Star Wars, Episode V: The Empire Strikes Back (Widescreen Edition)

Sales Rank: 11687
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• Star Wars: Episode I - The Phantom Menace (Widescreen Edition)
• Star Wars: Episode III - Revenge of the Sith (Widescreen Edition)

Product Desc: Amazon.com
The middle film in George Lucas's enormously popular Star Wars science fiction trilogy is a darker, more somber entry, considered by many fans as the best in the series. Gone is the jaunty swashbuckling of the first film; the rebellion led by Princess Leia (Carrie Fisher) suffers before the superior forces of the Empire, young hero Luke Skywalker (Mark Hamill) faces his first defeats as he attempts to harness the Force under the tutelage of Jedi master Yoda (voiced by Frank Oz), and cocky Han Solo (Harrison Ford) is betrayed by former ally Lando Calrissian (Billy Dee Williams). In the tradition of the great serials, this film is left with a hefty cliffhanger. The leap in special effects technology in the three years since Star Wars results in an amazing array of effects, including a breathtaking chase through an asteroid field and a dazzling, utopian Cloud City, where Luke faces the black-clad villain Darth Vader (David Prowse, voice of James Earl Jones) in a futuristic sword fight and learns the secret of his Jedi father. Veteran director Irvin Kershner (The Eyes of Laura Mars, Never Say Never Again) took the directorial reins from creator and producer Lucas and invested the light-speed adventure with deeper characters and a more emphatic sense of danger. The special edition expands Luke's encounter with the Abominable Snowman-esque wampa and establishes the creature as a tangibly more terrifying beast, in addition to refining many of the existing effects. The trilogy is concluded in The Return of the Jedi. --Sean Axmaker

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The middle film in George Lucas's enormously popular Star Wars science fiction trilogy is a darker, more somber entry, considered by many fans as the best in the series. Gone is the jaunty swashbuckling of the first film; the rebellion led by Princess Leia (Carrie Fisher) suffers before the superior forces of the Empire, young hero Luke Skywalker (Mark Hamill) faces his first defeats as he attempts to harness the Force under the tutelage of Jedi master Yoda (voiced by Frank Oz), and cocky Han Solo (Harrison Ford) is betrayed by former ally Lando Calrissian (Billy Dee Williams). In the tradition of the great serials, this film is left with a hefty cliffhanger. The leap in special effects technology in the three years since Star Wars results in an amazing array of effects, including a breathtaking chase through an asteroid field and a dazzling, utopian Cloud City, where Luke faces the black-clad villain Darth Vader (David Prowse, voice of James Earl Jones) in a futuristic sword fight and learns the secret of his Jedi father. Veteran director Irvin Kershner (The Eyes of Laura Mars, Never Say Never Again) took the directorial reins from creator and producer Lucas and invested the light-speed adventure with deeper characters and a more emphatic sense of danger. The special edition expands Luke's encounter with the Abominable Snowman-esque wampa and establishes the creature as a tangibly more terrifying beast, in addition to refining many of the existing effects. The trilogy is concluded in The Return of the Jedi. --Sean Axmaker

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Bronson (Widescreen Edition)

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• In 1974, a misguided 19 year old named Michael Peterson decided he wanted to make a name for himself and so, with a homemade sawn-off shotgun and a head full of dreams he attempted to rob a post office. Swiftly apprehended and originally sentenced to 7 years in jail, Peterson has subsequently been behind bars for 34 years, 30 of which have been spent in solitary confinement. With an intelligent, p

