The swordplay never ends in this dazzling, Dumas-like adventure of conspiracy and revenge, set around 1700 and presented here in its seventh filmed incarnation, directed by French New Wave titan Philippe de Broca (That Man from Rio). Daniel Auteuil plays Legardere, a callow swordsman who becomes friend to and bodyguard of the Duke of Nevers (Vincent Perez). When the latter is assassinated by his scheming cousin, Gonzague (Fabrice Luchini), Nevers's daughter, Aurore (Marie Gillain), is left in the care of Legardere, who raises her within the protective camouflage of a traveling troupe of actors. Years later, back in Paris, Legardere exacts a complicated retribution under Gonzague's nose, determined to give Aurore the life and inheritance she deserves. This exceptionally handsome film is an all-out adventure, but the witty de Broca is not one to settle for mere derring-do. The great Auteuil (The Girl on the Bridge) proves as funny as he is heroic. -Tom Keogh.

Curtis Dupont has been making real, no fake female wrestling, catfighting, boxing and mix-match wrestling videos for over 30 years. Featuring Hollywood's toughest, meanest, nastiest, sadistic brawlers and some of the sexiest female fighting videos shot by professional film crews. Our camera crews are all wrestling fans and are skilled in capturing the hottest fighting action for your viewing pleasure. The fights explode on your TV screen and you feel you're right there in the middle feeling every painful hold, kick, slap, moan and groan. All Curtis Dupont fighting adventures have exciting stories to add to the thrill of the fight. The videos are approximately 55 minutes with previews of other Curtis Dupont videos at the end.

The only remaining evidence that Sylvester Stallone might have had a respectable career, this 1976 Oscar winner (for Best Picture, Director, and Editing) is still the quintessential ode to an underdog and one of the best boxing movies ever made. After writing the script about a two-bit boxer who gets a "million-to-one shot" against the world heavyweight champion, Stallone insisted that he star in the title role, and his equally unknown status helped to catapult him (and this rousing film) to overnight success. The story is familiar, but it has been handled with such vitality and emotional honesty that you can't help but leap and cheer for Rocky Balboa, the chump turned champ (despite his valiant defeat in the ring) who stuns the boxing world with the support of his timid girlfriend, Adrian (Talia Shire), and grizzled trainer, Gus (Burgess Meredith). Oscar nominations went to all the lead actors (including Burt Young as Adrian's hot-tempered brother), but four sequels could never top the universal appeal of this low-budget crowd pleaser. -Jeff Shannon.

This film contains graphic violence and brief nudity. Known as Gunnm in Japan and then Battle Angel Alita to Western manga readers, Battle Angel (in all of its incarnations) is now part of the canon of Blade Runner-inspired anime cyberpunk. The film version follows a "Hunter Warrior" and cyborg healer named Ido. Ido formerly lived in the floating land of Zalem (Tiphares in the book), the paradise that hovers over the refuse heap of Scrap Iron City in which he now resides with his former lover, Chiren. In his travels as a bounty hunter (killing spine thieves in a world in which human nerve tissue has become the most precious commodity), Ido one day discovers and repairs the remnants of a cyborg whom he names Gally (Alita in the manga). Though possessing the body of a young woman, Gally embodies Ido's most sophisticated and lethal cybernetic skill. In the first episode on the DVD, "Rusty Angel," Gally challenges Chiren's own creation, Greweicia-a brain-eating gladiator-to a death match. In "Tears Sign" Gally discovers that her first love, Yugo, has put himself in the employ of the spine trader Vector so that he can earn his way, he thinks, to Zalem. Gally confronts her fellow bounty hunters to protect Yugo, only to watch him horribly wounded in a plot to capture her for Vector. Yukito Kishiro's finely detailed line drawings in the original manga (like a cleaner version of Miyazaki's style in the Nausicaa books) are impossible to translate into film. [+]

A dramatic recreation of the daring raid on Entebbe in which Israeli commandos rescued 104 hijacked passengers from a plane held by terrorists. Produced and filmed with the full cooperation of the Israeli government and military.

Volumes 1-6 of the Mission: Impossible Home Video series in a single box set with slip cover are featured here. VOL 1: The Pilot Episode and The Photographer, VOL 2: The Carriers and The Seal; VOL 3: The Council (Part 1 & 2); VOL 4: The Mercenaries and The Exchange; VOL 5: The Mind of Stefan Miklos and Live Bait; VOL 6: The Bunker (Part 1 & 2). The set is manufactured by Paramount Home Video.

Director David Lean's masterful 1957 realization of Pierre Boulle's novel remains a benchmark for war films, and a deeply absorbing movie by any standard-like most of Lean's canon, The Bridge on the River Kwai achieves a richness in theme, narrative, and characterization that transcends genre. The story centers on a Japanese prison camp isolated deep in the jungles of Southeast Asia, where the remorseless Colonel Saito (Sessue Hayakawa) has been charged with building a vitally important railway bridge. His clash of wills with a British prisoner, the charismatic Colonel Nicholson (Alec Guinness), escalates into a duel of honor, Nicholson defying his captor's demands to win concessions for his troops. How the two officers reach a compromise, and Nicholson becomes obsessed with building that bridge, provides the story's thematic spine; the parallel movement of a team of commandos dispatched to stop the project, led by a British major (Jack Hawkins) and guided by an American escapee (William Holden), supplies the story's suspense and forward momentum. Shot on location in Sri Lanka, Kwai moves with a careful, even deliberate pace that survivors of latter-day, high-concept blockbusters might find lulling-Lean doesn't pander to attention deficit disorders with an explosion every 15 minutes. Instead, he guides us toward the intersection of the two plots, accruing remarkable character details through extraordinary performances. Hayakawa's cruel camp commander is gradually revealed as a victim of his own sense of honor, Holden's callow opportunist proves heroic without softening his nihilistic edge, and Guinness (who won a Best Actor Oscar, one of the production's seven wins) disappears as only he can into Nicholson's brittle, duty-driven, delusional psychosis. His final glimpse of self-knowledge remains an astonishing moment-story, character, and image coalescing with explosive impact. Like Lean's Lawrence of Arabia, The Bridge on the River Kwai has been beautifully restored and released in a highly recommended widescreen version that preserves its original aspect ratio. -Sam Sutherland Director David Lean's masterful 1957 realization of Pierre Boulle's novel remains a benchmark for war films, and a deeply absorbing movie by any standard-like most of Lean's canon, The Bridge on the River Kwai achieves a richness in theme, narrative, and characterization that transcends genre. [+]

It's tough trying to beat the 1934 version of the popular adventure-romance story, starring Leslie Howard as the 18th-century British hero who poses as a fop in London society but runs a secret mission to rescue the doomed in Robespierre's Paris. But this 1982 television version, starring Anthony Andrews (Under the Volcano) as the Pimpernel and Jane Seymour as his beloved but estranged wife, is quite a treat. Andrews and Seymour expertly capture the essence of a relationship suffering from misunderstandings and elusive passion, and there is plenty of crackle to the action sequences. Clive Donner (What's New, Pussycat?) brings some strong cinematic qualities to this television presentation. -Tom Keogh.