Eastern Promises (Widescreen Edition)

David Cronenberg's signature obsessions flower in Eastern Promises, a stunning look at violence, responsibility, and skin. Near Christmastime in London, a baby is born to a teenage junkie--an event that leads a midwife (Naomi Watts) into the world of the Russian mob. Central to this world is an ambitious enforcer (Viggo Mortensen) who's lately buddied up with the reckless son (Vincent Cassel) of a mob boss (Armin Mueller-Stahl, doing his benign-sinister thing). Screenwriter Steve Knight also wrote Dirty Pretty Things, and in some ways this is a companion piece to that film, though utterly different in style. The plot is classical to the point of being familiar, but Cronenberg doesn't allow anything to become sentimental; he and his peerless cinematographer Peter Suschitzky take a cool, controlled approach to this story. Because of that, when the movie erupts in its (relatively brief) violence, it's genuinely shocking. Cronenberg really puts the viewer through it, as though to shame the easy purveyors of pulp violence--nobody will cheer when the blood runs in this film. Still, Eastern Promises has a furtive humor, nicely conveyed in Viggo Mortensen's highly original performance. Covered in tattoos, his body a scroll depicting his personal history of violence, Mortensen conveys a subtle blend of resolve and lost-ness. He's a true, haunting mystery man. --Robert Horton

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American Gangster (2-Disc Unrated Extended Edition)

Ridley Scott puts on his "sweeping saga" gameface again, this time not for the sci-fi vistas of Blade Runner or the ancient world of Gladiator but for an urban epic. American Gangster gives the story of Frank Lucas (Denzel Washington), a real-life Harlem crime lord who built an empire on Southeast Asian heroin in the 1970s. Running parallel to Lucas's somewhat standard story is the investigation led by a persistent New Jersey cop, Richie Roberts (Russell Crowe). Roberts is a more interesting character than Lucas--too honest for his own good, unlucky in his personal life--and this kind of character, easily patronized by others, fits Crowe like a polyester shirt. Scott's tendency to hit his points square on the noggin is much in evidence here, including the typecasting of the supporting roles and the predictable Serpico atmosphere of the whole thing. (And speaking of supporting actors, the film needs more Chiwetel Ejiofor, whose role as a Lucas sidekick feels cut down.) It succeeds as a kind of chewy entertainment, fueled by the presence of two big stars working their muscles. Both Washington and Crowe look pretty brawny here. --Robert Horton

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Election

Every two years the senior members of the Wo Shing Triad, the oldest gang in Hong Kong, elect an up-and-coming younger boss as their chairman. The two candidates they are voting on couldn’t be farther apart in personality; Lok (Simon Yam) is a levelheaded businessman and Big D (Tony Leung Ka-Fai) is a loud, obnoxious, violent criminal. When the voting does not go how some people would have liked, lines are divided and a gang war begins to form.

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Triad Election (Election 2)

A second-tiered triad member vying aggressively for the position of godfather is restrained by the current mob boss who isn't officially eligible for reelection. This leads to a bloody and cutthroat battle of wills between the two men, carried out in a shocking and ultra-violent fashion culminating in an ending that will take your breath away!

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The Sopranos - Season 6, Part 2

Completing the run of one of the most acclaimed television shows in broadcast history, season 6, part II of The Sopranos will be remembered mostly not for what happened during the season, but for what didn't happen at the very end. Creator David Chase pulled off a series ending that was as controversial as it was surprising and unforgettable, leaving countless fans to look away from the show and to blogs and articles for answers to the biggest mystery since "who shot J.R.?": what happened to Tony Soprano? But before we get to that point, there are nine episodes to digest, and they are some of the best in the run of the show since season 3. As Tony's (James Gandolfini) paranoia and suspicions grow, his family makes choices that are threatening to bring big changes to his personal life, and his other "family" is crashing headlong towards an inevitable showdown with Phil Leotardo and the New York crew. Episode 1, "Soprano Home Movies," starts off peacefully enough with Tony and Carmela (Edie Falco) enjoying a relaxing summer weekend at Bobby and Janice's (Steve Schirripa and Aida Turturro) bucolic lake house, and by the end of the episode Tony has effectively taken Bobby's soul, proving Tony's ruthlessness and ending any doubt about his will to maintain dominance over those around him. In "Kennedy and Heidi," one of the season's signature episodes, Christopher's (Michael Imperioli) drug use continues to spiral out of control, forcing Tony to take matters into his own hands and resolve things with his nephew once and for all.

