DVDpedia : Library : Genre : T

Theatrical: 1952

Studio: Warner Home Video

Genre: Television

Duration: 662

Summary: In 1952 Superman flew right into the hearts and minds of the American TV audience faster than a speeding bullet. Though most people were already familiar with man of steel through his comic books, as well as the popular radio show, it was the new medium's "Adventures of Superman" that transformed our resident Kryptonian into a timeless icon. For many young baby boomers, Superman was the ultimate symbol of truth, justice and the American way. After watching this nostalgic trip back in time it is easy to see why: George Reeves. Reeves is the quintessential Superman. He is kind, confident, smart, always does the right thing and can literally do anything physically. Even Reeves' Clark Kent is cool, even cocky without any of the trademarked shy, clumsy and hickish traits the character has developed over the years. And then there's Phyllis Coates as the Lois Lane. Coates portrayal of Lois is surprisingly one of the stronger female roles in '50s television. She is one tough cookie able to stand her ground against criminals, fight off bad guys and is not afraid to outwardly express herself. Sadly, Phyllis Coates would be replaced by Noel Neill in subsequent seasons.
"Adventures of Superman" also stands the test of time well as one of the best shows from the early days of television. A lot of it has to do with how the writers, producers and actors approached the making of the show. This first season, as well as the second, were made as if they were making a serious show suitable for kids and adults. Instead of being a kids' comic book show, the episodes have a strong "mini-serial-crime-movie" feel, are very story driven and include loads of elements from the popular film noir style of the 1950s. This is evident in such classic episodes such as the season opener "Superman on Earth," "The Stolen Costume" where Superman has his costume stolen by a burglar, and the tense horror-noir "The Haunted Lighthouse." Also included on this DVD set is the 1951 theatrical release "Superman and The Mole Men" which later became the televised two-part episode "The Unknown People." --"Rob Bracco"

Theatrical:

Studio: Paramount

Genre: Television

Duration: 154

Summary: There's no better time of year than Christmas, especially in South Park. So, stop fighting with the family, gather 'round the fire and watch these classic South Park episodes. Join in as the citizens of South Park sing many of everyone's favorite holiday classics like, "Mr Hankey, the Christmas Poo" and "Christmas Time in Hell". See the boys bring Christmas to Iraq and learn how hard it is to be a Jew during this holiday season. Christmas is a time when we all can put aside our differences and agree on what the holidays are really about: presents!

Theatrical: 1954

Studio: Genius Entertainment

Genre: Television

Duration: 30

Summary: Space hero Flash Gordon and his crew of the Galaxy Bureau of Investigation patrol space, battling space monsters, power-mad alien dictators and other threats to the stability of the universe.

Theatrical: 1997

Studio: Paramount

Genre: Television

Duration: 308

Summary: For those "South Park" fans who have wondered if their beloved animated series would lose its satirical edge after a decade on the air, the "Complete Tenth Season" boxed set provides a resounding negative. Creators Matt Park and Trey Stone come out swinging with the season opener, "The Return of Chef," which addresses both the media frenzy churned up over the headline-grabbing "Trapped in the Closet" episode from the previous season, as well as the departure of Isaac Hayes, who voiced the well-loved Chef (and netted the series its highest ratings for a debut episode in years). Not content to leave one religion alone, the show tackles the 2006 riots over the depiction of Mohammed in Dutch newspapers (and delivers a much-deserved zing to "Family Guy") in the two-part "Cartoon Wars" (the revelation of "Family Guy"'s "real" writers is among the funniest notions ever penned for "South Park") and intelligent design in "Go God Go" (Mrs. Garrison is up in arms over being forced to teach evolution until the arrival of Richard Dawkins changes her mind). Also in the show's firing line are such sacred cows as Oprah Winfrey (Towelie pens a faux memoir a la "A Million Little Pieces" in "A Million Little Fibers"), Al Gore (who attempts to drum up interest in his hunt for the mythical "ManBearPig"), environmentalists (who create a new form of pollution with their hybrids in "Smug Alert!"), the popular online game World of Warcraft ("Make Love, Not Warcraft," which earned the series an Emmy nomination) and George W. Bush (who tangles with Kyle over 9/11 in "Mystery of the Urinal Deuce"). Of course, "South Park" wouldn't be "South Park" without moments of jaw-dropping bad taste, and viewers are treated to not one but two jokes about the death of Steve Irwin (including his appearance at a Halloween party thrown by Satan in the critically reviled "Hell on Earth 2006), children with terminal diseases, teacher-student sexual relations, and a whole host of bodily functions and absurdly graphic violence (the latter is provided by a trio of serial killers in "Hell on Earth 2006"). Supplemental features on the three-disc set are limited to a brief introductory commentary track on each of the episodes by Parker and Stone; while short, they underscore the duo's irreverence and highlight some of the trials they underwent to produce the season (in particular, the network's concern over "Cartoon Wars"). "--Paul Gaita"