Sales Rank: 6422
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Tom Hardy's performance in the lead role burns right through Bronson, the somewhat true tale of a real guy who, once the movie finishes, you'll be very glad is still locked up in an English jail. There's no obvious reason why Michael Peterson became what he proudly calls "Britain's most violent prisoner." His upbringing was normal, his parents meek but loving; he was even married with a child when, in 1974, he attempted a robbery that landed him in the slammer for the first time. Peterson saw this as "an opportunity to sharpen my tools" and make a name for himself; and that he did, eagerly taking on half a dozen guards at once and regularly spending time in solitary confinement (at one point for 69 straight days). A stint in "the loony bin," where he killed another patient, followed, as did incarceration in a hospital for the criminally insane, a brief period on the outside (having been "certified sane," he went to live in an uncle's whorehouse, found work as a prizefighter, and fell in love), and then a permanent return to prison, where he decided to change his name to Charlie Bronson (after the American actor) and, improbably, became a pretty decent painter (a climactic scene with his art teacher perversely invokes the Belgian artist Ren Magritte). Not all of this really happened, but director and cowriter Nicolas Winding Refn's film is hardly a documentary; with its saturated color palette, surreal framing devices (Bronson tells some of his tale to a rapt audience in a large theater), and frequent use of black humor, this is a highly stylized and often strange piece of work. Hardy, who has also been seen in Guy Ritchie's RocknRolla and will be in George Miller's fourth Road Warrior epic, delivers an extreme performance; sporting a shaved head and a John L. Sullivan handlebar mustache, he is a credible if occasionally cartoonish presence, a leering, profane, joyously violent cockney madman. Extras include interviews, a making-of documentary, and a featurette detailing the extremely buff Hardy's training for the role. --Sam Graham

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Tom Hardy's performance in the lead role burns right through Bronson, the somewhat true tale of a real guy who, once the movie finishes, you'll be very glad is still locked up in an English jail. There's no obvious reason why Michael Peterson became what he proudly calls "Britain's most violent prisoner." His upbringing was normal, his parents meek but loving; he was even married with a child when, in 1974, he attempted a robbery that landed him in the slammer for the first time. Peterson saw this as "an opportunity to sharpen my tools" and make a name for himself; and that he did, eagerly taking on half a dozen guards at once and regularly spending time in solitary confinement (at one point for 69 straight days). A stint in "the loony bin," where he killed another patient, followed, as did incarceration in a hospital for the criminally insane, a brief period on the outside (having been "certified sane," he went to live in an uncle's whorehouse, found work as a prizefighter, and fell in love), and then a permanent return to prison, where he decided to change his name to Charlie Bronson (after the American actor) and, improbably, became a pretty decent painter (a climactic scene with his art teacher perversely invokes the Belgian artist Ren Magritte). Not all of this really happened, but director and cowriter Nicolas Winding Refn's film is hardly a documentary; with its saturated color palette, surreal framing devices (Bronson tells some of his tale to a rapt audience in a large theater), and frequent use of black humor, this is a highly stylized and often strange piece of work. Hardy, who has also been seen in Guy Ritchie's RocknRolla and will be in George Miller's fourth Road Warrior epic, delivers an extreme performance; sporting a shaved head and a John L. Sullivan handlebar mustache, he is a credible if occasionally cartoonish presence, a leering, profane, joyously violent cockney madman. Extras include interviews, a making-of documentary, and a featurette detailing the extremely buff Hardy's training for the role. --Sam Graham

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Star Wars, Episode VI: Return of the Jedi (Widescreen Edition)

Sales Rank: 5277
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• Star Wars: Episode V - The Empire Strikes Back (1980 & 2004 Versions, Widescreen Edition)

Product Desc: Amazon.com
The 2006 limited-edition two-disc release of Return of the Jedi is not only the first time the movie has been officially available by itself on DVD. It marks the first-ever DVD release of Jedi as it originally played in theaters in 1983. What does that mean exactly? The film is without the various "improvements" and enhancements George Lucas added for the theatrical rerelease in 1997 as well as the DVD premiere in 2004. So Sebastian Shaw reclaims his spot as the man behind Darth Vader's mask, and we don't see the otherworldly celebration (including the Gungans) at the end of the movie.

What do you lose by watching the 1983 version? Dolby Digital 5.1 EX sound, for one thing (only 2.0 Surround here), and digital cleanup. But for home-theater owners, the biggest frustration will be from the non-anamorphic picture. On a widescreen TV, an anamorphically enhanced (16x9) picture at a 2.35:1 aspect ratio will fill the screen with the exception of small black bars on the top and bottom. The original edition of Jedi, however, on a widescreen TV will have large black bars on the top, the bottom, and the sides unless you stretch the picture (and distort it in the process, especially considering the substandard picture quality). If you're watching on a standard square-shaped (4:3) TV, though, you won't notice a difference.