Inevitably it's all leading up to that big finale, and it's deftly handled over the last two episodes, "The Blue Comet" and "Made in America" (an episode replete with subtle references to The Godfather). Things finally start to get resolved with Phil's crew, Dr. Melfi (Lorraine Bracco), Uncle Junior (Dominic Chianese), A.J. (Robert Iler), and Meadow (Jamie-Lynn Sigler), and as for Tony… Cut to black. To quote from another hit HBO show of the same era, "everything ends," even The Sopranos, and while the way Chase chose to end The Sopranos may not be to the liking of fans hoping for a definitive resolution, give the man credit for not stooping to clichés or tired old scenarios. As A.J. says in one of the last lines of the entire series, quoting his father, "Try to remember the times that were good." That's good advice. --Daniel Vancini

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The Wire - The Complete Fourth Season

With the fall of Barksdale and the ascent of young Marlo Stanfield as West Baltimore's drug king, the detail continues to "follow the money" up the political ladder in the midst of a mayoral election that pits the black incumbent, Clarence Royce, against an ambitious white councilman, Tommy Carcetti. The theme of urban education is explored through four new characters â€" Michael Lee, Namond Brice, Randy Wagstaff and "Dukie" Weems as they traverse adolescence in the stunted, drug-saturated streets of West Baltimore. The world that awaits these boys and the American commitment to equal opportunity are depicted brilliantly in the edgy, all too realistic Season 4 of The Wire.

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Find Me Guilty

Vin Diesel gives his best performance to date in Sidney Lumet's Find Me Guilty, a courtroom comedy-drama (based on the true story of Mafia soldier "Fat Jack" DiNorscio) about the longest criminal trial in U.S. history. Diesel plays Giacomo "Jackie Dee" DiNorscio, a loyal member of New Jersey's notorious Lucchese crime family, who's already serving a 30-year jail term when he's offered an opportunity to shorten his sentence if he agrees to testify against many of his closest friends. He refuses, choosing instead to defend himself in a 21-month courtroom trial that involves 20 other Mafia members, each with their own defense attorney, all brought to trial on 76 charges ranging from criminal conspiracy to narcotics trafficking. As the lead defense attorney (Peter Dinklage) and prosecutor (Linus Roache) guide the trial through a maze of legal triumphs and setbacks, Lumet (still going strong at age 81) turns this goombah gab-fest into the kind of edgy New York comedy that only he could direct, drawing heavily on his experience with such courtroom classics as The Verdict and 12 Angry Men. And while he's filled the screen with a marvelous supporting cast including Alex Rocco, Ron Silver (as the no-nonsense judge) and Annabella Sciorra, Lumet can't quite overcome the confined, theatrical nature of the material, much of it drawn directly from actual courtroom transcripts. Find Me Guilty lacks the dramatic impact of The Verdict, favoring instead the rich absurdity of the DiNorscio case and its equally outrageous outcome after the jury's surprisingly brief deliberation. This is comfortable territory for Lumet, and he brings out the best in his extensive cast – especially Diesel, who walks a fine line between courtroom shenanigans and fierce loyalty to his criminal clan.--Jeff Shannon

Smokin' Aces (widescreen edition)

A frantic and frequently amusing cocktail of Tarantino cool and Hong Kong bullet ballet, Joe (Narc) Carnahan's Smokin' Aces delivers some inspired moments of action and dark comedy in its dizzying-comic book plot about a rogue's gallery of killers on the hunt for a mob informer. At the core of Carnahan's bloody shaggy-dog tale is Buddy Israel (Jeremy Piven, offering a more desperate take on his standard hustler persona), a Vegas magician who's turned informant against the mobsters who have treated him as their personal entertainment. Wishing to close Buddy's overactive mouth permanently, the mob capo puts a bounty on the two-bit showman's head, and a horde of hitmen descends on Buddy's digs to claim the prize. The unholy crew of gunmen offer the movie's most inspired (and outlandish) moments, with R&B singer Alicia Keys (as a cool, Foxy Brown-esque assassin), Nestor Carbonell (as a torture-minded sadist), Ben Affleck and Peter Berg (low-key bail bondsmen) and Chris Pine (the leader of a trio of semi-savage brothers) among the more memorable villains. Ryan Reynolds, Ray Liotta, and Andy Garcia represent the other side of the coin as FBI agents determined to get to Buddy before the legion of doom, and the clashes between both factions produce some eye-popping gunplay. If there's any complaint to be made about Smokin' Aces, it's that the tone shifts between action-drama and hipster comedy feel forced (Carnahan struck a firmer balance between the two in his 1998 indie effort, Blood, Guts, Bullets and Octane), but the performances and shootout set pieces, as well as Carnahan's hyperactive camera work, do much to make those transitions palatable. Eagle-eyed audience members will note the presence veteran scene stealers Curtis Armstrong (Ray), David Proval (The Sopranos), and Alex Rocco (The Godfather's Moe Green) in supporting roles. -- Paul Gaita

Cocaine Cowboys

# DVD Features:
* Available Subtitles: Spanish
* Available Audio Tracks: English (Dolby Digital 5.1), English (Dolby Digital 2.0)
* Commentary by director Billy Corben and co-producer David Cypkin
* Deleted scenes with commentary
* "Hustlin' with the Godmother: The Charles Cosby Story"
* Sneak Peak at Mr. Untouchable

The incredible true story that inspired "Scarface" and "Miami Vice".

In the 1980s, ruthless Colombian cocaine barons invaded Miami with a brand of violence unseen in this country since Prohibition-era Chicago - and it put the city on the map. "Cocaine Cowboys" is the true story of how Miami became the drug, murder and cash capital of the United States, told by the people who made it all happen.

