A propos du DVD :
Dix années ont passé depuis les événements de La Menace fantôme… Padme Amidala, devenue sénatrice, s'oppose fermement à la création d'une armée de la République, destinée à contrer les complots séparatistes de plusieurs sénateurs. Des menaces de mort planant sur elle, l'Ordre Jedi décide d'envoyer à ses côtés pour la protéger Obi-Wan et son jeune disciple Anakin, qui n'a pas oublié Padme… Second volet de la saga galactique, L'Attaque des clones a su combler toutes les attentes des fans et des autres : un scénario étoffé, des personnages aux dimensions psychologiques approfondies, des combats attendus et très loin d'être décevants – notamment entre Obi-Wan et Jango Fett, sous la pluie (une première pour un combat au sabre laser !) –, et surtout le duel final opposant le sage Yoda au maléfique et athlétique comte Dooku, interprété par un Christopher Lee étonnant (soixante-dix-neuf ans au moment du tournage…), sont parmi les nombreux morceaux de bravoure du film… Les effets spéciaux se sont affinés, et le bonheur provient particulièrement de tous les indices, les éléments d'explication sur tous les mystères parsemés au fil des trois premiers épisodes. Inutile de préciser que, comme à l'accoutumée, les DVD sont truffés de suppléments, et qu'il vous faudra des heures avant d'arriver au terme de cette attaque ultime. —David Rault

The Star Wars saga is now complete on DVD with Episode III REVENGE OF THE SITH. Torn between loyalty to his mentor Obi-Wan Kenobi and the seductive powers of the Sith Anakin Skywalker ultimately turns his back on the Jedi thus completing his journey to the dark side and his transformation into Darth Vader. Experience the breathtaking scope of the final chapter in spectacular clarity and relive all the epic battles including the final climactic lightsaber duel between Anakin and Obi-Wan.System Requirements:Starring: Ewan McGregor Natalie Portman Hayden Christensen Ian McDiarmid Samuel L. Jackson Christopher Lee Directed By: George Lucas Running Time: 140 Min.Format: DVD MOVIE Genre: SCI-FI/FANTASY Rating: PG-13 UPC: 024543203094 Manufacturer No: 2230309

"I have a bad feeling about this," says the young Obi-Wan Kenobi (played by Ewan McGregor) in Star Wars: Episode I, The Phantom Menace as he steps off a spaceship and into the most anticipated cinematic event... well, ever. He might as well be speaking for the legions of fans of the original episodes in the Star Wars saga who can't help but secretly ask themselves: Sure, this is Star Wars, but is it my Star Wars? The original elevated moviegoers' expectations so high that it would have been impossible for any subsequent film to meet them. And as with all the Star Wars movies, The Phantom Menace features inexplicable plot twists, a fistful of loose threads, and some cheek-chewing dialogue. Han Solo's swagger is sorely missed, as is the pervading menace of heavy-breathing Darth Vader. There is still way too much quasi-mystical mumbo jumbo, and some of what was fresh about Star Wars 22 years earlier feels formulaic. Yet there's much to admire. The special effects are stupendous; three worlds are populated with a mélange of creatures, flora, and horizons rendered in absolute detail. The action and battle scenes are breathtaking in their complexity. And one particular sequence of the film—the adrenaline-infused pod race through the Tatooine desert—makes the chariot race in Ben-Hur look like a Sunday stroll through the park.

Among the host of new characters, there are a few familiar walk-ons. We witness the first meeting between R2-D2 and C-3PO, Jabba the Hutt looks younger and slimmer (but not young and slim), and Yoda is as crabby as ever. Natalie Portman's stately Queen Amidala sports hairdos that make Princess Leia look dowdy and wields a mean laser. We never bond with Jedi Knight Qui-Gon Jinn (Liam Neeson), and Obi-Wan's day is yet to come. Jar Jar Binks, a cross between a Muppet, a frog, and a hippie, provides many of the movie's lighter moments, while Sith Lord Darth Maul is a formidable force. Baby-faced Anakin Skywalker (Jake Lloyd) looks too young and innocent to command the powers of the Force or wield a lightsaber (much less transmute into the future Darth Vader), but his boyish exuberance wins over skeptics.

Near the end of the movie, Palpatine, the new leader of the Republic, may be speaking for fans eagerly awaiting Episode II when he pats young Anakin on the head and says, "We will watch your career with great interest." Indeed! —Tod Nelson

Hailed as the greatest film in the history of Japanese cinema, Seven Samurai is director Akira Kurosawa's undisputed masterpiece. Arguably the greatest of all jidai-gecki (or historical swordplay films), Kurosawa's classic 1954 action drama has never been surpassed in terms of sheer power of emotion, kinetic energy, and dynamic character development. The story is set during the civil unrest of 16th-century Japan, as the cowering residents of a small farming village are seeking protection against seasonal attacks by a band of marauding bandits. Offering mere handfuls of rice as payment, they hire seven unemployed "ronin" (masterless samurai), including a boastful swordsman (Toshiro Mifune) who is actually a peasant farmer's son, desperately seeking glory, acceptance, and revenge against those who destroyed his family. Led by the calmly strategic Kambei (Takashi Shimura, star of Kurosawa's previous classic, Ikiru), the samurai form mutual bonds of honor and respect, but remain distant from the villagers, knowing that their assignment may prove to be fatal.