Yes, it's true that serious home-theater lovers who want spectacular sound and anamorphically enhanced picture can always watch the 2004 version of the movie also included in this set. But chances are good that they already picked up the trilogy edition of all three films, so their decision to buy the 2006 two-disc edition depends on how much they want the original film. The official LucasFilm stance is that this is an individual release of the 2004 version of Return of the Jedi, and the 1983 version of the film is merely a "bonus feature." Common speculation is that the only reason the original versions are seeing the official light of day at all is to undercut the booming black market for the laserdisc version. Star Wars fans will have to decide for themselves if that's worth the purchase. --David Horiuchi

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The 2006 limited-edition two-disc release of Return of the Jedi is not only the first time the movie has been officially available by itself on DVD. It marks the first-ever DVD release of Jedi as it originally played in theaters in 1983. What does that mean exactly? The film is without the various "improvements" and enhancements George Lucas added for the theatrical rerelease in 1997 as well as the DVD premiere in 2004. So Sebastian Shaw reclaims his spot as the man behind Darth Vader's mask, and we don't see the otherworldly celebration (including the Gungans) at the end of the movie.

What do you lose by watching the 1983 version? Dolby Digital 5.1 EX sound, for one thing (only 2.0 Surround here), and digital cleanup. But for home-theater owners, the biggest frustration will be from the non-anamorphic picture. On a widescreen TV, an anamorphically enhanced (16x9) picture at a 2.35:1 aspect ratio will fill the screen with the exception of small black bars on the top and bottom. The original edition of Jedi, however, on a widescreen TV will have large black bars on the top, the bottom, and the sides unless you stretch the picture (and distort it in the process, especially considering the substandard picture quality). If you're watching on a standard square-shaped (4:3) TV, though, you won't notice a difference.

Yes, it's true that serious home-theater lovers who want spectacular sound and anamorphically enhanced picture can always watch the 2004 version of the movie also included in this set. But chances are good that they already picked up the trilogy edition of all three films, so their decision to buy the 2006 two-disc edition depends on how much they want the original film. The official LucasFilm stance is that this is an individual release of the 2004 version of Return of the Jedi, and the 1983 version of the film is merely a "bonus feature." Common speculation is that the only reason the original versions are seeing the official light of day at all is to undercut the booming black market for the laserdisc version. Star Wars fans will have to decide for themselves if that's worth the purchase. --David Horiuchi

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Flyboys (Widescreen Edition)

Sales Rank: 194912
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World War I aviation action gets an impressive digital upgrade in Flyboys, a welcome addition to the "dogfight" sub-genre that includes such previous war-in-the-air films like Hell's Angels, Wings, and The Blue Max. While those earlier films had the advantage of real and genuinely dangerous flight scenes (resulting, in some cases, in fatal accidents during production), Flyboys takes full (and safe) advantage of the digital revolution, with intensely photo-realistic recreations of WWI aircraft, authentic period structures, and CGI environments requiring a total of 850 digital effects shots, resulting in an abundance of amazing images, many of them virtually indistinguishable from reality. Unfortunately, the film's technical achievement is more impressive than its screenplay, which conventionally and predictably tells the fact-based story, set in France in 1916, of the daring young pilots of the Lafayette Escadrille, a pioneering French air-combat unit that welcomed American enlistees prior to the United States' entry into the war.

