Dolby Digital 2.0 (French)

The only thing I knew about Extras as of a couple of weeks ago was that Ricky Gervais and Stephen Merchant were behind the show, the follow-up to their cult hit The Office, which has been adapted into a Steve Carell vehicle to showcase his talent. Seeing very little on The Office and not being familiar with Gervais' work, I downloaded the first episode of the second season of Extras from iTunes (Season Two recently resumed airing on HBO), and I found it one of the funnier things I've seen in recent memory, and not just because it didn't cost me anything.

Gervais plays Andy, a background artist who has appeared in numerous films through the years, and with the company of his friend Maggie (Ashley Jensen, Ugly Betty) and his truly unprofessional agent (played by Merchant), who seems to always stay out of touch with Andy and gives his roles to other people.

The Rock � sorry, Dwayne Johnson � sure has come a long way from his melodramatic days as a WWE superstar. His first major film role, as the Scorpion King in 2001�s The Mummy Returns was more about his physical presence than any acting ability. Two years later, he proved he could handle action comedy with The Rundown. Now, with Gridiron Giants, Johnson has added the drama notch to his genre belt.

The film, based on a true story and following a 1993 TV documentary of the same name, tells...the story of a group of juvenile criminals who learn how to turn their lives around through participation in a football team, coached by their detention center supervisor (Johnson).

Con movies are nothing new to Hollywood. Each has that character who thinks they�re on top of the world behind this bullet proof armor only to eventually realize that they�ve either been played or been watched the entire time. I suppose what makes con films work on the level they do is that these characters (admit it!) are all committing acts we�d love to even THINK about committing. The only problem is that we�re not even that badass of a person to even attempt it. Having never seen this film, I figured I�d get a fairly entertaining film with decent acting and an interesting enough plot. Boy was I mistaken about this one. Oscar awarded 1973 film The Sting has easily become my favorite con film.

Johnny Hooker (Robert Redford) is a small-time con man from Joliet, Illinois. Hooker and his buddies Luther Coleman (Robert Earl Jones) and Joe Erie (Jack Kehoe) steal $11K from a victim without the victim ever knowing. After this huge success, Luther tells Johnny that he wants to retire from this gig of crime so he can move to Kansas City, Missouri. He tells Hooker to seek out his old friend named Henry Gondroff.

Invincible (2006) marks the latest in a string of sports-underdog films from Disney, following such hits as 2002's The Rookie and 2004's Miracle. This time, we have a film inspired by the real-life Cinderella story of Philadelphia Eagles' alumnus Vince Papale.

Papale's story is so similar to that of fictional Philadelphia son, Rocky Balboa, that calling Invincible a remake of Sylvester Stallone's Rocky isn't much of a stretch. But then, the sports long-shot genre is tried and true, so as far as my enjoyment goes, I have few issues with this film's formulaic plot.

Bernardo Bertolucci is no stranger to controversy. His Last Tango In Paris caused quite a bit of noise when it was released. Novecento, as 1900 is known in its original Italian, has been a subject of controversy for decades. Since its 1976 original Italian release, American studios have been cautious about releasing the film in the states, at least as it was originally intended. First there is the running time. The film clocks in at over 5 hours. Theaters in the US face fierce competition for movie goers’ dollars. The economics of the industry make such a long film simply impracticable even in 1976. There were other problems. A short version was eventually brought to the United States, but the unprecedented violence and sexual images required the then dreaded X rating. Even with today’s more forgiving mores, 1900 would certainly have received an NC-17 rating. The political subjects are also problematic. Americans need good guys and bad guys. This film blurs those lines. The competing forces here are Fascist and Socialist. Neither group is embraced here by anyone other than the far left wing of the Democratic Party. Finally, foreign language films serve a very small niche even with today’s public. Mel Gibson broke down some of those barriers recently, but the hardship remains. I must confess, I am not drawn to films requiring subtitles. I find relying on reading the dialogue a distraction. I watch films with a careful eye toward detail. Reading subtitles simply doesn’t allow me the luxury to observe the subtle nuances of a film. It is these minute details that more often than not create a great film. Enter 2006, and the DVD has removed each of these problems. Sitting in the comfort of my own theater, I can pause when I wish and take multiple breaks. The DVD offers me an English dubbed version which allows me to see those magical details that a film like this requires. The dubbed version also has the added bonus of allowing me to hear Robert DeNiro’s and Donald Sutherland’s voices. Like many film connoisseurs, I had only heard of this film. Now I had the chance to enjoy it in comfort and style.

