German actor Jurgen Prochnow, whose starring role in Das Boot inspires one of this movie's better jokes). When it's not trying to top itself in terms of sheer stupidity and juvenile humor, Beerfest satisfies its target audience (basically, frat-rats and party animals) with some gratuitously bare-breasted babes, rampant consumpt! ion of alcohol, and the welcomed appearance of Cloris Leachman! , who so rt-of reprises her "Frau Blucher" persona from Young Frankenstein. So basically what you've got here is a dim-witted but energetic comedy called Beerfest that delivers exactly what you'd expect from a movie with that title. Who says truth in advertising is dead? --Jeff Shannon

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Torque (Widescreen Edition)

• High-Speed Action Adventure. Biker Cary Ford (Martin Henderson) returns to his hometown to reunite with his girlfriend (Monet Mazur). Once home, Ford is framed for a murder he didn't commit, targeted for revenge by the victim's brother (Ice Cube) and pursued by the FBI as he tries to clear his name and outrace his enemies.Running Time: 84 min. Format: DVD MOVIE Genre: ACTION/ADVENTURE

Studio: Paramount Home Video Release Date: 02/14/2006 Run time: 111 minutes Rating: RWhen it's revved up to maximum rpm's, Biker Boyz qualifies as an adequate knockoff of The Fast and the Furious. Both films were inspired by magazine articles about speed-freak outlaws on the streets of California, only this time the nitrous-enhanced "rice rockets" are of the two-wheeled variety, and Smoke (Laurence Fishburne) is the reigning "King of Cali," leading a predominantly African American subculture th! at schedules illegal motorcycle races with high stakes and potentially lethal outcomes. Kid (Derek Luke, the promising newcomer from Antwone Fisher) is the latest challenger, facing off against Dogg (Kid Rock) and others before coming to terms with his own familial destiny. Following his incisive HBO debut, Dancing in September, director Reggie Rock Bythewood approached Biker Boyz as a modern Western, but it's really just a strutter's ball with polished chrome and tailpipes. Meagan Good, Lisa Bonet, and Vanessa Bell Calloway provide sexy feminine wisdom, badly needed in a movie that's all flash and precious little substance. --Jeff Shannon Studio: Paramount Home Video Release Date: 02/14/2006 Run time: 111 minutes Rating: RWhen it's revved up to maximum rpm's, Biker Boyz qualifies as an adequate knockoff of The Fast and the Furious. Both films were inspired by magazine articles about speed-freak outlaws on the streets of Californ! ia, only this time the nitrous-enhanced "rice rockets" are of ! the two- wheeled variety, and Smoke (Laurence Fishburne) is the reigning "King of Cali," leading a predominantly African American subculture that schedules illegal motorcycle races with high stakes and potentially lethal outcomes. Kid (Derek Luke, the promising newcomer from Antwone Fisher) is the latest challenger, facing off against Dogg (Kid Rock) and others before coming to terms with his own familial destiny. Following his incisive HBO debut, Dancing in September, director Reggie Rock Bythewood approached Biker Boyz as a modern Western, but it's really just a strutter's ball with polished chrome and tailpipes. Meagan Good, Lisa Bonet, and Vanessa Bell Calloway provide sexy feminine wisdom, badly needed in a movie that's all flash and precious little substance. --Jeff Shannon High-Speed Action Adventure. Biker Cary Ford (Martin Henderson) returns to his hometown to reunite with his girlfriend (Monet Mazur). Once home, Ford is framed for a murder he did! n't commit, targeted for revenge by the victim's brother (Ice Cube) and pursued by the FBI as he tries to clear his name and outrace his enemies.A lot has changed in the biker-movie genre since Hell's Angels on Wheels, and Torque may be the new benchmark of feverish chopper action. Martin Henderson plays Cary, a speed king and relatively civilized outlaw with a knack for annoying everyone, including drug smugglers, the FBI, an ex-girlfriend, and, worst of all, biker gang leader Trey (Ice Cube), who thinks Cary killed his brother. On the run from everyone, Cary survives by playing all sides against one another. But the story is less important than the frantic, over-the-top, tongue-in-cheek action surrounding it. The Fast and the Furious producer Neal H. Moritz is responsible for this crazy, violent, yet appealingly sardonic cowboys-on-wheels piece. --Tom Keogh