The Wire: The Complete Third Season

Plot Synopsis: Set in Baltimore, this show centers around the city's inner-city drug scene. It starts as mid-level drug dealer, D'Angelo Barksdale beats a murder rap. After a conversation with a judge, Det. James McNulty has been assigned to lead a joint homicide and narcotics team, in order to bring down drug kingpin Avon Barksdale. Avon Barksdale, accompanied by his right-hand man Stringer Bell, enforcer Wee-Bey and many lieutenants (including his own nephew, D'Angelo Barksdale), has to deal with law enforcement, informants in his own camp, and competition with a local rival, Omar, who's been robbing Barksdale's dealers and reselling the drugs. The supervisor of the investigation, Lt. Cedric Daniels, has to deal with his own problems, such as a corrupt bureaucracy, some of his detectives beating suspects, hard-headed but determined Det. McNulty, and a blackmailing deputy. The show depicts the lives of every part of the drug "food chain", from junkies to dealers, and from cops to politicians.

Product Description
The heat is on in Baltimore. The drug war is being lost, bodies are piling up, and a desperate mayor wants the tide turned before the election. But the police department hasn't got any answers. With the demolition of the Franklin Terrace towers, Stringer Bell and the Barksdale crew have been forced to improvise. But no matter how hard McNulty and the detail try, the dealers always seem to be one step ahead of the game.

The Departed (2 Disc)

Years ago, a powerful Irish mafia figure placed a small selection of his youngest, brightest men into the Massachusetts Police Academy as cadets. Their purpose is to eventually rise within the prestigious ranks of the city's police department, to serve as the eyes and ears of their boss. While somewhere else, a young cadet was assigned with an equally dangerous task: infiltrate the Irish syndicate headed by the man sending in his own to the Boston Police. Now, one cadet is an up and coming police official with a torn allegiance to his job and to the criminal mastermind that put him there. While the other cadet is the trusted number two of that man, only finding his professional duties are becoming blurred with his current state. But new clues have lead to unfortunate discoveries, when both sides realize they're being watched by the enemy. It's now all just a matter of time before the men assigned to find out whose the infiltrator, could come to a bloody end when someone's identity may be revealed.

Directed by Martin Scorsese
Starring: Jack Nicholson, Leonardo DiCaprio, Matt Damon, Ray Winstone, Martin Sheen, Alec Baldwin, Mark Wahlberg and Vera Farmiga.

Layer Cake (Widescreen Special Edition)

Planning to retire and begin a new life, Mr. X (Daniel Craig, Lara Croft: Tomb Raider), a successful West End drug dealer, has been asked for one last favor: to negotiate the sale of one million hits of Ecstasy. Unfortunately for Mr. X, the pills were stolen from a Serbian drug lord who'll cut off his head if he sells them. And with a London crime czar (Michael Gambon, Open Range & The Insider) promising to retire him permanently if he doesn't, Mr. X may be rightfully concerned about his future. Nothing worth losing his head over.

Lord of War (2-Disc Special Edition)

Based on actual events, this black comedy/drama stars Nicholas Cage as international arms smuggler Uri Orlov. The story follows Uri from his humble beginnings as a Soviet immigrant in 1970s Brooklyn and peaks with his involvement in selling off the stockpiled arsenal of post-Cold War Ukraine to--among other top clients--the sadistic African dictator Andr Baptiste, Sr. (Eamonn Walker). Jared Leto costars as Uri s little brother Vitaly, whose conscience and a burgeoning cocaine problem get in the way of business. Ethan Hawke is good as a sanctimonious Interpol agent with a vendetta against Uri, but the film's biggest dose of onscreen gravitas comes from Walker, whose Baptiste seethes with a heavy, serpent-like malevolence. Written and directed by Andrew Niccol, the film makes fine use of the brisk stream-of-consciousness narration style that Martin Scorcese brought to the true crime genre with GOODFELLAS (1992), and a near constant flow of action and classic rock songs that ensure a speedy, riveting ride through three decades of global carnage. Cage, who coproduced, lets his patented oddball magnetism slowly change polarity, until viewers realize they ve been led into a moral quagmire by falling for his self-delusory spiels about supply and demand, making this one of the bravest and most jet-black comedies of its decade.

Running Scared

Plot Synopsis: Joey Gazelle (Paul Walker) is a low level mob flunkie who get told to dispose of a gun used for killing some dirty cops. Joey however, hides the gun in the drywall of his basement instead of tossing them in the river. When Joey's 10 year-old son (Alex Neuberger) and his best friend, Oleg (Cameron Bright), witness Joey hiding some guns from a botched drug deal, Oleg steals the gun -- a snub-nosed .38 -- and shoots his abusive stepfather (Karel Roden) with it. Things would be bad enough if the stepfather didn't happen to be the nephew of a psychotic Russian mob boss (John Noble)... who happens to be in business with Joey's crew on a gasoline scam. But now Joey's also got the surviving dirty cop (Chazz Palminteri) from the botched drug deal on his case... and that hot .38 out there on the street, changing hands in an underworld of freaks, pimps, hookers and pedophiles. As well as Oleg, who can connect Joey to the gun. And even if Joey can make it through the night, he's still got to answer to his wife (Vera Farmiga)...