There's a familiar clich to match every thrilling scene of aerial combat, but director Tony Bill manages to keep it all interesting, from the romance between a young American maverick (James Franco) and a pretty French girl (newcomer Jennifer Decker) to the exciting action in the air, which includes a stock variety of heroes (many of them composites of real-life WWI pilots) and an intimidating villain known only as "The Black Falcon," whose Fokker Dr-1 triplane (one of many in the film) recalls the exploits of German "ace of aces" Manfred von Richtofen, the dreaded "Red Baron" of legend. With impeccable production values that will impress even the most nit-picking aviation buffs, Flyboys (like Superman Returns and Apocalypto, also released in 2006) was also one of the first feature films to be shot with Panavision's state-of-the-art Genesis digital cameras, resulting in beautiful images that meet or exceed the visual nuance of film. Flyboys also benefits from painstaking attention to physical detail, making it easier to forgive its shortcomings as a generic and formulaic slice of romanticized history. So while some viewers may have wished for a more realistic and grown-up depiction of the Lafayette Escadrille, it's safe to say that Flyboys will be thrilling its target audience for many years to come. --Jeff Shannon

On the DVDs
If you're an aviation buff, the two-disc collectors edition of Flyboys is a must-have DVD. Disc 1 includes a full-length audio commentary by Tony Bill (whose directorial career began with the 1980 sleeper hit My Bodyguard) and producer Dean Devlin (Independence Day), who spend most of the film singing the praises of all things digital, from the use of Panavision's all-digital Genesis cameras to the film's impressive tally of 850 digital effects shots. They also discuss many of the technical challenges of making such an ambitious (and independently financed) film on a relatively modest budget of $65 million, and reveal many of the secrets behind some of the film's most impressive special effects. Disc 2 is where things get really interesting, beginning with the featurette "The Real Heroes of the Lafayette

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World War I aviation action gets an impressive digital upgrade in Flyboys, a welcome addition to the "dogfight" sub-genre that includes such previous war-in-the-air films like Hell's Angels, Wings, and The Blue Max. While those earlier films had the advantage of real and genuinely dangerous flight scenes (resulting, in some cases, in fatal accidents during production), Flyboys takes full (and safe) advantage of the digital revolution, with intensely photo-realistic recreations of WWI aircraft, authentic period structures, and CGI environments requiring a total of 850 digital effects shots, resulting in an abundance of amazing images, many of them virtually indistinguishable from reality. Unfortunately, the film's technical achievement is more impressive than its screenplay, which conventionally and predictably tells the fact-based story, set in France in 1916, of the daring young pilots of the Lafayette Escadrille, a pioneering French air-combat unit that welcomed American enlistees prior to the United States' entry into the war.

There's a familiar clich to match every thrilling scene of aerial combat, but director Tony Bill manages to keep it all interesting, from the romance between a young American maverick (James Franco) and a pretty French girl (newcomer Jennifer Decker) to the exciting action in the air, which includes a stock variety of heroes (many of them composites of real-life WWI pilots) and an intimidating villain known only as "The Black Falcon," whose Fokker Dr-1 triplane (one of many in the film) recalls the exploits of German "ace of aces" Manfred von Richtofen, the dreaded "Red Baron" of legend. With impeccable production values that will impress even the most nit-picking aviation buffs, Flyboys (like Superman Returns and Apocalypto, also released in 2006) was also one of the first feature films to be shot with Panavision's state-of-the-art Genesis digital cameras, resulting in beautiful images that meet or exceed the visual nuance of film. Flyboys also benefits from painstaking attention to physical detail, making it easier to forgive its shortcomings as a generic and formulaic slice of romanticized history. So while some viewers may have wished for a more realistic and grown-up depiction of the Lafayette Escadrille, it's safe to say that Flyboys will be thrilling its target audience for many years to come. --Jeff Shannon

On the DVDs
If you're an aviation buff, the two-disc collectors edition of Flyboys is a must-have DVD. Disc 1 includes a full-length audio commentary by Tony Bill (whose directorial career began with the 1980 sleeper hit My Bodyguard) and producer Dean Devlin (Independence Day), who spend most of the film singing the praises of all things digital, from the use of Panavision's all-digital Genesis cameras to the film's impressive tally of 850 digital effects shots. They also discuss many of the technical challenges of making such an ambitious (and independently financed) film on a relatively modest budget of $65 million, and reveal many of the secrets behind some of the film's most impressive special effects. Disc 2 is where things get really interesting, beginning with the featurette "The Real Heroes of the Lafayette

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