Kurosawa masterfully composed his shots to emphasize these group dynamics, and Seven Samurai is a textbook study of the director's signature techniques, including extensive use of telephoto lenses to compress action, delineate character relationships, and intensify motion. While the climactic battle against raiding thieves remains one of the most breathtaking sequences ever filmed, Seven Samurai is most triumphant as a peerless example of character development, requiring all of its 2-hour, 37-minute running time to illuminate every essential detail of villagers and samurai alike, including an abundance of humor as Kambei's defense plan unfolds. In terms of its overall impact, Seven Samurai spawned dozens of copycat films (notably the American Western remake The Magnificent Seven) and cannot be adequately summarized by even the most comprehensive synopsis; it must be seen to be fully appreciated, and the Criterion Collection's 2006 DVD reissue is an essential addition to any definitive home-video library. —Jeff Shannon

On the DVDs
According to the accompanying booklet, "the picture has been slightly window-boxed (in correct original 1.33:1 aspect ratio) to ensure that the maximum image is visible on all monitors." The two-disc format was necessary "to maintain optimal image quality throughout the compression process," with dual-layered DVD-9's encoded "at the highest possible bit rate for the quantity of material included." The picture and sound quality are simply amazing compared to Criterion's one-disc release from 1998. The all-new, fully restored high-definition digital transfer takes full advantage of HD's clarity and crispness, resulting in picture detail far surpassing the previous DVD. This also applies to the soundtrack, presented in optional Dolby surround in addition to the remastered original mono track. The new transfer "was mastered in 2k resolution from a duplicate negative created with wetgate processing from the original fine-grain master positive" (the film's original negative is no longer available), and "several different digital hardware and software solutions were utilized for flicker, instability, dirt, scratch, and grain management."

The complete 207-minute film is accompanied by two full-length commentary tracks, including a new track combining the critical insights of film scholars David Desser, Joan Mellen, Stephen Price (author of The Warrior's Camera: The Cinema of Akira Kurosawa), Tony Rayns, and the dean of Japanese film experts, Donald Richie (author of The Films of Akira Kurosawa). Each scholar is given approximately 40 minutes of film-time, and their commentaries represent a unique opportunity to appreciate Seven Samurai from distinct yet complementary critical perspectives. The commentary by Japanese film expert Michael Jeck (from Criterion's original 1988 laserdisc release) remains useful as a thorough analysis of Seven Samurai, primarily in terms of visual composition.

The 50-minute "making of" documentary, from Japan's 2002 Toho Masterworks TV series Akira Kurosawa: It Is Wonderful to Create emphasizes Kurosawa's collaboration with co-screenwriters Shinobu Hashimoto and Hideo Oguni, including production footage, crewmember interviews, and a reverent visit to the rural inn where Seven Samurai was written over a six-week period of intense seclusion. The two-hour "My Life in Cinema" interview with Kurosawa was recorded in 1993, with fellow filmmaker Nagisa Oshima serving as a gentle admirer, colleague, and well-informed historian of Kurosawa's career. "Seven Samurai: Origins and Influences" is a richly informative documentary that places Kurosawa's classic in both historical and cinematic context, examining its place in the jidai-gecki (swordplay) genre, its accurate depiction of samurai codes and traditions, and its stature as the prototype for many films that followed. The lavishly illustrated 58-page booklet includes eight brief essays on various aspects of Seven Samurai, each written by noted film scholars or film directors (including Arthur Penn and Sidney Lumet). Also included is a reminiscence by the great actor Toshiro Mifune, excerpted from a conversation recorded in 1993. Taken as a whole, the remastered three-disc Seven Samurai ranks as one of the finest DVD sets ever released. —Jeff Shannon

Kevin Costner's lousy English accent is a small obstacle in this often exciting version of the Robin Hood fable. That aside, it's refreshing to have a preface to the old story in which we meet the robber hero of Sherwood Forest as a soldier in King Richard's Crusades, coming home to find his people under siege from the cruelties of the Sheriff of Nottingham (Alan Rickman). After Robin and his community of outcasts and fighters take to the trees, director Kevin Reynolds (Fandango, 187) is on more familiar narrative ground, and he goes for the gusto with lots of original action (Robin shoots two arrows simultaneously from his bow in two directions). Mary Elizabeth Mastrantonio, as Marion, makes a convincing damsel in distress, and Morgan Freeman brings dignity to his role as Robin's Moor friend. Alan Rickman, however, gets the most attention for his scene-chewing role as the rotten sheriff, an almost campy performance that is highly entertaining but perhaps a little out of sorts with the rest of the film. The DVD release includes production notes, theatrical trailers, optional French and Spanish soundtracks, optional English, French, and Spanish subtitles, widescreen presentation, and Dolby sound. —Tom Keogh