Payback

Val Resnick and Porter, two small time bandits, hit a Chinese gang together and manage to get $140,000. But Val Resnick needs 130 grand alone to buy himself back into his syndication. So, Val turns on Porter together with Porter's wife Lynn, who kills him with two shots in the back. But Porter survives and half a year later, he is back, seeking his share of $70,000. When he finally finds Val, Porter quickly learns that he has to go much further up the ladder in order to get his money from the guys who have it: The syndication. Working alone can't be realized any more, so Porter teams up with his flame and previous boss Rosie, a very exclusive prostitute. Together, they now start playing the teams against each other.

10th and Wolf

Starring James Marsden, Dennis Hopper, Giovanni Ribisi a.o.
From imdb.com:
February, 1991. Tommy, a Desert Storm marine dismayed that the US isn't taking out Saddam, breaks some rules and faces hard labor. An FBI agent offers him an out: go home to his gritty, dockside home in Pennsylvania and help get the goods on an Italian heroine dealer; in return, no prison time and no arrest of Tommy's brother Vincent and cousin Joey. Loyalty to family conflicts with loyalty to the code of the street. Can Tommy sort it out, protect his brother and cousin, and stay true? Do young men die - in the sands of the Middle East and on the mean streets of the US - for no reason?

# DVD Features:

* Available Subtitles: Spanish
* Available Audio Tracks: English (Dolby Digital 2.0 Stereo), English (Dolby Digital 5.1)
* Filmmaker Commentary featuring Academy Award Winner Bobby Moresco and FBI Agent Joe Pistone, aka "Donnie Brasco"
* Deleted Scenes
* Behind the Scenes
* Trailer Gallery

The Sopranos - Season 6, Part 1

# DVD Features:

* Available Subtitles: English, Spanish, French
* Available Audio Tracks: English (Dolby Digital 5.1), Spanish (Dolby Digital 2.0 Stereo)
* 12 episodes on four discs
* Commentary on four episodes by cast and crew, including Edie Falco, Michael Imperioli, Jamie-Lynn Sigler, Robert Iler, and Tony Sirico

The Sopranos - The Complete Fifth Season

# DVD Features:

* Available Subtitles: English, Spanish, French
* Available Audio Tracks: English (Dolby Digital 5.1), English (Dolby Digital 2.0 Stereo), French (Dolby Digital 2.0 Stereo), Spanish (Dolby Digital 2.0 Stereo)
* Five audio commentaries with directors Peter Bogdanovich, Steve Buscemi, Mike Figgis, and Rodrigo Garcia, plus actress Drea de Matteo

Casino (Widescreen 10th Anniversary Edition)

# Tagline: No one stays at the top forever.
# Plot Outline Greed, deception, money, power, and murder occur between two mobster best friends and a trophy wife over a gambling empire.

# Plot Synopsis: This Martin Scorsese film depicts the Janus-like quality of Las Vegas--it has a glittering, glamorous face, as well as a brutal, cruel one. Ace Rothstein and Nicky Santoro, mobsters who move to Las Vegas to make their mark, live and work in this paradoxical world. Seen through their eyes, each as a foil to the other, the details of mob involvement in the casinos of the 1970's and '80's are revealed. Ace is the smooth operator of the Tangiers casino, while Nicky is his boyhood friend and tough strongman, robbing and shaking down the locals. However, they each have a tragic flaw--Ace falls in love with a hustler, Ginger, and Nicky falls into an ever-deepening spiral of drugs and violence.

The Cooler

Amazon.com
The premise of this swinging Vegas picture is enough to carry it over its narrative rough spots. The unluckiest sap on the planet (William H. Macy) is employed as a "cooler" at a casino; his very presence can chill the hot streak of any patron on a roll. He's valued by the old-school manager of the place, a role given a two-fisted, bourbon-swilling incarnation by Alec Baldwin. Macy means to quit, but then he falls for a waitress (the excellent Maria Bello, from Permanent Midnight)--might his luck be changing? The subplots are pretty much a mess, but the frank sex scenes between Macy and Bello give the movie a truly offbeat feel. The tawdry air of a second-rate casino is also nicely done: This is not the new family-friendly Las Vegas, but a tough place of superstitions, sinister back rooms, and shabby motels. The characters are perfectly at home. --Robert Horton

25th Hour

Starring: Edward Norton, Philip Seymour Hoffman and Barry Pepper. Directed by Spike Lee.