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I Sell the Dead

• I SELL THE DEAD (DVD MOVIE)

Ein! Zwei! Die!
Get ready for the film that shocked Sundance, rocked Europe and knocked American horror fans out of their seats: When a group of medical students take a sex-and-booze-fueled ski vacation to a remote cabin in the Norwegian Alps, they uncover a dark secret from WWII that resurrects a battalion of uncontrollable, unstoppable and extremely undead Nazis. What follows is a blitzkrieg of bloodshed, body parts and action-packed zombie carnage that The New York Observer hails as relentless thrills, unimaginable horrors and a shock ending guaranteed to make you scream out loud! Writer/director Tommy Wirkola spares no amount of flesh-chomping, intestine-ripping, and chainsaw-slicing to deliver perhaps the finest Nazi Zombie movie of our time and one of the most ferocious, outrageous and over-the-top horror hits of the year!Let us begin with two words: "Nazi! zombies." Let us add two more: "Hitler's gold." Yes, it's true. These are the elements of Dead Snow, a Norwegian horror picture that unleashes an undead blitzkrieg across an otherwise inviting winter landscape. The five vacationing med students who have blundered into this backcountry in search of fun have no idea that their actions will draw the attention of the aforesaid zombies of the Third Reich (what these reanimated corpses are doing in the mountains of Norway will be explained in good time). It would be nice to report that Dead Snow lives up to the outrageousness of its concept, but far too much of this thing is taken up with standard-issue slasher tropes: self-conscious dialogue about the plot's resemblance to an Evil Dead scenario, gross-out moments for their own sake (a sequence in an outhouse is especially regrettable), and decidedly uneven acting. The movie earns a few points for a grabby nighttime opening sequence and its unhealthy devotio! n to the art of entrails stretching (which, when it comes to p! eople ha nging off snowy cliffs, can have practical applications you probably never even thought about). The enthusiastic mayhem can't be denied, so if a sheer body count is your yardstick, Dead Snow comes across. But given the proximity of Nazi gold and the possibilities suggested by Hitler's minions returning from their snowy graves, this movie disappoints. --Robert HortonEin! Zwei! Die!
Get ready for the film that shocked Sundance, rocked Europe and knocked American horror fans out of their seats: When a group of medical students take a sex-and-booze-fueled ski vacation to a remote cabin in the Norwegian Alps, they uncover a dark secret from WWII that resurrects a battalion of uncontrollable, unstoppable and extremely undead Nazis. What follows is a blitzkrieg of bloodshed, body parts and action-packed zombie carnage that The New York Observer hails as relentless thrills, unimaginable horrors and a shock ending guaranteed to make you scream out loud! Writer/direct! or Tommy Wirkola spares no amount of flesh-chomping, intestine-ripping, and chainsaw-slicing to deliver perhaps the finest Nazi Zombie movie of our time and one of the most ferocious, outrageous and over-the-top horror hits of the year!Let us begin with two words: "Nazi zombies." Let us add two more: "Hitler's gold." Yes, it's true. These are the elements of Dead Snow, a Norwegian horror picture that unleashes an undead blitzkrieg across an otherwise inviting winter landscape. The five vacationing med students who have blundered into this backcountry in search of fun have no idea that their actions will draw the attention of the aforesaid zombies of the Third Reich (what these reanimated corpses are doing in the mountains of Norway will be explained in good time). It would be nice to report that Dead Snow lives up to the outrageousness of its concept, but far too much of this thing is taken up with standard-issue slasher tropes: self-conscious dialogue about t! he plot's resemblance to an Evil Dead scenario, gross-o! ut momen ts for their own sake (a sequence in an outhouse is especially regrettable), and decidedly uneven acting. The movie earns a few points for a grabby nighttime opening sequence and its unhealthy devotion to the art of entrails stretching (which, when it comes to people hanging off snowy cliffs, can have practical applications you probably never even thought about). The enthusiastic mayhem can't be denied, so if a sheer body count is your yardstick, Dead Snow comes across. But given the proximity of Nazi gold and the possibilities suggested by Hitler's minions returning from their snowy graves, this movie disappoints. --Robert HortonNever Trust A Corpse
It was a time of ghouls, ghosts and most ghastly of all, the fine art of grave robbing. Dominic Monaghan of LORD OF THE RINGS and LOST stars as 19th century corpse snatcher Arthur Blake, who pilfered the cemeteries and coffins of England until his capture by police. But just before Blake is to meet the hangman s! noose, he will confess to a peculiar priest (Ron Perlman of HELLBOY and SONS OF ANARCHY) his gruesome tale of vampires, zombies and cadaver dealing that takes him from the savagery of the criminal underworld to the terrors of the undead. Producer Larry Fessenden (WENDIGO, THE LAST WINTER) and Angus Scrimm (PHANTASM) co-star in this deliriously grisly and hilarious homage to foggy graveyards, bloody mayhem and the golden age gothic horror.