Theatrical: 2006

Studio:

Genre: Thriller

Summary: Pusit is having the worst day of his life. He just lost his job and is in serious debt. That is all about to change when he receives a mysterious phone call with a tempting offer. If he could complete 13 tasks, he will win 100 million Baht. Pusit agrees and the game begins.

Theatrical: 1986

Studio: MGM

Genre: Thriller

Duration: 110

Summary: Harry Mitchell, an L.A. manufacturer with a fancy car, a nice house, and a wife running for city council, has his life overturned when three hooded blackmailers appear with a video tape of Harry and his young mistress. He's been set up, and they want $100,000. To protect his wife's political ambitions, Harry won't go to the police; instead, he shines them on and then doesn't pay. They up their demands, so he goes on the offensive, tracking them down and trying to turn one against the other. Their sociopathic leader, Alan, responds with violence toward the mistress and menace toward Harry's wife. Will Harry let up and pay off Alan or can he find some other solution?

Theatrical: 1997

Studio: Warner Home Video

Genre: Thriller

Duration: 121

Summary: Director Clint Eastwood's 1997 box-office hit stars himself as Luther Whitney, a highly skilled thief who finds himself in the wrong place at the wrong time, witnessing the murder of a woman involved in a secret tryst with the U.S. president (played by Gene Hackman). Determined to clear his name, Whitney cleverly eludes a tenacious detective (Ed Harris) while investigating a corruption of power reaching to the highest level of government. Adapted by veteran screenwriter William Goldman from David Baldacci's novel, this thriller balances expert suspense with well-drawn characters and an intelligent plot that's just a pounding heartbeat away from real White House headlines. "Absolute Power" features the great Judy Davis in a memorable supporting role as the White House chief of staff who desperately attempts to cover up the crime. "--Jeff Shannon"

Theatrical: 1940

Studio: ROAN

Genre: Thriller

Duration: 62

Summary: Dr. Bernard Adrian is a kindly mad scientist who seeks to cure a young woman's polio. He needs spinal fluid from a human to complete the formula for his experimental serum. Meanwhile, a vicious circus ape has broken out of its cage, and is terrorizing towns people.

Theatrical: 2005

Studio: Universal Studios

Genre: Thriller

Duration: 109

Summary: This is one of the better movies to enjoy as HD DVD version. The picture quality is stunning. 80% of the movie plays at night or in dark environment. That's when you see the difference to the standard DVD: Where the DVD version was murky and impossible to detect any details in dark areas, the HD DVD shines. I was able to see wall structures in finest detail and things like that add to the true movie feeling. I whish there were more HD DVDs like this one.

The sound is good, too. Even though the disk makes no use of the new audio standards for HD DVD, it still rocks. To my ears, it was not better than the DVD version, though. The surround effects are well placed and the subwoofer had plenty to do.

Yeah, I know I only talked about the tech aspect in this review; but HD DVDs are still scarse and early adopters are frankly more interested if the picture and sound quality is good. Believe it or not: Even if this was a really bad movie (and it isn't), most owners of HD DVD players would still watch it just to test their precious high tech home movie theatre.

