Despite an irritating, tacked-on voice-over narration that somebody must have thought was necessary to make sense of the story (it wasn't), Last of the Dogmen is actually a very moving and magical film. Tom Berenger plays a Montana bounty hunter who helps an anthropologist (Barbara Hershey) search for the descendants of a Cheyenne tribe who disappeared in the 1870s. What the two find in a remote mountain stretch is an entire community of Cheyenne who have kept themselves cut off from the modern world. A Dances with Wolves parallel emerges as the white outsiders gradually fit in, but Last of the Dogmen stands up just fine without comparison to any other films. As in Kevin Costner's Oscar-winning movie, however, there are ways in which this film captures a similar sense of yearning, mystery, and loss. -Tom Keogh.

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. [+]

Desperadoes cringed when the bullwhip cracked. Features: About Fuzzy St. John - Rare Previews - The Early Years - How To Use The Bullwhip - Plus Bonus Rare Episode TV Series "Lash Of The West".

Shackleton is not a biopic of the great Anglo-Irish explorer but a dramatization of the failed trans-Antarctic expedition of 1914-1916. As written and directed by Charles Sturridge (Longitude), the production, filmed on real ice floes in Greenland, stays remarkably close to the facts, capturing the look of the surviving expedition photos by Frank Hurley (collected in the book South with Endurance) with great fidelity. Kenneth Branagh makes no attempt at an authentic accent but otherwise gives a powerful impression of a most commanding personality. When the expedition ship Endurance became locked in the Antarctic ice, Shackleton vowed to bring every man home alive, and against virtually impossible odds, including a 700-mile journey in an open boat through some of the worst seas in the world, he did just that. This superlative miniseries realizes the story with production values and cinematography that would not disgrace a big-budget feature (South, Hurley's 1919 silent movie featuring some motion-picture footage from the expedition, is also available on video). Intense physical drama, strong performances, and Adrian Johnston's fine score combine here to deeply moving effect, marred only a little by a rushed conclusion. With Roland Huntford, author of the definitive Shackleton biography, as production advisor, this easily stands as the benchmark for all future comparable films. -Gary S. Dalkin.

Like its predecessor Ocean's Eleven, Ocean's Twelve is a piffle of a caper, a preposterous plot given juice and vitality by a combination of movie star glamour and the exuberant filmmaking skill of director Steven Soderbergh (Out of Sight, The Limey). The heist hijinks of the first film come to roost for a team of eleven thieves (including the glossy mugs of Brad Pitt, Matt Damon, Bernie Mac, and Don Cheadle), who find themselves pursued not only by the guy they robbed (silky Andy Garcia), but also by a top-notch detective (plush Catherine Zeta-Jones) and a jealous master thief (well-oiled Vincent Cassel) who wants to prove that team leader Danny Ocean (dapper George Clooney) isn't the best in the field. As if all that star power weren't enough-and the eternally coltish Julia Roberts also returns as Ocean's wife-one movie star cameo raises the movie's combined wattage to absurd proportions. But all these handsome faces are matched by Soderbergh's visual flash, cunning editing, and excellent use of Amsterdam, Paris, and Rome, among other highly decorative locations. The whole affair should collapse under the weight of its own silliness, but somehow it doesn't-the movie's raffish spirit and offhand wit soar along, providing lightweight but undeniable entertainment. -Bret Fetzer.