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Heckler

• Heckler, a comedy-documentary that explores the increasingly critical world we live in, follows Jamie Kennedy as he investigates hecklers and the entertainers who endure them: Russell Peters, Lewis Black, Craig Ferguson, Bill Maher, Paul Rodriguez, Roseanne Barr, and more. A fast-moving, "hilarious claws-out look at the often brutal relationship between performers and their most vocal critics" (VA

Heckler, a comedy-documentary that explores the increasingly critical world we live in, follows Jamie Kennedy as he investigates hecklers and the entertainers who endure them: Russell Peters, Lewis Black, Craig Ferguson, Bill Maher, Paul Rodriguez, Roseanne Barr, and more. A fast-moving, "hilarious...claws-out look at the often brutal relationship between performers and their most vocal critics" (VARIETY), Heckler shows just how nasty and mean the fight is between ! those in the spotlight...and those in the dark.

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Double Take

• Outrageously funny and charged with explosive action, hot young comedy stars Eddie Griffin (Deuce Bigalow: Male Gigolo) and Orlando Jones (The Replacements) team up for a fast-paced adventure in the tradition of Blue Streak and Rush Hour. Framed in a multimillion-dollar money-laundering scheme, upstanding investment banker Daryl Chase (Jones) suddenly finds himself running from the FBI -- and swap

Outrageously funny and charged with explosive action, hot young comedy stars Eddie Griffin (DEUCE BIGALOW: MALE GIGOLO) and Orlando Jones (THE REPLACEMENTS) team up for a fast-paced adventure in the tradition of BLUE STREAK and RUSH HOUR. Framed in a multimillion-dollar money-laundering scheme, upstanding investement banker Daryl Chase (Jones) suddenly finds himself running from the FBI -- and swapping identities with loudmouthed, low-life petty thief Freddy Tiffany (Griffin). Then, as he dashes for! the Mexican border in search of the one man who can clear his name, Daryl discovers his new alias is even more wanted than he is. With hilarious performances and nonstop excitement at every turn, buckle up for a riotous road trip as this wildly mismatched pair deliver the laughs in double time!For reasons that are still fuzzy even by the time final credits roll for Double Take, Wall Street hotshot Daryl Chase (Orlando Jones), framed for both financial wrongdoings and murder, heads to Mexico after exchanging identities with fast-talking Freddie (Eddie Griffin), who is either the key to his freedom or the engineer of his demise. The incomprehensible and supposedly madcap twists and turns that follow make mindless buddy flicks like Rush Hour seem giants of brainy plotting in comparison. The film even features one of those unintentionally hysterical moments in which the villain stops to explain the entire charade to characters who supposedly already know what's g! oing on--and it still doesn't make any sense. None of ! this wou ld matter, of course, if everything was propelled by some sort of internal screwball logic that had it playfully bouncing over its plot holes. But writer-director George Gallo can't streamline his potential assets--Jones's suave likeability and Griffin's take-no-prisoners crassness--into something that moves. Some of the throwaway comic asides work ("You keep campaigning for this ass-whuppin', you gonna get elected"), but every single one of the extended bits is painfully strained and overdone. Griffin, in particular, becomes desperately obnoxious, and saddling him with clumsy comments on race and social status in a comedy that is ultimately about neither doesn't help. Try 48 Hours instead. --Steve Wiecking

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Thrilla in Manila

• Officially Licensed
• Highest Quality Recording

Studio: Lions Gate Home Ent. Release Date: 12/29/2009 Run time: 100 minutes Rating: RHe rocked the sport, shook the world, and changed their lives. Now, several decades after they met in the ring, ten of the sport's finest fighters tell what it was like to battle Muhammad Ali, the man many consider the best boxer ever. This brutally honest documentary recounts Ali's incomparable journey as seen through the eyes of those who stepped through the ropes and into history. Join these respected fighters as they weigh in on "The Greatest" and pay tribute to a living legend in this powerful and unforgettable film.