Amazon.com
25th Hour is a eulogy, mourning the New York of post-September 11, 2001, and the regrettable life of one of the city's least reputable citizens. Monty Brogan (Edward Norton) isn't a bad guy--in fact he's a mensch, adopting a battered dog in the film's mood-setting opening scene, and leading a decent life with his girlfriend (Rosario Dawson)... when he's not dealing narcotics. Facing a seven-year prison term, Monty spends his last free night with pals (Barry Pepper, Philip Seymour Hoffman) and visiting his understanding father (Brian Cox), while a Russian drug lord pressures him for getting busted. Lee directs this plotless, no-win scenario as the last gasp of a guy with nowhere to go, and the film (written by David Benioff, from his own novel) suffers from a similar loss of potential, lacking enough focus to make Monty's odyssey compelling. Instead, 25th Hour (which also costars Anna Paquin) rambles from scene to lazy scene, vaguely lamenting that lives have been wasted, some by terrorism, others by self-destruction. --Jeff Shannon

Thief

Amazon.com
Thief's dark noir spaces are tinged with the neon palette that has become the trademark of director Michael Mann (Miami Vice, Heat). This was his first theatrical film, and all the elements that characterize his later style (and this is a very stylistic film) are dominant. Equal parts grit and glamour, the story is simple. Frank (James Caan) is a lone-wolf jewel thief who was, in his words, brought up "by the state." In prison he was apprenticed to a master thief, played by Willie Nelson. When Frank's successful career comes to the attention of an avuncular syndicate boss (Robert Prosky), Frank is offered (and accepts against his better judgment) a deal that should allow him to retire and enjoy the family life he covets. But the deal sours, and Frank is left to decide what his nature truly is, lone wolf or family man. Thief melds its jazzy visual style with heightened realism: the jewel thief's tools of the trade are authentic, up to the 8,000 degree thermal lance used to cut through a nearly impregnable safe. Some of the bit parts are played by real-life, highly successful jewel thieves, who acted as consultants. And their presence informs the superb dialogue, as every word rings true. In one long, engrossing scene, James Caan gradually persuades the woman he wants to start a family with (Tuesday Weld in one of her most affecting performances) that they should be together. The film was photographed beautifully by Donald Thorin and further emboldened by the driving rhythms of Tangerine Dream. The DVD contains a very funny commentary track by the director and James Caan. --Jim Gay

The Warner Gangsters Collection
(The Public Enemy / White Heat / Angels with Dirty Faces / Little Caesar / The Petrified Forest / The Roaring Twenties)

Amazon.com
For a knock-out combination of timeless entertainment and vintage studio history, you can't do much better than The Warner Brothers Gangsters Collection. In the 1930s and '40s, Paramount specialized in glossy comedies, MGM popularized lavish musicals, Universal produced signature horror classics, and Fox scored hits with sophisticated dramas. But it was Warner Bros. that generated controversy--if not always box-office profits--with so-called "social problem" films, and that meant gangsters. When viewed in their pre- and post-Prohibition context and in chronological order (Little Caesar and The Public Enemy, 1931; The Petrified Forest, 1936; Angels With Dirty Faces, 1938; The Roaring Twenties, 1939; White Heat, 1949), these six films definitively capture Warners' domination of the mobster genre, and to varying degrees, they all qualify as classics. With its stilted visuals and pulpy plot, Little Caesar remains stuck in the stiff, early-sound era, but it's still a prototypical powerhouse, with Edward G. Robinson's titular "Rico" setting the stage for all screen gangsters to follow. The Public Enemy made James Cagney a star (who can forget him smashing a grapefruit into Mae Clarke's face?), and Humphrey Bogart repeats his Broadway success in The Petrified Forest, a stagy adaptation of Robert Sherwood's play, still enjoyable for Bogey's ever-threatening malevolence. Then it's a Cagney triple-threat in Angels (with Pat O'Brien), racketeering in The Roaring Twenties (with Bogart), and especially the jailbird classic White Heat, with a fiery finale and an exit line ("Made it Ma! Top o' the world!") that epitomized Cagney's iconic, tough-guy image. In many ways Cagney was Warner Bros., and this Gangsters Collection pays enduring tribute to him and the important films that forged the studio's rugged reputation. --Jeff Shannon

Scarface (Widescreen Anniversary Edition)

This sprawling epic of bloodshed and excess, Brian De Palma's update of the classic 1932 crime drama by Howard Hawks, sparked controversy over its outrageous violence when released in 1983. Scarface is a wretched, fascinating car wreck of a movie, starring Al Pacino as a Cuban refugee who rises to the top of Miami's cocaine-driven underworld, only to fall hard into his own deadly trap of addiction and inevitable assassination. Scripted by Oliver Stone and running nearly three hours, it's the kind of film that can simultaneously disgust and amaze you (critic Pauline Kael wrote "this may be the only action picture that turns into an allegory of impotence"), with vivid supporting roles for Steven Bauer, Michelle Pfeiffer, Mary Elizabeth Mastrantonio, and Robert Loggia. --Jeff Shannon

Goodfellas (Two-Disc Special Edition)

Martin Scorsese's 1990 masterpiece GoodFellas immortalizes the hilarious, horrifying life of actual gangster Henry Hill (Ray Liotta), from his teen years on the streets of New York to his anonymous exile under the Witness Protection Program. The director's kinetic style is perfect for recounting Hill's ruthless rise to power in the 1950s as well as his drugged-out fall in the late 1970s; in fact, no one has ever rendered the mental dislocation of cocaine better than Scorsese. Scorsese uses period music perfectly, not just to summon a particular time but to set a precise mood. GoodFellas is at least as good as The Godfather without being in the least derivative of it. Joe Pesci's psycho improvisation of Mobster Tommy DeVito ignited Pesci as a star, Lorraine Bracco scores the performance of her life as Hill's love interest, and every supporting role, from Paul Sorvino to Robert De Niro, is a miracle.