Deuxième adaptation cinématographique de l’œuvre d’Anne Rice après Interview with the Vampire, Queen of the Damned s’amuse à faire réapparaître le vampire Lestat dans l’univers contemporain du rock gothique.

Lassé de vivre dans l’ombre, Lestat choisit de devenir une star du rock afin de se révéler au monde. Sa pâleur, sa peur de la lumière et ses dents pointues sont alors tolérées comme des excentricités d’artiste. Mais les autres vampires ne voient pas d’un bon œil cette vie sous les feux des projecteurs.

La comparaison avec Interview with the Vampire est inévitable. Dans la peau de Lestat, le jeune Stuart Townsend, qui s’apparente davantage à un Jim Morrison christique qu’à un vampire, n’atteint jamais le degré de cynisme amusé et raffiné de Tom Cruise. Les décors y sont plus tape-à-l’œil, et le mystère y est moins étoffé. En fait, Queen of the Damned manque de cette distance élégante et froide qui caractérisait le film de Neil Jordan, bien que l’apparition de Vincent Perez en vampire créateur de Lestat y remédie quelque peu. La prestation de la chanteuse Aaliyah en reine des damnés cruelle et féroce est également assez convaincante. Mais malgré quelques bons éléments, l’époque choisie n’est assurément pas celle qui sied le mieux aux vampires. —Helen Faradji

Quest for Fire is so detailed in its depiction of prehistoric man that it might have been made by time-traveling filmmakers. Instead it's a bold and timeless experiment by visionary director Jean-Jacques Annaud (The Bear), inviting scientific debate while presenting a fascinating, imaginary glimpse of humankind some 80,000 years ago. Using diverse locations in Kenya, Scotland, and Canada, Annaud tells the purely visual story of five tribes (some more advanced than others) who depend on fire for survival. They "steal" fire from nature, but the actual creation of fire remains elusive, lending profound mystery and majesty to the film's climactic, real-time display of fire-making ingenuity. Employing primitive language created by novelist Anthony Burgess and body language choreographed by anthropologist Desmond Morris, a unique ensemble of actors push the envelope of their profession, succeeding where they easily could've failed. They're carnal, violent, funny, curious, and intelligent; through them, and through the eons, we can recognize ourselves. —Jeff Shannon

Screenwriter William Goldman's novel The Princess Bride earned its own loyal audience on the strength of its narrative voice and its gently satirical, hyperbolic spin on swashbuckled adventure that seemed almost purely literary. For all its derring-do and vivid over-the-top characters, the book's joy was dictated as much by the deadpan tone of its narrator and a winking acknowledgement of the clichés being sent up. Miraculously, director Rob Reiner and Goldman himself managed to visualize this romantic fable while keeping that external voice largely intact: using a storytelling framework, avuncular Grandpa (Peter Falk) gradually seduces his skeptical grandson (Fred Savage) into the absurd, irresistible melodrama of the title story.

And what a story: a lowly stable boy, Westley (Cary Elwes), pledges his love to the beautiful Buttercup (Robin Wright), only to be abducted and reportedly killed by pirates while Buttercup is betrothed to the evil Prince Humperdinck. Even as Buttercup herself is kidnapped by a giant, a scheming criminal mastermind, and a master Spanish swordsman, a mysterious masked pirate (could it be Westley?) follows in pursuit. As they sail toward the Cliffs of Insanity...

The wild and woolly arcs of the story, the sudden twists of fate, and, above all, the cartoon-scaled characters all work because of Goldman's very funny script, Reiner's confident direction, and a terrific cast. Elwes and Wright, both sporting their best English accents, juggle romantic fervor and physical slapstick effortlessly, while supporting roles boast Mandy Patinkin (the swordsman Inigo Montoya), Wallace Shawn (the incredulous schemer Vizzini), and Christopher Guest (evil Count Rugen) with brief but funny cameos from Billy Crystal, Carol Kane, and Peter Cook. —Sam Sutherland

Screenwriter William Goldman's novel The Princess Bride earned its own loyal audience on the strength of its narrative voice and its gently satirical, hyperbolic spin on swashbuckled adventure that seemed almost purely literary. For all its derring-do and vivid over-the-top characters, the book's joy was dictated as much by the deadpan tone of its narrator and a winking acknowledgement of the clichés being sent up. Miraculously, director Rob Reiner and Goldman himself managed to visualize this romantic fable while keeping that external voice largely intact: using a storytelling framework, avuncular Grandpa (Peter Falk) gradually seduces his skeptical grandson (Fred Savage) into the absurd, irresistible melodrama of the title story.