If you read the other reviews it's clear: The movie IS good. Thank god. Unfortunately, there are only a few really good movies on HD DVDs out there and this is one of them.

Theatrical: 1982

Studio: Verdict Productions Inc.

Genre: Thriller

Duration: 95

Summary: A group of college students accidentally see a local redneck kill his wife. A deadly game of cat-and-mouse ensues, with the students trying to escape the area while the killer sets out to eliminate the witnesses who can tie him to the murder.

Theatrical: 1970

Studio: Universal Studios

Genre: Thriller

Duration: 105

Summary: the beguiled is one of eastwood's and director don siegel's best pairings and the clostest thing clint ever did to a horror movie. i'll say nothing else about that but this civil war gothic thriller will leave you with a chill running up your back. as a yank soldier wounded in battle he finds himself taken in by the girls of a school and being nurseed back to health. clint playes the bad guy here really so before long he is using the women for his own needs. from there well you just have to watch this underrated thriller and see. you will never forget this creepy little thriller i just know you won't. turn down the lights and let the film creep over you

Theatrical: 1989

Studio: Film Workshop

Genre: Thriller

Duration: 105

Summary: At the end of the Vietnam war, Cheung goes to Saigon, intent on bringing his uncle and cousin back to Hong Kong. In Saigon, Cheung meets beautiful gangleader Chow, and relies on her help for their safe return. A love triangle develops between the cousins and Chow Further complicating matters, Chow's lover Ho, a gang leader, appears Ho deports the cousins, and kills their uncle. Cheung and his cousin return to Vietnam seeking revenge, while Chow and Ho also become entangled with a local vietnamese warlord. Chow tries to stop the battle, but the warlord kills Chow and Ho. Just before her death Chow gives the cousins the last two air tickets with which to leave Vietnam

Theatrical: 1963

Studio: Universal Studios

Genre: Thriller

Duration: 119

Summary: Vacationing in northern California, Alfred Hitchcock was struck by a story in a Santa Cruz newspaper: "Seabird Invasion Hits Coastal Homes." From this peculiar incident, and his memory of a short story by Daphne du Maurier, the master of suspense created one of his strangest and most terrifying films. "The Birds" follows a chic blonde, Melanie Daniels (Tippi Hedren), as she travels to the coastal town of Bodega Bay to hook up with a rugged fellow (Rod Taylor) she's only just met. Before long the town is attacked by marauding birds, and Hitchcock's skill at staging action is brought to the fore. Beyond the superb effects, however, "The Birds" is also one of Hitchcock's most psychologically complicated scenarios, a tense study of violence, loneliness, and complacency. What really gets under your skin are not the bird skirmishes but the anxiety and the eerie quiet between attacks. The director elevated an unknown model, Tippi Hedren (mother of Melanie Griffith), to being his latest cool, blond leading lady, an experience that was not always easy on the much-pecked Ms. Hedren. Still, she returned for the next Hitchcock picture, the underrated "Marnie". Treated with scant attention by serious critics in 1963, "The Birds" has grown into a classic and--despite the sci-fi trappings--one of Hitchcock's most serious films. "--Robert Horton"

Theatrical: 1969

Studio: Fantoma

Genre: Thriller

Duration: 86

Summary: A blind sculpter kidnaps a beautiful young model and takes her back to his home. He and his mother live in a warehouse that he has turned into a surreal tribute to the senses. It is filled with huge sculptures of body parts and the female form. He is obsessed with exploring the senses to the fullest. At first, the model only wants to escape from this bizarre scene, but eventually she succumbs to his strange vision and even surpasses his obsession.

Môjû

Theatrical: 2002

Studio: Malpaso

Genre: Thriller

Duration: 110

Summary: Retired FBI profiler Terry McCaleb (Eastwood), who has recently had a heart transplant, is hired by Graciela Rivers (De Jesus), to investigate the death of her sister, Gloria, who happens to have given McCaleb his heart. On the case, he soon deducts that the killer, who staged the murder to look like a random robbery, may actually be a serial killer Terry was trailing for years in the FBI. Can the elderly and feeble McCaleb, who had intended to spend his retirement living on his boat in the Los Angeles harbor, and who can't drive, and has to nap regularly, muster up the endurance to find the killer?