The Wire - The Complete Second Season

Amazon.com
It hardly seems possible, but The Wire's second season is even better than the first. The "visual novel" concept of this masterful HBO series is taken even further in a rich, labyrinthine plot revolving around the longshoremen of Baltimore's struggling cargo docks, where corruption, smuggling, and murder draw the attention of detective McNulty (Dominic West), who's been demoted to harbor patrol while his former colleagues have been similarly reassigned following season 1. What brings them back together is a series of events which at first seem unrelated (including 13 bodies found in a cargo container), and their ongoing effort to topple the drug empire of "Stringer" Bell (Idris Elba) and the imprisoned Avon Barksdale (Wood Harris), whose business is suffering from short supply, high demand, and disruption of distribution. The dutiful diligence of a Marine Police Patrol Officer and the moral outrage of the longshoremen's union leader are also factored into the suspicious goings-on at the loading docks, and what unfolds in these 12 episodes is an American crime epic easily on par with the Godfather saga. Yes, it's that good.

Detailed synopsis is pointless; The Wire must be seen, heard, and absorbed to fully appreciate the way in which over 40 characters are flawlessly incorporated into a sprawling but tightly disciplined plot that deals, in the larger sense, with the deindustrialization of America and the struggle of longshoremen in a changing economical climate. Offering a privileged and occasionally frightening glimpse of the inner workings of shipping ports and cargo transports, The Wire is also a detailed exposé of organized crime and blue-collar corruption, and an authentic, well-informed study of political maneuvering among police and city officials. There's not a single false note to be found in the cast, direction, or writing of this phenomenal series, hailed by many critics as "the best show on television." With all due respect to HBO's other excellent series, The Wire tops them all. --Jeff Shannon

The Wire - The Complete First Season

Amazon.com
After one episode of The Wire you'll be hooked. After three, you'll be astonished by the precision of its storytelling. After viewing all 13 episodes of the HBO series' remarkable first season, you'll be cheering a bona-fide American masterpiece. Series creator David Simon was a veteran crime reporter from The Baltimore Sun who cowrote the book that inspired TV's Homicide, and cowriter Ed Burns was a Baltimore cop, lending impeccable street-cred to an inner-city Baltimore saga (and companion piece to The Corner) that Simon aptly describes as "a visual novel" and "a treatise on institutions and individuals" as opposed to a conventional good-vs.-evil police procedural. Owing a creative debt to the novels of Richard Price (especially Clockers), the series opens as maverick Detective Jimmy McNulty (Dominic West, in a star-making role) is tapping into a vast network of drugs and death around southwest Baltimore's deteriorating housing projects. With a mandate to get results ASAP, a haphazard team is assembled to join McNulty's increasingly complex investigation, built upon countless hours of electronic surveillance.

The show's split-perspective plotting is so richly layered, so breathtakingly authentic and based on finely drawn characters brought to life by a perfect ensemble cast, that it defies concise description. Simon, Burns, and their cowriters control every intricate aspect of the unfolding epic; directors are top-drawer (including Clark Johnson, helmer of The Shield's finest episodes), but they are servants to the story, resulting in a TV series like no other: unpredictable, complicated, and demanding the viewer's rapt attention, The Wire is "an angry show" (in Simon's words) that refuses to comfort with easy answers to deep-rooted societal problems. Moral gray zones proliferate in a universe where ruthless killers have a logical code, and where the cops are just as ambiguous as their targets. That ambiguity extends to the ending as well; season 1 leaves several issues unresolved, leaving you begging for the even more impressive developments that await in season 2. --Jeff Shannon

The Sopranos - The Complete Fourth Season

Amazon.com
Carmela to Tony: "Everything comes to an end." True enough, Mrs. Sope, but on The Sopranos, the end comes sooner for some than others. Though for some the widely debated fourth season contained too much yakking instead of whacking, and an emphasis on domestic family over business Family, what critic James Agee once said of the Marx Brothers applies to The Sopranos: "The worst thing they might ever make would be better worth seeing than most other things I can think of." And in most respects, The Sopranos remains television's gold standard. The fourth season garnered 13 Emmy nominations, and subsequent best actor and actress wins for James Gandolfini and Edie Falco as Tony and Carmela, whose estrangement provides the season with its most powerful drama, as well as a win for Joe Pantoliano's psychopath Ralph. The season finale, "Whitecaps," was a long-time-coming episode, in which Carmela at last stands up to "toxic" Tony, and "Whoever Did This" was the season's--and one of the series'--most shocking episodes.