And what a story: a lowly stable boy, Westley (Cary Elwes), pledges his love to the beautiful Buttercup (Robin Wright), only to be abducted and reportedly killed by pirates while Buttercup is betrothed to the evil Prince Humperdinck. Even as Buttercup herself is kidnapped by a giant, a scheming criminal mastermind, and a master Spanish swordsman, a mysterious masked pirate (could it be Westley?) follows in pursuit. As they sail toward the Cliffs of Insanity...

The wild and woolly arcs of the story, the sudden twists of fate, and, above all, the cartoon-scaled characters all work because of Goldman's very funny script, Reiner's confident direction, and a terrific cast. Elwes and Wright, both sporting their best English accents, juggle romantic fervor and physical slapstick effortlessly, while supporting roles boast Mandy Patinkin (the swordsman Inigo Montoya), Wallace Shawn (the incredulous schemer Vizzini), and Christopher Guest (evil Count Rugen) with brief but funny cameos from Billy Crystal, Carol Kane, and Peter Cook. —Sam Sutherland

En 1766, alors que le Gévaudan souffre des assauts meurtriers d'une bête monstrueuse, le chevalier Grégoire de Fronsac, envoyé du roi, arrive pour élucider ce mystère. Accompagné de Mani, un Indien taciturne devenu son frère de sang, il se lance à la chasse au monstre. Deuxième réalisation de Christophe Gans, et immense succès en salles, Le Pacte des loups est à mi-chemin entre le film d'investigation historique, la science-fiction façon Matrix et les combats de Kung-Fu de Bruce Lee. Un mélange réussi des genres pour un spectacle épique d'une grande beauté plastique, avec des scènes d'action à couper le souffle et un casting irréprochable : Samuel Le Bihan en tête, secondé par Vincent Cassel, Mark Dacascos, Monica Bellucci ou encore Jérémie Regnier. Fanatique du support, Christophe Gans s'est particulièrement impliqué dans la création du DVD du Pacte des loups. Ceci explique sans doute le nombre et la qualité des suppléments présents sur celui-ci. —David Rault

Wolfgang Petersen (In the Line of Fire) made his first English-language film with this 1984 fantasy about a boy (Barret Oliver) visualising the stories of a book he's reading. The imagined tale involves another boy, a warrior (Noah Hathaway), and his efforts to save the empire of Fantasia from a nemesis called the Nothing. Whether or not the scenario sticks in the memory, what does linger are the unique effects, which are not quite like anything else. Plenty of good fairy-tale characters and memorable scenes, and the film even encourages kids to read. —Tom Keogh

C.S. Lewis's classic novel The Lion, the Witch, and the Wardrobe makes an ambitious and long-awaited leap to the screen in this modern adaptation. It's a CGI-created world laden with all the special effects and visual wizardry modern filmmaking technology can conjure, which is fine so long as the film stays true to the story that Lewis wrote. And while this film is not a literal translation—it really wants to be so much more than just a kids' movie—for the most part it is faithful enough to the story, and whatever faults it has are happily faults of overreaching, and not of holding back. The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe tells the story of the four Pevensie children, Lucy, Peter, Edmund, and Susan, and their adventures in the mystical world of Narnia. Sent to the British countryside for their own safety during the blitz of World War II, they discover an entryway into a mystical world through an old wardrobe. Narnia is inhabited by mythical, anthropomorphic creatures suffering under the hundred-year rule of the cruel White Witch (Tilda Swinton, in a standout role). The arrival of the children gives the creatures of Narnia hope for liberation, and all are dragged into the inevitable conflict between evil (the Witch) and good (Aslan the Lion, the Messiah figure, regally voiced by Liam Neeson).

Director (and co-screenwriter) Andrew Adamson, a veteran of the Shrek franchise, knows his way around a fantasy-based adventure story, and he wisely keeps the story moving when it could easily become bogged down and tiresome. Narnia is, of course, a Christian allegory and the symbology is definitely there (as it should be, otherwise it wouldn't be the story Lewis wrote), but audiences aren’t knocked over the head with it, and in the hands of another director it could easily have become pedantic. The focus is squarely on the children and their adventures. The four young actors are respectable in their roles, especially considering the size of the project put on their shoulders, but it's the young Georgie Henley as the curious Lucy who stands out. This isn't a film that wildly succeeds, and in the long run it won't have the same impact as the Harry Potter franchise, but it is well done, and kids will get swept up in the adventure. Note: Narnia does contain battle scenes that some parents may consider too violent for younger children. —Dan Vancini