It's contaminated. That's what pint-sized Bo (Abigail Breslin) says about every glass of water that she tries to drink, then rejects. This is just one in a long list of strange occurrences that are changing the lives of the Hess family. Things go awry when Graham Hess (Mel Gibson) and his brother, Merrill (Joaquin Phoenix), awake early one morning to find the dogs barking and the children--Bo, and her brother Morgan (Rory Culkin)--wandering bleary eyed in the corn fields. They discover a pattern of perfectly carved crop circles left the night before. Trying not to overreact, Graham ignores the media frenzy that has permeated all television and radio stations, and even shrugs off the oddly familiar information that Morgan reads in his book about extraterrestrials invading earth. The real... Less

It's set during the Korean War, in a mobile army surgical hospital. But no one seeing M*A*S*H in 1970 confused the film for anything but a caustic comment on the Vietnam War; this is one of the counterculture movies that exploded into the mainstream at the end of the '60s. Director Robert Altman had labored for years in television and sporadic feature work when this smash-hit comedy made his name (and allowed him to create an astonishing string of offbeat pictures, culminating in the masterpiece Nashville). Altman's style of cruel humor, overlapping dialogue, and densely textured visuals brought the material to life in an all-new kind of war movie (or, more precisely, antiwar movie). Audiences had never seen anything like it: vaudeville routines played against spurting blood, fueled with... Less

Billy Wilder's classic comedy stars Jack Lemmon and Tony Curtis as a pair of unemployed musicians who inadvertently become witnesses to the St. Valentine Day's Massacre. To escape the wrath of the gangsters, Joe (Curtis) and Jerry (Lemmon) are forced to hit the road in drag, taking the only jobs available with an all-girl band bound for Miami. Enroute, both men fall for lead singer and blond bombshell Sugar Kane, (Marilyn Monroe), but are unable to fulfill their desires for fear of revealing their identity. Joe tries to get around this by adopting a third identity for seduction, that of a shy millionaire who sounds strangely like Cary Grant. Meanwhile Jerry has his own problems, fighting off the advances of Osgood E. Fielding, a real millionaire hypnotized by his/her charms.

With the release of Robert Altman's MASH in 1970 a new form of comedy was born one that would help to forever change the face of cinema. Altman's audacious film reflected the American counterculture's growing distrust of religion and government in the late 1960s and early 1970s resulting in one of the biggest box office smashes of its time. Introducing the techniques he would employ throughout his storied career-- overlapping dialogue a constantly moving camera with a heavy amount of zooming and a bold combination of frank subject matter with cynical humor--Altman immediately vaulted himself to Hollywood's upper ranks. Based on the novel by Richard Hooker MASH follows a group of Mobile Army Surgical Hospital officers as they perform surgery and pass the time just miles from the front... Less

Behind every great suspense film lies the shadow of M, a fact-based drama that is the first and, perhaps, the ultimate portrait of a serial killer. Peter Lorre's flawless performance as a psychotic child murderer elicits feelings of both fear and pity. Lorre (Casablanca), in his first starring role, conveys the agony of a man driven by his compulsions, tormented by self-loathing, and hunted by both the criminal underworld and the police. M, director Fritz Lang's (Metropolis) first sound film and personal favorite, skillfully blends innovative camerawork, fine acting, and atmospheric settings. This version includes the often missing final scene and a restored sound track.

Jacques Tati, master of his own idiosyncratic genre of cinematic slapstick, followed up his acclaimed debut JOUR DE FÊTE with the equally ingenious MR. HULOT'S HOLIDAY. Five years in the making, the film marks the debut of Tati's altar ego, Mr. Hulot, a gangly and awkward Frenchman, perpetually the center and possible cause of a whirlwind of disasters, pratfalls, and mishaps. Tati's scrupulous attention to detail and almost arabesque sense of humor colors the entire film, from the departure of a gaggle of tourists from a malfunctioning train station to the minutiae of resort life. In place of a plot, a series of disastrous coincidences, surreal sight gags and irascible indignations erupt around Mr. Hulot as he gallantly and obliviously strolls through his seaside vacation. While he tries... Less

This classic American war comedy received an Oscar® nomination for Best Picture and spawned one of the most popular shows ever to run on television. It focuses on three army surgeons (Donald Sutherland, Elliott Gould and Tom Skerritt) who develop a lunatic lifestyle in order to handle the everyday horrors they encounter in the Korean War. Sally Kellerman, Gary Burghoff and Robert Duvall co-star in this disarming mix of slapstick, merciless fun and tragedy.