1900 benefits from an extraordinary cast. American staples Robert DeNiro, Donald Sutherland, and Burt Lancaster lead a mostly Italian supporting cast. Sutherland is absolutely evil as the Fascist enforcer, Attila. His mutilation of a cat is quite an infamous scene. Although it wasn’t quite as graphic as legend had proclaimed, it is disturbing just the same, made more so by the gleeful way Sutherland revels in the act. Robert DeNiro shows flashes of the brilliance that would become his trademark. The character is often moody and perhaps not written with as much passion as DeNiro provides. Burt Lancaster has a small but potent role as Alfred’s grandfather. It helps to establish some historic place mark for the film. Finally, French actor Gerard Depardieu provides an uneven portrayal of Olmo. At times he provides incredible passion and depth in the role. Still, there are moments he seems almost uninterested. The chemistry with DeNiro is a little awkward and never really clicks. This is a huge shame, as this relationship is vital to the story.

Certain Christian churches and organizations in North America preach something often called �the prosperity gospel.� In a nutshell, this refers to the idea that God wants us to be rich, physically, emotionally and materially.

It�s a pretty controversial message, but also a very attractive one. After all, what could be better than marrying Christianity to the American dream?

Some of you might know the book Fear and Loathing in Las Vegas: A Savage Journey to the Heart of the American Dream, then others of you might known the movie simply called Fear and Loathing in Las Vegas, but one way or another you know about the crazy days Hunter S. Thompson had in Vegas. Hunter Thompson along with his buddy Oscar Zeta Acosta are the credited creators of Gonzo Journalism (Journalism with indistinct lines between fact and fiction), so the book and movie are partially based on their accounts, except replace Thompson with Raoul Duke (Johnny Depp) and Acosta with Dr. Gonzo (Benicio del Toro). The movie is very similar to the book, and Thompson had a large role in the production of the film, even lending Depp clothes and accessories for authenticity.

Raoul Duke and lawyer buddy Dr. Gonzo are sent to Las Vegas to cover a motorcycle race for a magazine, to prepare for the trip the two have come armed with two bags of grass, seventy-five pellets of mescaline, five sheets of high-powered blotter acid, a saltshaker half-full of cocaine, and a whole multi colored collection of uppers, downers, laughers, screamers... Also, a quart of tequila, a quart of rum, a case of beer, a pint of raw ether, and two dozen amyls. It goes without saying that the rest of the movie consists of these two and there adventures around Las Vegas while taking copious amounts of narcotics, and I can assure there is very minimal journalism done.

Truth be told ladies and gentlemen, before receiving The Breakfast Club in for review, I couldn�t even begin to fathom the fan base this film has had since its 1985 release. After all how interesting does a film where 5 students are put in detention sound? After seeing the film, I believe the interest lies not necessarily in the basic premise of the film, but the overall impact the five students have on themselves and, more importantly, the viewer.

Crammed inside their school library, 5 different students all of different social status, intelligence and build must spend their Saturday serving detention. We have the Jock (Emilio Estevez), the Brian (Anthony Michael Hall), the Criminal (Judd Nelson), the Princess (Molly Ringwald) and the Kook (Ally Sheedy), most of who have never spoken a word or even glanced at one another. Even though these 5 different students never got along with each other before this day, by the end of the film they all develop a bond none of them figured they ever would. Each open themselves up revealing sides about themselves never heard before. As the tagline tells us, to the outside world these 5 students were the Jock, the Brian, the Criminal, the Princess and the Kook, but to each other they will always be The Breakfast Club.

For the longest time I avoided Field of Dreams. This is simply because I�ve never really liked Kevin Costner as an actor, and mainly because I figured a film about baseball starring him would be boring. Boy was I wrong on this one. Sure Field of Dreams isn�t the best film ever made, but damn if it�s not a film that one can�t help but enjoy slowly falling for the story, characters and surroundings.

Ray Kinsella (Costner) is a simple man who has a lovely wife named Annie (Amy Madigan). Ray decides to move to Iowa soon buying a farm. One night, while in the crops, Ray beings to hear a calm, subdued voice that repeats, �if you build it, he will come�. Ray begins to think it�s a sound truck or a bunch of kids playing a joke. Soon the chant happens again only this time Ray sees a vision of a baseball field. (Remember the scandal surrounding the 1918 White Sox where 8 of them were suspended over apparently being paid to throw the World Series). Once the field is built, Ray�s young daughter Karin (Gaby Hoffmann) tells her daddy that a strange man is walking in the field. Ray goes out and sees none other than Shoeless Joe Jackson (the always fabulous Ray Liotta). The rest of the film follows Ray receiving more clues that lead him to meeting more players including one particularly important player.

Here we go, with another rise and fall story in the underworld. Two young friends in Jamaica, Biggs and Wayne, grow up separately to become powerful gangsters (the “shottas” of the title). After a prolonged separation, they reunite in Kingston, and the story takes them back and forth between that city and Miami as they climb the drug totem pole, heading for the inevitable fall shown pre-credits.

All the characters speak Jamaican patois, making subtitle necessary. This and the vision of the grinding poverty of Kingston give a certain freshness to the film, but the storyline is utterly hackneyed, and we know nothing about the characters we are following, let alone have any reason to sympathize with them. Attitudes toward women are, as one might expect, antediluvian. Imagine a Grand Theft Auto storyline presented with all the humour and satire removed, and this is what you’d get.