This sequel involves an action packed battle with a Chinese ganglord.

In the fourth and reportedly final film of the Lethal Weapon series, director Richard Donner reunites with Mel Gibson and Danny Glover, who reprise their roles as Martin Riggs and Roger Murtaugh for one last hurrah in a film that is decidedly better than the third and first chapters. This time the pair are pitted against Jet Li, who plays the leader of a Chinese organized crime unit. Li, a veteran of hundreds of Hong Kong action films, more than holds his own against the more established team of Gibson, Glover, Renee Russo, and Joe Pesci with his subtle yet strong portrayal of the quietly irrepressible Wah Sing Ku. As always with the Lethal series, the plot is incredibly simple to follow: someone steals something, someone gets killed, and Murtaugh is reluctantly thrown into the mix while Riggs dives into the case with gleeful aplomb. As with the previous movies, we watch for the sheer action and chemistry alone. The action sequences throughout the fourth installment are exquisite, from the opening scene involving a flamethrower, a burning building, and a half-naked Murtaugh strutting like a chicken (don’t ask, just watch), to the climactic showdown that pays genuine tribute to Jet Li’s masterful martial art skills. As for chemistry, the bond between these characters is so strong by now that you sometimes feel like you’re watching a TV series in its sixth season, such is the warm familiarity between the audience and the personalities on the screen. The humor is more fluid than ever, aided immeasurably by the casting of comedian Chris Rock, who like Li does a great job of making his presence known in some memorable verbal tirades that would bring a smile out of the Farrelly brothers. But it’s the verbal and emotional jousting between Glover and Gibson that makes this fourth episode especially appealing; both are in peak form with great physical and verbal timing. One can only hope that if this is indeed the last of the Lethal films, that it won’t be the last time we see Glover and Gibson together on screen. –Jeremy Storey

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Sudden Impact is Eastwood s fourth Dirty Harry film. Released in 1983, follows Inspector Callahan (Eastwood) as he s shipped to San Paulo, a small town down the coast to investigate a murder. The killer is Jennifer Spencer (Sondra Locke) who out for revenge is murdering all the rapists that gang-raped her and her little sister 10 years ago. During his investigations, Callahan becomes entangled in Jennifer s own troubles – all the while never suspecting that she s the killer.

Special Features New Commentary by renowned film critic Richard Schickel — Author and longtime Eastwood associate Schickel uncovers layers of meaning in this, the only Dirty Harry film directed by Eastwood himself New Featurette The Evolution of Clint Eastwood — An examination of the film in the context of Eastwood s broader career as a director. Trailer Gallery

The fourth Dirty Harry film is a complete embarrassment to memories of the stunning Don Siegel movie that started the franchise. Gratuitous and somehow sleazy, this cop flick finds Eastwood’s Harry Callahan searching for a female serial killer (Sondra Locke) who happens to be a vengeful rape victim ridding the world of guys who can’t take “no” for an answer. The whole silly Callahan myth–the way he’ll just stand in the shadows with his big gun until the bad guys realize they’re going to die–almost makes one wonder how Eastwood survived this junk to become an A-list director in his winter years. Best known for the line “Go ahead, make my day.” –Tom Keogh

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Get ready to fall in love with the year’s wittiest romantic comedy! Can two high-powered divorce attorneys make it as man and wife? Find out with the romance that proves that love always gets the last word.

DVD Features:
Deleted Scenes
Theatrical Trailer:2 Original Theatrical Trailers

Julianne Moore and Pierce Brosnan turn on the movie-star twinkle in Laws of Attraction. They’re both divorce lawyers whose in-court conflicts give rise to sparks of an entirely different nature–and while they’re in Ireland, trying to determine whether the husband or wife in a rock-star divorce deserves to keep a swank castle, they “accidentally” get married. Back in New York, they agree to keep up the pretence of marriage, lest a quickie divorce make them the laughingstocks of the legal community. Few comedies are as outright clumsy as Laws of Attraction; the plot falls apart even as you’re watching it, the dialogue stumbles, the direction is graceless. Somehow Moore (Far From Heaven, The Hours) and Brosnan (Tomorrow Never Dies) sustain their charm–but if you’re looking for a comedy about divorce, Intolerable Cruelty or the classic Adam’s Rib provide a lot more fun. –Bret Fetzer