A suave tennis player (Ray Milland) plots the perfect murder, the dispatching of his wealthy wife (Grace Kelly), who is having an affair with a writer (Robert Cummings). Amazingly, the wife manages to stave off her attacker, a twist of fate that challenges the hubby's talent for improvisation. Alfred Hitchcock wisely stuck to the stage origins of Dial M for Murder, ignoring the temptation to "open up" the material from the home of the unhappy couple. The result may not be one of Hitchcock's deepest films, but it's a thoroughly engaging chamber movie. It also features Grace Kelly at her loveliest, the same year she made Rear Window with Hitchcock. Dial M for Murder was filmed in the briefly trendy 3-D process, and Hitchcock shot some scenes to bring out the depth of the 3-D field; it's... Less

A suave tennis player (Ray Milland) plots the perfect murder, the dispatching of his wealthy wife (Grace Kelly), who is having an affair with a writer (Robert Cummings). Amazingly, the wife manages to stave off her attacker, a twist of fate that challenges the hubby's talent for improvisation. Alfred Hitchcock wisely stuck to the stage origins of Dial M for Murder, ignoring the temptation to "open up" the material from the home of the unhappy couple. The result may not be one of Hitchcock's deepest films, but it's a thoroughly engaging chamber movie. It also features Grace Kelly at her loveliest, the same year she made Rear Window with Hitchcock. Dial M for Murder was filmed in the briefly trendy 3-D process, and Hitchcock shot some scenes to bring out the depth of the 3-D field; it's... Less

In M. Night Shyamalan's THE SIXTH SENSE, Bruce Willis plays Dr. Malcolm Crowe, a successful Philadelphia child psychologist who is haunted by the sudden reappearance and suicide of a former patient. Months later Dr. Crowe encounters Cole Sear (Haley Joel Osment), a troubled, withdrawn young boy who bears a striking similarity to his earlier patient. Dr. Crowe is compelled to help Cole, not only for the boy's sake, but for his own redemption. As Dr. Crowe struggles to determine what torments Cole, he must also come to terms with his increasingly distant relationship to his wife (Olivia Williams). Meanwhile, Cole is unable to describe the horrible things he sees even to his worried mother (Toni Collette). The scene where Cole finally tells Dr. Crowe about his supernatural secret is one of... Less

In M. Night Shyamalan's THE SIXTH SENSE, Bruce Willis plays Dr. Malcolm Crowe, a successful Philadelphia child psychologist who is haunted by the sudden reappearance and suicide of a former patient. Months later Dr. Crowe encounters Cole Sear (Haley Joel Osment), a troubled, withdrawn young boy who bears a striking similarity to his earlier patient. Dr. Crowe is compelled to help Cole, not only for the boy's sake, but for his own redemption. As Dr. Crowe struggles to determine what torments Cole, he must also come to terms with his increasingly distant relationship to his wife (Olivia Williams). Meanwhile, Cole is unable to describe the horrible things he sees even to his worried mother (Toni Collette). The scene where Cole finally tells Dr. Crowe about his supernatural secret is one of... Less

Barbara Stanwyck and Marilyn Monroe star in Fritz Lang's CLASH BY NIGHT, based on a play by Clifford Odets. Lang (M, METROPOLIS, THE BIG HEAT) stays true to form with this disturbing yet subtle portrait of the dangerous undercurrents of everyday life and the push and pull of greed and loyalty in modern relationships. The film begins with Mae Doyle (Stanwyck) returning to the safe haven of her hometown, a small fishing community in Monterey, California. Upon her arrival, she is befriended by a newly married young woman working in the canneries, played by Monroe. Mae also finds a friend in a kindhearted fisherman whom she quickly marries. But before too long Mae has thrown herself into a tumultuous affair with another man. In the second half of the movie, which takes place a year after the... Less

In M. Night Shyamalan's THE SIXTH SENSE Bruce Willis plays Dr. Malcolm Crowe a successful Philadelphia child psychologist who is haunted by the sudden reappearance and suicide of a former patient. Months later Dr. Crowe encounters Cole Sear Haley Joel Osment a troubled withdrawn young boy who bears a striking similarity to his earlier patient. Dr. Crowe is compelled to help Cole not only for the boy's sake but for his own redemption. As Dr. Crowe struggles to determine what torments Cole he must also come to terms with his increasingly distant relationship to his wife Olivia Williams. Meanwhile Cole is unable to describe the horrible things he sees even to his worried mother Toni Collette. The scene where Cole finally tells Dr. Crowe about his supernatural secret is one of the 1990s most... Less

"Myrtle Mae, you have a lot to learn, and I hope you never learn it."--Veta Louise Simmons (Josephine Hull) "I've wrestled with reality for thirty-five years, and I'm happy, Doctor, I finally won out over it."--Elwood P. Dowd (James Stewart) "Harvey and I have things to do...we sit in the bars...have a drink or two...and play the jukebox. Very soon the faces of the other people turn towards me and smile. They say: 'We don't know your name, mister, but you're all right, all right.' Harvey and I warm ourselves in these golden moments. We came as strangers--soon we have friends. They come over. They sit with us. They drink with us. They talk to us. They tell us about the great big terrible things they've done and the great big wonderful things they're going to do. Their hopes, their... Less

Iconoclastic director Robert Altman (Nashville, M.A.S.H.), deconstructs and demythologizes Hollywood's typically romantic vision of the Old West in this haunting, breathtaking masterpiece. A stranger, McCabe (Warren Beatty's best performance), the film's nonheroic protagonist, rides into a dead northwest mountain town (to the mournful sounds of Leonard Cohen), possessing ambitious entrepreneurial dreams of expansion. As the town grows, Mrs. Miller (Julie Christie's finest role, as well), a tough madam, arrives and convinces McCabe to join her in a partnership. Neither are typical Western archetypes: McCabe's an insecure braggart, bumbling lover, and horrible businessman, while Mrs. Miller, hardly a whore with a heart of gold, favors her opium pipe to her partner's romantic advances... Less