Other narrative threads include Christopher's (Emmy nominee Michael Imperioli) descent into heroin addiction, Uncle Junior's (Dominic Chianese) trial, an unrequited and potentially fatal attraction between Carmela and Tony's driver Furio, and a rude joke about Johnny Sack's wife that has potentially fatal implications. Other indelible moments include Christopher's girlfriend Adriana's projectile reaction to discovering that her new best friend is an undercover FBI agent in the episode "No Show," Janice giving Ralph a shove out of their relationship in "Christopher," and the classic "Quasimodo/Nostradamus" exchange in the season-opener, which garnered HBO's highest ratings to date. Freed from the understandably high expectations for the fourth season, heightened by the 16-month hiatus, these episodes can be better appreciated on their own considerable merits. They are pivotal chapters in television's most novel saga. --Donald Liebenson

The Sopranos - The Complete Third Season

Amazon.com
"So," Tony Soprano asks analyst Dr. Melfi in the wake of not-so-dearly-departed Livia's death, "we're probably done here, right?" Sorry, Tone, not by a long shot. Unresolved mother issues are the least of the Family man's troubles in the brutal and controversial third season of The Sopranos. Ranked by TV Guide among the top five greatest series ever, The Sopranos justified its eleven-month hiatus with some of its best, and most hotly debated, episodes that continue the saga of the New Jersey mob boss juggling the pressures of his often intersecting personal and professional lives. The third season garnered 22 Emmy nominations, earning Lead Actor and Actress honors for James Gandolfini and Edie Falco for their now-signature roles as Tony and his increasingly conflicted wife, Carmela.

The Sopranos continued to upend convention and defy audience expectations with a deliberately paced, calm-before-the-storm season opener that revolves around the FBI's attempts to bug the Soprano household, and a season finale that (for some) frustratingly leaves several plot lines unresolved. The second episode, "Proshai, Livushka," confronts the death of the venerable Nancy Marchand, who capped her career with perhaps her greatest role as malignant matriarch Livia. A jarring scene between Tony and Livia that uses pre-existing footage is a distraction, but Carmela's unsparing smackdown of Livia at the wake redeems the episode. "Employee of the Month," in which Dr. Melfi is raped and considers whether to exact revenge by telling Tony of her attack, earned Emmys for its writers, and is perhaps Emmy nominee Lorraine Bracco's finest hour. The darkly comic "Pine Barrens"--another memorable episode, directed by Steve Buscemi--strands Paulie (Tony Sirico) and Christopher (Michael Imperioli) in the forest with a runaway corpse. Other story arcs concern the rise of the seriously unstable Ralph Cifaretto (Joe Pantoliano) and Tony's affair with "full-blown loop-de-loo" Gloria (Emmy nominee Annabella Sciorra). Plus, there is Tony's estrangement from daughter Meadow (Jamie Lynn Sigler), his wayward delinquent son Anthony, Jr. (Robert Iler), Carmela's crisis of conscience, bad seed Jackie Jr., and the FBI--which, as the season ends, assigns an undercover agent to befriend an unwitting figure in the Soprano family's orbit. Stay tuned for season four. --Donald Liebenson

The Sopranos - The Complete Second Season

Amazon.com
In its second season, The Sopranos sustains the edgy intelligence and unpredictable, genre-warping narrative momentum that made this modern mob saga the most critically acclaimed series of the late 1990s. Creator-producer David Chase repeatedly defies formula to let the narrative turn as a direct consequence of the characters' behavior, letting everyone in this rogue's gallery of Mafiosi, friends, and family evolve and deepen.

That gamble is most apparent in the rupture of the relationship that formed the spine of the first season, the tangled ties between capo Tony Soprano (James Gandolfini) and monstrous matriarch Livia (Nancy Marchand), whose betrayal makes Tony's estrangement a logical response. Filling that vacuum, however, is prodigal sister Janice (Aida Turturro), whose New Age flakiness never successfully conceals her underlying calculation and opportunism. Soprano's relationship with therapist Jennifer Melfi (Lorraine Bracco) also frays during early episodes, as she struggles with escalating doubts about her mobbed-up patient. At home, Tony contends with wife Carmela's ruthless ambitions on behalf of college-bound Meadow, as well as son Anthony Jr.'s sullen adolescent flirtation with existentialism--the sort of touch that the show handles with a smart mix of sympathy and amusement.

Without spoiling the surprise of the season's climactic last episode, it's worth noting that only on The Sopranos could we expect a scene that sets up a mob hit with a perversely funny touch of magic realism--a talking fish, lying on a fishmonger's iced display, speaking with the voice of the victim. It's a touch at once morbid and goofy, and consistent with the show's undimmed brilliance. --Sam Sutherland --

The Sopranos - The Complete First Season

Amazon.com
The Sopranos, writer-producer-director David Chase's extraordinary television series, is nominally an urban gangster drama, but its true impact strikes closer to home: Like 1999's other screen touchstone, American Beauty, the HBO series chronicles a dysfunctional, suburban American family in bold relief. And for protagonist Tony Soprano, there's the added complexity posed by heading twin families, his collegial mob clan and his own, nouveau riche brood.