Theatrical: 2004

Studio: Universal Studios

Genre: Thriller

Duration: 108

Summary: When a CIA operation to purchase classified Russian documents is blown by a rival agent--who then shows up in the sleepy seaside village where Bourne (Damon) and Marie (Potente) have been living under assumed names--the pair collapse their lives and head out. Bourne, who promised retaliation should anyone from his former life attempt contact, is forced to once again take up his life as a trained assassin to survive.

Theatrical: 1985

Studio: Anchor Bay

Genre: Thriller

Duration: 92

Summary: Before Penelope Spheeris's directed "Wayne's World," she made another film about a pair of young men. "The Boys Next Door," though, contains little of the offbeat humor that marked the Dana Carvey/Mike Meyers collaboration. You won't find subtle and not so subtle pop culture references punctuated with over the top antics in "The Boys Next Door." Nor will you hear a single reference to "party on." In a way, "The Boys Next Door" resembles Spheeris's other films, namely "The Decline of Western Civilization," in that it looks closely at the sort of young people we don't normally see on television or in the print media. In the case of "Decline," Spheeris examined the effects of punk rock music on select members of America's youth. In "Boys Next Door," it's how the loss of hope leads a select few youngsters to a life of murder and mayhem. The movie, interestingly enough, begins with an error. Pictures of notorious criminals David Berkowitz, Ken Bianchi, and Ed Kemper float by in order to set a context for what we are about to see. Regrettably for the film, Berkowitz, Kemper, and Bianchi were serial killers. The two boys we meet in the movie, Roy and Bo, are spree killers. There is a big difference between the two as anyone interested in true crime stories knows.

Roy Alston (Maxwell Caulfield) and Bo Richards (Charlie Sheen) are just two of your average, everyday kids getting ready to graduate from high school. They are also the loner type, two kids who paired up with each other after the other kids excluded them from the various social circles. Both Roy and Bo are instantly recognizable high school types, at least for those of us perceptive enough to notice those around us during those painful years of compulsory schooling. They are a little rough around the edges, thanks to their miserable home lives and their relative poverty, but occasionally they make tentative overtures to others that are cruelly rebuffed. One can only feel sorry for Bo when he admires one of the prettiest girls in his class from afar, hoping against hope that he can somehow approach her and strike up a meaningful connection. Roy, the more cynical of the two, has long since reconciled himself to being an outcast, and he spends most of his time quashing any kernels of kindness popping up in Bo's mind. There's something more about Roy, something that goes beyond cynicism into the realms of downright cruelty and hatred. We first see it when he talks to a Marine recruiter on campus about joining the Corps so he can kill people. Not good. Later, of course, Roy will give full vent to his murderous rages.

After crashing a graduation party and finding themselves tossed out on the street, the two decide to cruise down to Los Angeles for a day or two for some old fashioned hijinks. Besides, getting away for a few days sounds like a good idea when the only thing they have to come back to is a couple of cruddy jobs at a local factory, jobs that will probably last a lifetime. The two barely enter the Los Angeles area when all heck breaks loose at a gas station. Roy, thinking the attendant ripped him off over two bucks in gas, beats the man to a bloody pulp. Later, at the beach, one of the boys throws a beer bottle that strikes an elderly woman on the head. Two young ladies attempt to confront the pair about the bottle, and one of them ends up taking a ride around the parking lot on the hood of Roy's car. More atrocities follow, all escalating with ferocious brutality. A gay man dies at their hands, as does an attractive young couple whose only crime involved first making eye contact with Bo and later spurning him in a video arcade. By the time Roy murders Angie (Patti D'Arbanville) while she's in the process of wooing Bo, the game is about over. Two cops, Detective Mark Woods (Christopher McDonald) and Detective Ed Hanley (Hank Garrett), have been tracking these two since the gas station heist, and a lucky break puts the boys right in their hands. Or does it?

