The second half of this massive miniseries covers events from the last two years of World War II with members of our fictitious family-the Henrys-scattered throughout the world. Pariah "Pug" Henry (Robert Mitchum) visits Russia and England as an advisor-and proposes to his much-younger lover, Pamela (Victoria Tennant)-before retuning to the Pacific theater to join his son Byron (Hart Bochner), a submariner, in battling the Japanese. Meanwhile, Byron's wife, Natalie (Jane Seymour), and her uncle (John Gielgud) continue their harrowing plight, starting in the "Paradise Ghetto" and leading to the Auschwitz concentration camp. This half-11. 5 hours-aired on ABC in May 1989, six months after the first half. Unfortunately there is no kinetic battle sequence like the first half's Midway clash to absorb the viewer. Director Dan Curtis relies more on newsreel footage (and the sometimes heavy-handedness of narrator William Woodson) to cover large events. To compensate, the filmmakers give inordinate screen time to the conspiracy to kill Hitler (Steven Berkoff) by his inner circle. Like in Herman Wouk's novel, Hitler's decision to eliminate the Jews is the backbone of the entire series and the film's steely reenactments of these events-an amazing achievement for network television-is quite harrowing. Authenticity (filming at Auschwitz) plus ace performances (Seymour has been rarely better, Gielgud is outstanding) combine for a powerful statement, although the whole production is sometimes weighed down by the soap-opera elements of the Henrys' lives. [+]

The story revolves around a young gay boy, the son of a Baptist preacher, who has not spoken since he witnessed a traumatic murder at a very young age. He is driven from his back country home by his abusive father, and travels to Olympia where he meets a young store owner who takes him in. This is the heartwarming story of young love set in Washington state. Follow this young pair as they fall in love and through caring and understanding the young boy regains his ability to speak.

The best parts of SUPERMAN (1948), a 15-chapter serial produced by Columbia Pictures, are found in the first three or so chapters when we see a lot of Superman lore adapted to film, including the destruction of Krypton, young Clark growing up on a farm with the Kents, and Clark coming to Metropolis and joining the staff of the Daily Planet. We also get to see Superman do lots of superheroic deeds such as rescuing people from disasters. Afterwards, however, it settles into a standard cliffhanger formula with Superman battling the Spider Lady (Carol Forman), a conventional serial villainess and criminal gang leader who sends her standard-issue thugs and henchmen (middle-aged guys in suits, ties and fedoras) out to kidnap Lois and knock out Jimmy Olsen with growing monotony in every episode. On the plus side, the Superman flying effects are carried out through cartoon animation. This enables Superman to be seen flying through a variety of locales. (If Republic Pictures had shot this, they would have repeated the same shot over and over of a stuntman in costume flying on a wire strung from one rock in the San Fernando Valley to another. ) Also, Noel Neill's Lois is as spunky here as the character ever got. Bright-eyed and bushy-tailed, the ever-smiling Lois plunges into the action wholeheartedly time and time again, frequently making Superman look weak and overly cautious in comparison. Neill played the part again in the sequel, ATOM MAN VS. SUPERMAN, and later in all but the first season of the TV series.

One of Sam Peckinpah's most controversial efforts, this film came out at a critical moment in the early 1970s, released in the same month as both Dirty Harry and A Clockwork Orange, causing a furor over film violence. Based on a little-known British novel, the film casts Dustin Hoffman as a bookish American mathematician on sabbatical in rural England, in the town where his young bride (Susan George) grew up. He finds himself forced to defend his home against an assault by local toughs, and discovers a frighteningly feral and vicious side to himself. Though Straw Dogs has a reputation for graphic violence, it actually looks tame by contemporary standards. Instead, the violence is psychological, and the suspense and shocks are induced by the editing-you're more terrified by what you think you see than by what you are actually shown. -Marshall Fine.

This extremely rare video features Maestro Peter Urban the founder of American Goju Do and also America's first 10th dan. You will see rare footage of him performing at Manhatten Centre in the 1960's and as well he performs all the kata of USA Goju at both learning and performance speeds. This 1979 video is the first time it has ever been made available for the public and is sanctioned by Maestro Urban himself. Don't be disappointed and missout on this rare entertaining and informative video.

Not an ideal choice for younger kids, this hip and violent animated feature from Disney was nevertheless a huge smash in theaters and on video, and it continues to enjoy life in an acclaimed Broadway production. The story finds a lion cub, son of a king, sent into exile after his father is sabotaged by a rivalrous uncle. The little hero finds his way into the "circle of life" with some new friends and eventually comes back to reclaim his proper place. Characters are very strong, vocal performances by the likes of Jeremy Irons, Nathan Lane, and Whoopi Goldberg are terrific, the jokes are aimed as much (if not more) at adults than kids, the animation is sometimes breathtaking, and the music is more palatable than in many Disney features. But be cautious: this is too intense for the Rugrat crowd. -Tom Keogh Anybody who struts around with Simba's hard-won authority deserves this royal DVD read-along from Disney. Kids can recoil at Uncle Scar's dastardly deeds en español and discover that "hakuna matata" sounds pretty much the same in Spanish, French, Italian, or German. And should the dynamic storytelling fail to thrill your 4- to 12-year-old fan, a flurry of other interactive options await. Toggle to "Songs" for sing-along renditions of movie hits, including "I Just Can't Wait to Be King," and on to "Music Videos," where Elton John roars soundtrack favorites "Circle of Life" and "Can You Feel the Love Tonight" and Jimmy Cliff and Lebo M groove to "Hakuna Matata. " The "Vocabulary" feature allows for see-and-say mastery of a list of wildlife, while the "Game" section allows players to match paw and hoof prints to the proper beast and reassemble the scattered skeletal remains of an elephant. [+]

In this Cold War thriller, Charlie Muffin has survived a death trap set by his own colleagues. Now they seem to need him more than ever as a top Soviet General has agreed to defect. Muffin suspects another trap - but in this no-win game, he?s prepared to break all the rules to survive.

The second half of this massive miniseries covers events from the last two years of World War II with members of our fictitious family-the Henrys-scattered throughout the world. Pariah "Pug" Henry (Robert Mitchum) visits Russia and England as an advisor-and proposes to his much-younger lover, Pamela (Victoria Tennant)-before retuning to the Pacific theater to join his son Byron (Hart Bochner), a submariner, in battling the Japanese. Meanwhile, Byron's wife, Natalie (Jane Seymour), and her uncle (John Gielgud) continue their harrowing plight, starting in the "Paradise Ghetto" and leading to the Auschwitz concentration camp. This half-11. 5 hours-aired on ABC in May 1989, six months after the first half. Unfortunately there is no kinetic battle sequence like the first half's Midway clash to absorb the viewer. Director Dan Curtis relies more on newsreel footage (and the sometimes heavy-handedness of narrator William Woodson) to cover large events. To compensate, the filmmakers give inordinate screen time to the conspiracy to kill Hitler (Steven Berkoff) by his inner circle. Like in Herman Wouk's novel, Hitler's decision to eliminate the Jews is the backbone of the entire series and the film's steely reenactments of these events-an amazing achievement for network television-is quite harrowing. Authenticity (filming at Auschwitz) plus ace performances (Seymour has been rarely better, Gielgud is outstanding) combine for a powerful statement, although the whole production is sometimes weighed down by the soap-opera elements of the Henrys' lives. [+]