The series' brilliant first season is built around what Tony learns when, whipsawed between those two worlds, he finds himself plunged into depression and seeks psychotherapy--a gesture at odds with his midlevel capo's machismo, yet instantly recognizable as a modern emotional test. With analysis built into the very spine of the show's elaborate episodic structure, creator Chase and his formidable corps of directors, writers, and actors weave an unpredictable series of parallel and intersecting plot arcs that twist from tragedy to farce to social realism. While creating for a smaller screen, they enjoy a far larger canvas than a single movie would afford, and the results, like the very best episodic television, attain a richness and scope far closer to a novel than movies normally get.

Unlike Francis Coppola's operatic dramatization of Mario Puzo's Godfather epic, The Sopranos sustains a poignant, even mundane intimacy in its focus on Tony, brought to vivid life by James Gandolfini's mercurial performance. Alternately seductive, exasperated, fearful, and murderous, Gandolfini is utterly convincing even when executing brutal shifts between domestic comedy and dramatic violence. Both he and the superb team of Italian-American actors recruited as his loyal (and, sometimes, not-so-loyal) henchmen and their various "associates" make this mob as credible as the evocative Bronx and New Jersey locations where the episodes were filmed.

The first season's other life force is Livia Soprano, Tony's monstrous, meddlesome mother. As Livia, the late Nancy Marchand eclipses her long career of patrician performances to create an indelibly earthy, calculating matriarch who shakes up both families; Livia also serves as foil and rival to Tony's loyal, usually level-headed wife, Carmela (Edie Falco). Lorraine Bracco makes Tony's therapist, Dr. Melfi, a convincing confidante, by turns "professional," perceptive, and sexy; the duo's therapeutic relationship is also depicted with uncommon accuracy. Such grace notes only enrich what's not merely an aesthetic high point for commercial television, but an absorbing film masterwork that deepens with subsequent screenings. --Sam Sutherland

Gangs of New York

Amazon.com
Gangs of New York may achieve greatness with the passage of time. Mixed reviews were inevitable for a production this grand (and this troubled behind the scenes), but it's as distinguished as any of director Martin Scorsese's more celebrated New York stories. From its astonishing 1846 prologue to the city's infernal draft riots of 1863, the film aspires to erase the decorum of textbooks and chronicle 19th-century New York as a cauldron of street warfare. The hostility is embodied in a tale of primal vengeance between Irish American son Amsterdam Vallon (Leonardo DiCaprio) and his father's ruthless killer and "Nativist" gang leader Bill "the Butcher" Cutting (Daniel Day-Lewis, brutally inspired), so named for his lethal talent with knives. Vallon's vengeance is only marginally compelling; DiCaprio is arguably miscast, and Cameron Diaz (as Vallon's pickpocket lover) is adrift in a film with little use for women. Despite these weaknesses, Scorsese's mastery blossoms in his expert melding of personal and political trajectories; this is American history written in blood, unflinching, authentic, and utterly spectacular.

The Godfather DVD Collection

Starring: Marlon Brando, Al Pacino, James Caan, Richard S. Castellano, Robert Duvall

Synopsis:
The story begins as "Don" Vito Corleone, the head of a New York Mafia "family", oversees his daughter's wedding. His beloved son Michael has just come home from the war, but does not intend to become part of his father's business. Through Michael's life the nature of the family business becomes clear. The business of the family is just like the head of the family, kind and benevolent to those who give respect, but given to ruthless violence whenever anything stands against the good of the family. Don Vito lives his life in the way of the old country, but times are changing and some don't want to follow the old ways and look out for community and "family". An up and coming rival of the Corleone family wants to start selling drugs in New York, and needs the Don's influence to further his plan. The clash of the Don's fading old world values and the new ways will demand a terrible price, especially from Michael, all for the sake of the family.

Road to Perdition

In Road to Perdition, Tom Hanks plays a hit man who finds his heart. Michael Sullivan (Hanks) is the right-hand man of crime boss John Rooney (Paul Newman), but when Sullivan's son accidentally witnesses one of his hits, he must choose between his crime family and his real one. The movie has a slow pace, largely because director Sam Mendes (American Beauty) seems to be in love with the gorgeous period locations. Hanks gives a deceptively battened-down performance at first, only opening up toward the very end of the film, making his character's personal transformation all the more convincing. Newman turns in a masterful piece of work, revealing Rooney's advancing age but at the same time, his terrifying power. Jude Law is also a standout, playing a hit man-photographer with chilling creepiness. This movie requires a little patience, but the beautiful cinematography and moving ending make it well worth the wait. --Ali Davis

The Corruptor

# Tagline: You can't play by the rules when there aren't any.

# Plot Outline With the aid from a NYC policeman, a top immigrant cop tries to stop drug-trafficking and corruption by immigrant Chinese Triads, but things complicate when the Triads try to bribe the policeman.

# Plot Synopsis: Nick Chen (Yun-Fat) is one of New York City's most martial police officers and the first Chinese-born immigrant on the force. Chen's job is to keep the peace in Chinatown from a turf war that has broken out between the Triads and the ruthless, and dangerous Fukienese Dragons. Chen teams up with Danny Wallace (Wahlberg), who is terribly unaware of this situation. When the Tongs boldly attempt to bribe Wallace, Chen is forced to keep his faithfulness.

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