I remember seeing "The Boys Next Door" back in the mid 1980s on cable. I was impressed with it then and consider it a good movie now. Aside from the misidentification of the two as serial killers, the movie still contains plenty of good performances, good dialogue, and shocking scenes. Sheen and Caulfield both carry off their respective roles convincingly, but Caulfield does the best job in the frightening role of Roy Alston. His speech about how he feels inside sends chills down the spine, as does his transformation from composed youth to shrieking beast. Oddly enough in a film larded with killings, I consider the bottle scene one of the most disturbing in the film. The look on that old lady's face when the bottle conks her on the head is so upsetting that it's not easy to forget, especially when the camera cuts back to Bo and Roy in order to show them laughing about what they did. There's just something about this scene that successfully telegraphs, just as much as the murders, the coldness of these two kids. "The Boys Next Door" does contain at least one unintentionally hilarious scene in the form of Detective Ed Hanley's haircut. Geez, I thought he was wearing a tricorn hat or something!

Extras on the DVD include a commentary with Spheeris and Caulfield, a trailer, and cast biographies. The picture quality looks great for a twenty year old film. I would recommend this movie to most fans of low budget cinema, but it's also got an appeal to Charlie Sheen completists (Is there such a thing? God help us!) and lovers of movies dealing with the criminal mindset.

Theatrical: 1993

Studio:

Genre: Thriller

Duration: 92

Summary:

Theatrical: 1968

Studio: MGM

Genre: Thriller

Duration: 108

Summary: François Truffaut's 1968 thriller was an attempt to reconcile the exclusive experience of the Hitchcockian hero with the expansiveness of Jean Renoir's view of flawed humanity. Jeanne Moreau stars as a newlywed whose husband is shot dead on the church steps following their wedding. The story then follows her systematic and relentless efforts to track down the men who were involved in the killing, murdering each one with a creative efficiency that Truffaut does not mean for us to take too seriously. The film's real point is the interesting tension between the audience's growing knowledge about and sympathy toward the guilty fellows, who really are rather ordinary people, and the narrative hook concerning the heroine's reinvention into a figure of insulated emotion and revenge. (Moreau's character resembles nothing so much as the pathological but vulnerable title character of Hitchcock's "Marnie".) "The Bride Wore Black" (based on a novel by Cornell Woolrich) is not meant to be taken as an object lesson in irony, however. In the finest and most entertaining tradition of Hollywood movies (certainly most of Hitchcock's movies), one can watch Truffaut's film without giving a thought to anything other than its own smooth movement. Take a step back, however, and there are riches to be explored. "--Tom Keogh"

Theatrical: 2000

Studio: Lions Gate

Genre: Thriller

Duration: 99

Summary: The young executive of a publicity agency Henry Creedlow is a man that has repressed morbid thoughts and is walked over by most of his acquaintances: his wife is cheating him with his boss and stealing money of his investments with his best friend; his housemaid is frequently stealing his house and offending him in Spanish; even his annoying poodle does not respect him. While in his daily morning routine listening to a talk show on the radio, he hears a man committing suicide live because he had been felt miserable and disrespected for a long time, and Henry feels impressed with the tragic event. On the next morning, he wakes up with his face covered by a white mask, changing his personality and seeking revenge against those that have humiliated him.

Theatrical: 1998

Studio: Arts Magic

Genre: Thriller

Duration: 87

Summary: The success of his first major film, the experimental, surrealistic Tetsuo: The Iron Man, hurled Shinya Tsukamoto into the midst of the world film scene. With a slew of comparisons to David Lynch, critics hailed Tsukamoto as one of the greatest "style-over-substance" directors of our time: an apt description, as practically all of his early films are brilliantly shot and put together while their stories often feel ever so slightly lacking. With BULLET BALLET, Tsukamoto begins to challenge this mold and emerge as one of the world's greatest storytellers. Still, BULLET BALLET is only his first real attempt at putting story and character on an equal level with polish and style, and as such makes more than a few missteps.