WHEN WE WERE KINGS - DVD MovieDecades ago, documentary filmmaker Leon Gast attempted to complete a feature about the 1974 "Rumble in the Jungle" championship bout between boxers Muhammad Ali and George Foreman in Kinshasa, Zaire. Sundry complications, though, held up the project until its release in 1996. It was well worth the delay. From Gast's per! spective of modern history, the six weeks Ali and Foreman were! forced to spend waiting in Africa for their fight to take place now looks like an important moment in America's cultural understanding of African American roots. In a nutshell, Ali had been stripped of his heavyweight champion title because his opposition to the Vietnam War-era draft had landed him in prison. Reigning champ Foreman agreed to a Don King-promoted match in Kinshasa, but after all parties got there the fight was put off. Gast captures the charismatic Ali, in the ensuing days and weeks, going out among the people and getting to know them while the more reclusive Foreman keeps to his own company. Meanwhile, King brings over black American artists such as James Brown and the Spinners to mix it up with African musicians. The sense of excitement and connection is thrilling, as is the boxing footage of Foreman and Ali finally taking swings at one another in a titanic duel. Writers George Plimpton and Norman Mailer, each of whom was covering the fight as journalists, are on h! and to recollect the details. Whether you're a fight fan or not, this is a unique experience and a fascinating insight into America's sense of identity. --Tom Keogh 'Smokin' Joe Frazier and Muhammad Ali fought three times, but it was their third and final epic encounter in the searing heat of the Philippines on October 1, 1975, that cemented
their rivalry and ended so dramatically that it continues to
provoke controversy. Combined with electrifying archival footage and exclusive interviews, Thrilla in Manila is Joe Frazier's story an absorbing, sad account of bitterness, religion, politics and racism, conveying both the depths of their rivalry as well as the explosive racial politics in America at the time. The pair had once been friends, with Frazier supporting Ali
when he was stripped of his boxing license for refusing to fight in Vietnam. But once Ali was back in the ring, their friendship soon turned into a vicious feud: Ali accused Frazier
of being a! traitor to his people and went from an anti-war and civil rig! hts lead er to an opportunist and narcissist willing to do anything to promote himself in the spotlight.

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Harvard Beats Yale 29-29

• Harvard Stadium November 23, 1968. With Vietnam raging, Nixon in theWhite House, and issues from civil rights to women's lib dividing thecountry, Harvard and Yale, both teams undefeated for the first time since1909, meet for the annual climax of the Ivy League football season. On theblue-blooded Yale campus, gridiron fever has made local celebrities out of aYale team led by quarterback Brian Dowli

An incredible true story that unfolds like a ripping good yarn... With an uproarious, impossible Hollywood ending (Andrew O Hehir, Salon.com), Harvard Beats Yale 29-29 is filmmaker Kevin Rafferty s (The Atomic Cafe) acclaimed documentary depicting one of the most legendary games in the history of sports. Harvard Stadium November 23, 1968. With Vietnam raging, Nixon in the White House, and issues from civil rights to women's lib dividing the country, Harvard and Yale, both teams undefeated for the fi! rst time since 1909, meet for the annual climax of the Ivy League football season. On the blue-blooded Yale campus, gridiron fever has made local celebrities out of a Yale team led by quarterback Brian Dowling, who hadn t lost a game that he finished since the 7th grade, and who was the role model for Doonesbury s B.D. At civil unrest scarred Harvard, a melting pot team of working class players, antiwar activists, and a decorated Vietnam vet set aside their differences for the Big Game. Together, Yale and Harvard stage an unforgettable football contest that baffled even their own coaches. Using vintage game footage and bracingly honest contemporary interviews with the players from both sides, including Harvard lineman and future Oscar® winner Tommy Lee Jones (No Country for Old Men), Rafferty crafts an alternately suspenseful, hilarious, and poignant portrait of American lives, American sports, and American ideals both tested on the playing field and transformed by turbule! nt times.