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1960 Academy Award Winner and winner of the Palme d’Or at the 1959 Cannes Film Festival, Marcel Camus’ Black Orpheus retells the Greek myth of Orpheus and Eurydice against the madness of Carnival in Rio de Janeiro. With its magnificent color photography and lively soundtrack, this film brought the infectious bossa nova beat to the United States. Criterion is proud to present the extended international version of Black Orpheus in a gorgeous new transfer.

Marcel Camus’s 1959 update of the Greek myth features an all-black cast and a story set in the frenetic energy of Carnival in Rio de Janeiro. Orpheus, a trolley car conductor and superb samba dancer, is engaged to Mira but in love with Eurydice. For his change of heart, Orpheus and his new doomed lover are pursued by a vengeful Mira and a determined Death through the feverish Carnival night. Camus at once demystifies and remystifies the old story, shifting not only its location but its tone and context, forcing a reevaluation of the legend as a more passionate, pulsing, sensual experience. The film is really one-of-a-kind, an absolute whirl that barely needs words. –Tom Keogh

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Moribito: Guardian of The Spirit Two Pack is available at Amazon for $31.49. To Order click here
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1:18 Dodge Challenger Concept is available at Amazon for $37.15. To Order click here
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Top Chef The Cookbook is available at Amazon for $19.77. To Order click here
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The story of the first major battle of the american phase of the vietnam war and the soldiers on both sides that fought it. Studio: Paramount Home Video Release Date: 08/22/2006 Starring: Mel Gibson Greg Kinnear Run time: 138 minutes Rating: R Director: Randall Wallace

Based on the book by Lt. Col. Harold Moore (ret.) and journalist Joseph Galloway, We Were Soldiers offers a dignified reminder that the Vietnam War yielded its own crop of American heroes. Departing from Hollywood’s typically cynical treatment of the war, writer-director Randall Wallace focuses on the first engagement of American soldiers with the North Vietnamese enemy in November 1965. Moore (played with colorful nuance by Mel Gibson) and nearly 400 inexperienced troopers from the U.S. Air Cavalry were surrounded by 2,000 North Vietnamese Army soldiers, and the film re-creates this brutal firefight with graphic authenticity, while telling the parallel story of grieving army wives back home. While UPI reporter Galloway (Barry Pepper) risks his life to chronicle the battle, Wallace offers a balanced (though somewhat fictionalized) perspective while eliciting laudable performances from an excellent cast. Like the best World War II dramas of the 1940s, We Were Soldiers pays tribute to brave men while avoiding the pitfalls of propaganda. –Jeff Shannon

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Sean Connery is back for his final performance as superagent James Bond in this high-velocity action thriller from the director of The Empire Strikes Back. When two atomic warheads are hijacked by the evil SPECTRE organization, Agent 007 is hurled into an explosive, pulse-pounding race to save the world from nuclear terrorists!

After years of enduring Roger Moore in the role of James Bond, it was good to have Sean Connery back in this 1983 film for a one-time-only trip down 007′s memory lane. Connery’s Bond, a bit of a dinosaur in the British secret service at (then) 52, is still in demand during times of crisis. Sadly, the film is not very good. In this rehash of Thunderball, Bond is pitted against a worthy underwater villain (Klaus Maria Brandauer); and while the requisite Bond Girls include beauties Kim Basinger and Barbara Carrera, they can’t save the movie. The script has several truly dumb passages, among them a (gasp) video-game duel between 007 and his nemesis that now looks utterly anachronistic. For Connery fans, however, this widescreen print of the Irvin Kershner (The Empire Strikes Back) film is a chance to say a final goodbye to a perfect marriage of actor and character. –Tom Keogh

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