Goda (Shinya Tsukamoto) is a successful director of television commercials - very loosely based, Tsukamoto states, on a man who in the 1970s was called the "Kurosawa of TV commercials" - with a serious, seemingly normal girlfriend of ten years. In the films first few minutes, however, Goda returns home to find her dead: suicide. The police discover that the fun she used was obtained from ties she had, unbeknownst to Goda, with the underworld. Goda's life is instantly changed, though for a short while he is able to keep up appearances, as his entire life is taken over by his urge for vengeance against those who provided his girlfriend with the means to kill herself. For the first (and strongest) half of the film, Goda's life sinks to one objective that controls his every action: obtaining a gun. Along the way, he comes upon the young thugs that he feels caused his girlfriend's death, including another young woman, Chisato (Kirina Mao), who will in many ways echo the behavior of Goda's late lover. When Goda eventually gets his gun by marrying a Korean immigrant, it is soon taken from him. And here, the film falls apart. the thief, Goto (Takahiro Murase), is forced to kill a random individual (he gets to choose, his boss just wants someone to die), but Goto's choice somehow brings a seemingly random hitman (Hisashi Igawa) upon the young gangsters, and in the film's corpse-laiden finale, shows the young people just how dangerous the stakes are in the "games" they play. This last half works fine on paper, but feels awkward, random, and heavy handed in execution.



Wearing nearly half a dozen different hats (including director, writer, director of photography, lead actor, and editor), Tsukamoto somehow manages, as he so often does, to fulfill his responsibilities with a talent, creativity, and energy that is rare even in films when each of those positions are filled by a different individual. Perhaps most notable, however, is his work as the film's director. As such, he manages to weave together elements of various important directors (both from Japanese cinema of the past and Tsukamoto's own international contemporaries). At different moments in the film, he evokes the wild, handheld style of Kinji Fukasaku, the dream-like beauty of Wong Kar-Wai's contemporary films (a sequence where Chisato invades Goda's apartment might have been a deleted scene from Chungking Express), the artistic experimentation of Seijun Suzuki, and, in some of the film's most memorable moments, a unique, almost neo-realistic, take on Eisenstein's montage theory. The film is beautiful to behold, and the care that Tsukamoto obviously put into every frame and every interaction pays off, even if the logic of the events themselves starts to rip the film apart.



As the film's lead actor, Tsukamoto is as good as ever when he calls upon himself to be the generally dry and cold Japanese everyman, with moments of explosive emotion, that has, after a 10 or 15 year hiatus, become so popular again in Japanese cinema. The rest of the cast is generally good as well, but any nuances they may or may not attempt to add to their roles get swallowed up in Tsukamoto's ultra-stylish world, rendering the characters realistic. Tsukamoto successfully imbues Bullet Ballet with the air of a documentary, and in so doing renders each of the performances invisible.



BULLET BALLET's problems are all inherent in the story, a real pity since the film is one of the closest to Tsukamoto's heart. It took reportedly ten or fifteen years from his original concept to Screen. Sadly, but not necessarily surprisingly, this original concept is the film's ending, where an older, war-hardened assassin teaches young hoodlums the terror of violence by forcing them to experience death; Tsukamoto may have been so blinded by his love for this long-held idea that, in creating BULLET BALLET's concept, he couldn't see what a destructive change of pace and tone it would be for the film overall. Still, BULLET BALLET marks a decided shift in Tsukamoto as an artist, and in a variety of ways is a truly mystifying film. It may not be one of his masterpieces, but it is a crucial and intriguing film in his development as a director.



The film actually deserves a little more than three stars, I'd give it 3.5, but I'd rather round down than up since some of Tsukamoto's other films are more imporant viewing than this one.