Special Features:
- Bonus Interviews (73 m! in.) Add itional interview excerpts not included in the film, the players provide a deeper look at the season, the game, and its aftermath.
- Theatrical Trailer

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The Man with No Name Trilogy (A Fistful of Dollars / For a Few Dollars More / The Good, The Bad, and the Ugly) [Blu-ray]

• Condition: New
• Format: Blu-ray
• AC-3; Box set; Color; Dolby; DTS Surround Sound; Dubbed; Full Screen; Restored; Subtitled; Widescree

Sergio Leone “spaghetti westerns” did not simply add a new chapter to the genre…they reinvented it. From his shockingly violent and stylized breakthrough, A Fistful of Dollars, to the film Quentin Tarantino calls “the best-directed movie of all time,” The Good, the Bad and the Ugly, Leone’s vision did for westerns what talkies did for all movies back in the 1920s: it elevated them to an entirely new art form. Fully restored, presented in high definition with their best-ever audio, and including audio commentaries, featurettes and more, these films are much more than the definitive Leone collection...they are the most ambitious and influential westerns ever made.

A Fistfull Of Dollars
Clint Eastwood’s legendary “M! an With No Name” makes his powerful debut in this thrilling, action-packed classic in which he manipulates two rival bands of smugglers and sets in motion a plan to destroy both in a series of brilliantly orchestrated setups, showdowns and deadly confrontations.

For A Few Dollars More
Oscar® Winner Clint Eastwood** continues his trademark role in this second installment of the trilogy, this time squaring off with Indio, the territory’s most treacherous bandit. But his ruthless rival, Colonel Mortimer (Lee Van Cleef, High Noon), is determined to bring Indio in first...dead or alive!

The Good, The Bad And The Ugly
The invincible “Man With No Name” (Eastwood) aligns himself with two gunslingers (Lee Van Cleef and Eli Wallach) to pursue a fortune in stolen gold. But teamwork doesn’t come naturally to such strong-willed outlaws, and they soon discover that their greatest challenge may be to stay focused â€" and stay alive â€" in a! country ravaged by war.Review for A Fistful of Do! llars:
A Fistful of Dollars launched the spaghetti Western and catapulted Clint Eastwood to stardom. Based on Akira Kurosawa's 1961 samurai picture Yojimbo, it scored a resounding success (in Italy in 1964 and the U.S. in 1967), as did its sequels, For a Few Dollars More and The Good, the Bad and the Ugly. The advertising campaign promoted Eastwood's character--laconic, amoral, dangerous--as the Man with No Name (though in the film he's clearly referred to as Joe), and audiences loved the movie's refreshing new take on the Western genre. Gone are the pieties about making the streets safe for women and children. Instead it's every man for himself. Striking, too, was a new emphasis on violence, with stylized, almost balletic gunfights and baroque touches such as Eastwood's armored breastplate. The Dollars films had a marked influence on the Hollywood Western--for example, Sam Peckinpah's The Wild Bunch--but their most enduring legacy is Clint Eastwood himse! lf. --Edward Buscombe

Review for The Good, the Bad, and the Ugly:
If you think of A Fistful of Dollars and For a Few Dollars More as the tasty appetizers in Sergio Leone's celebrated "Dollars" trilogy of Italian "Spaghetti" Westerns, then The Good, the Bad, and the Ugly is a lavish full-course feast. Readily identified by the popular themes of its innovative score by Ennio Morricone (one of the bestselling soundtracks of all time), this cinematic milestone eclipsed its influential predecessors with a $1.2 million budget (considered extravagant in the mid-1960s), greater production values to accommodate Leone's epic vision of greed and betrayal, and a three-hour running time for its wide-ranging plot about the titular trio of mercenaries ("Good" Blondie played by rising star Clint Eastwood, "Bad" Angel Eyes played by Lee Van Cleef, and "Ugly" Tuco played by Eli Wallach) in a ruthless Civil War-era! quest for $200,000 worth of buried Confederate gold. Virtuall! y all of Leone's stylistic attributes can be found here in full fruition, from the constant inclusion of Roman Catholic iconography to a climactic circular shoot-out, along with Leone's trademark use of surreal landscapes, brilliant widescreen compositions and extreme close-ups of actors so intimate that they burn into the viewer's memory. And while some Leone fans may favor the more scaled-down action of For a Few Dollars More or the masterful grandiosity of Once Upon a Time in the West, it was The Good, the Bad, and the Ugly that cemented Leone's reputation as a world-class director with a singular vision. --Jeff Shannon

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