Theatrical: 2006

Studio: Sony Pictures

Genre: Thriller

Duration: 144

Summary: After receiving license to kill from the MI-6, the secret agent James Bond follows his leads and avoids the destruction of the greatest airplane in the world in Miami plotted by the evil banker Le Chiffre to crash the bonds in the stock market and break the air flight company. The banker loses the funds of international terrorist organizations and organizes a poker game in Casino Royale, in Montenegro, to raise the money of the investors. James Bond travels with the British accountant Vesper Lynd to bet and defeat La Chiffre and force him to look for protection with the MI-6, disclosing the names of the terrorists. James wins, but is double-crossed, in a game of betrayals and murders.

Theatrical: 2004

Studio: Warner Home Video

Genre: Thriller

Duration: 104

Summary: Catwoman is the story of shy, sensitive artist Patience Philips (Halle Berry), a woman who can't seem to stop apologizing for her own existence. She works as a graphic designer for Hedare Beauty, a mammoth cosmetics company on the verge of releasing a revolutionary anti-aging product. When Patience inadvertently happens upon a dark secret her employer is hiding, she finds herself in the middle of a corporate conspiracy. What happens next changes Patience forever. In a mystical twist of fate, she is transformed into a woman with the strength, speed, agility and ultra-keen senses of a cat. With her newfound prowess and feline intuition, Patience becomes Catwoman, a sleek and stealthy creature balancing on the thin line between good and bad. Like any wildcat, she's dangerous, elusive and untamed. Her adventures are complicated by a burgeoning relationship with Tom Lone (Benjamin Bratt), a cop who has fallen for Patience but cannot shake his fascination with the mysterious Catwoman, who appears to be responsible for a string of crime sprees plaguing the city.

Theatrical: 2008

Studio: Fine Cut

Genre: Thriller

Duration: 123

Summary: Joong-ho is a dirty detective turned pimp in financial trouble as several of his girls have recently disappeared without clearing their debts. While trying to track them down, he finds a clue that the vanished girls were all called up by a same client whom one of his girls is meeting with right now.

Theatrical: 2008

Studio: Hollywood Media Bridge

Genre: Thriller

Duration: 90

Summary: A seasoned senior enlisted special operations (spec ops) United States Marine is wounded during combat operations in Iraq. He is retired from the Marine Corps and visits a friend on a ranch in the south west. When he arrives he discovers his friend has disappeared and no one will even admit to knowing of him.

Theatrical: 1997

Studio: New Line

Genre: Thriller

Duration: 100

Summary: Adapted from the controversial novel by J.G. Ballard, "Crash" will either repel or amaze you, with little or no room for a neutral reaction. The film is perfectly matched to the artistic and intellectual proclivities of director David Cronenberg, who has used the inspiration of Ballard's novel to create what critic Roger Ebert has described as "a dissection of the mechanics of pornography." Filmed with a metallic color scheme and a dominant tone of emotional detachment, the story focuses on a close-knit group of people who have developed a sexual fetish around the collision of automobiles. They use cars as a tool of arousal, in which orgasm is directly connected to death-defying temptations of fate at high speeds. Ballard wrote his book to illustrate the connections between sex and technology--the ultimate postmodern melding of flesh and machine--and Cronenberg takes this theme to the final frontier of sexual expression. Holly Hunter, James Spader, and Deborah Unger are utterly fearless in roles that few actors would dare to play, and their surrender to Cronenberg's vision makes "Crash" an utterly unique and challenging film experience. It's rated NC-17, so don't say you weren't warned! "--Jeff Shannon"

Theatrical: 2004

Studio: Sony Pictures

Genre: Thriller

Duration: 100

Summary: Chief Niemans is investigating a series of ritual murders: The victims are crucified. He teams up with young officer Reda, who gets embroiled after a man dressed as a monk tries to kill a confused guy Reda picked up on the street. Together with a specialist on christian mythology they uncover a mysterious group called "Angels of the Apokalypse".

Theatrical: 2002

Studio: MGM

Genre: Thriller

Duration: 118

Summary: Set in the Los Angeles Police Department in April 1992, Dark Blue is a dramatic thriller that takes place just days before the acquittal of four white officers in the beating of black motorist Rodney King and the subsequent L.A. riots. In this racially-charged climate,the LAPD's elite Special Investigations Squad (SIS) is assigned a high-profile quadruple homicide. As they work the case, veteran detective Eldon Perry, known for his tough street tactics and fiery temper, tutors SIS rookie Bobby Keough in the grim realities of police intimidation and corruption. Meanwhile, Assistant Chief Holland, the only man in the department willing to stand up to the SIS, threatens to end Perry's brand of singlehanded "justice" on the Los Angeles streets. While navigating through the tumultuous neighborhoods of South Central L.A., Perry and Keough must track down cold-blooded killers and face their own demons, which prove to be more ruthless than the criminals they pursue.

Theatrical: 1974

Studio: Paramount

Genre: Thriller

Duration: 93

Summary: This controversial, 1974 drama exploits urban paranoia and presents vigilantism as cathartic release. But it is also a captivating, Everyman-ish story of a New Yorker who goes through a sea change after crime depletes his family, and who runs afoul of the law while taking it into his own hands. Charles Bronson stars as the vengeance-seeking urban warrior who goes on a punk-killing spree after his wife and daughter are attacked by intruders. Director Michael Winner ("The Wicked Lady") shamelessly builds upon audience identification with Bronson's rage, but he also makes an interesting story out of the latter's tug-of-war with disapproving police. It's an unpleasant film all around, but not nearly as bad as its horrifying, numerous sequels. Watch for a very young Jeff Goldblum--in this, his second movie--as one of the assailants of Bronson's loved ones. "--Tom Keogh"

Theatrical: 1972

Studio: Warner Home Video

Genre: Thriller

Duration: 109

Summary: One of the key films of the 1970s, John Boorman's "Deliverance" is a nightmarish adaptation of poet-novelist James Dickey's book about various kinds of survival in modern America. The story concerns four Atlanta businessmen of various male stripe: Jon Voight's character is a reflective, civilized fellow, Burt Reynolds plays a strapping hunter-gatherer in urban clothes, Ned Beatty is a sweaty, weak-willed boy-man, and Ronny Cox essays a spirited, neighborly type. Together they decide to answer the ancient call of men testing themselves against the elements and set out on a treacherous ride on the rapids of an Appalachian river. What they don't understand until it is too late is that they have ventured into Dickey's variation on the American underbelly, a wild, lawless, dangerous (and dangerously inbred) place isolated from the gloss of the late 20th century. In short order, the four men dig deep into their own suppressed primitiveness, defending themselves against armed cretins, facing the shock of real death on their carefully planned, death-defying adventure, and then squarely facing the suspicions of authority over their concealed actions. Boorman, a master teller of stories about individuals on peculiarly mythical journeys, does a terrifying and beautiful job of revealing the complexity of private and collective character--the way one can never be the same after glimpsing the sharp-clawed survivor in one's soul. "--Tom Keogh"

Theatrical: 2005

Studio: Image

Genre: Thriller

Duration: 91

Summary: Full of road-weary travelers with secrets to keep and lies to tell, a gritty tour bus follows a sun-baked desert highway. But one fiendish spirit rides among them with a brutal plan to cull the passengers, one life at a time. Making their way through the jagged mountains and brutal stretches of sand along Devil's Highway, they turn on each other as despair and terror overtake them until only a few remain in this disturbing tale of survival. Featuring a talented cast that includes: Shane Brolly (Underworld) Natassia Malthe (Elektra, Chaos) Robert Miano (Donnie Brasco) Al Sapienza(The Sopranos)

Theatrical: 2005

Studio:

Genre: Thriller

Duration: 105

Summary: Two teenagers joining the same class in a high school die on the same day. The one to be top of the class is killed by a big knife on the street, the other - the second best of the class indeed - seems to be jumped from the top of the school building. Everybody believes that he first killed his classmate and than himself. But when the police finds small pill boxes into the stomachs of both kids confessing their murder two South Korean cops are torn into a new case of murder series. While they try to hunt down the serial killer, more pupils are getting killed...