This adaptation of E.M. Forster's mysterious tale of British racism in colonial India turned out to be master director David Lean's final film. Subtle and grand at the same time, Lean's adaptation is faithful to the book, rendering its blend of the mystical and the all-too human with exquisite precision. Judy Davis plays a young British woman traveling in India with her fiancé's mother. While visiting a tourist attraction, she has a frightening moment in a cave--one that she eventually spins from an instant of mental meltdown into a tale of a physical attack that ruins several lives. Lean captures Forster's sense of awe at the kind of ageless wisdom and inexplicable phenomena to be encountered in India, as well as the British tendency to dismiss it all as savage, rather than simply... Less

Jacque Tati's second feature film and first film in color reintroduces his hilarious Chaplinesque alter ego, M. Hulot. After having followed Hulot on his sun-drenched, foible-filled seaside vacation in MR. HULOT'S HOLIDAY, MON ONCLE finds Tati contrasting Hulot's bohemian provincial home life with the modern, contraption- filled concrete and glass home belonging to his sister and her family, the Arpels, where Hulot's nephew, Gerard, is drowning in boredom. When Hulot comes for a visit, the gadgets get the better of him, in a seamless spectacle of electric switches, slamming doors and malfunctioning accoutrements. Tati shuttles back and forth between Hulot's quaint home of friendly, if mischievous neighbors and music filled provincial café's and the Arpel's surreal and cold ultra modern... Less

David Lean returned to filmmaking after a 14-year absence to direct this award-winning adaptation of E.M. Forster's novel. Adela Quested (Judy Davis), a young and spirited Englishwoman, travels to India alongside the somewhat older Mrs. Moore (Peggy Ashcroft). Mrs. Moore's hope is that her son, an administrator in the British Raj, and Adela will wed. Once in India, the two women pay scant heed to the customs followed by English society. They even agree to accompany a "native"--the charming and educated Dr. Aziz (Victor Banerjee)--on a tour of the mystical, ancient Marabar Caves. But their innocent outing turns ugly when Adela emerges from the cave's darkness accusing Aziz of rape. British authorities eagerly pursue--even pressure--Adela to go to court. The truth, however, is not as clear... Less

David Lean returned to filmmaking after a 14-year absence to direct this award-winning adaptation of E.M. Forster's novel. Adela Quested (Judy Davis), a young and spirited Englishwoman, travels to India alongside the somewhat older Mrs. Moore (Peggy Ashcroft). Mrs. Moore's hope is that her son, an administrator in the British Raj, and Adela will wed. Once in India, the two women pay scant heed to the customs followed by English society. They even agree to accompany a "native"--the charming and educated Dr. Aziz (Victor Banerjee)--on a tour of the mystical, ancient Marabar Caves. But their innocent outing turns ugly when Adela emerges from the cave's darkness accusing Aziz of rape. British authorities eagerly pursue--even pressure--Adela to go to court. The truth, however, is not as clear... Less

The Big Heat (1953) Glenn Ford, Gloria GrahameDirector:  Fritz LangCo- stars: Jocelyn Brando, Alexander Scourby, Lee Marvin, Carolyn Jones89 minutes, Black and WhiteDVD: Region 1A scalding face-full of harsh reality, courtesy of Fritz Lang. Starkly photographed and without a continuous score, the absence of which underlines the hard-hitting dialogue and the sound of smacking fists and thudding bullets, this film is as brutal as Lang's M was frightening. Ford, an ex-cop out to avenge the mob murder of his wife, gets upstaged by two performances of incredible power: Grahame and Marvin. Grahame plays a moll who squeals and pays; her performance defines the film noir anti-heroine, and in a world of comedic 1950s sex, she was the real thing, either coming along too late or too soon. Marvin... Less

PLEASE CHECK OUT MY OTHER AUCTIONS HERE-------- http://shop.ebay. com/californialov e714/m.html? _nkw=_armrs=1 _from=_ipg=_trksi d=p4340 Retail Price:$29.98 THE DVD IS BRAND NEW FACTORY SEALED (Please check picture of actual item you will be recieving!!!).WE GUARANTEE THIS DVD IS 100%AUTHENTIC U.S.A.OFFICAL RELEASE. IF YOU HAVE ANY QUESTIONS PLEASE CONTACT ME THROUGH EBAY BY CLICKING ON THE "ask seller a question" link . ALL OF OUR DVDS ARE REGION 1 U.S., CA . THANK YOU FOR YOUR TIME. Shipping Hand

David Lean returned to filmmaking after a 14-year absence to direct this award-winning adaptation of E.M. Forster's novel. Adela Quested (Judy Davis), a young and spirited Englishwoman, travels to India alongside the somewhat older Mrs. Moore (Peggy Ashcroft). Mrs. Moore's hope is that her son, an administrator in the British Raj, and Adela will wed. Once in India, the two women pay scant heed to the customs followed by English society. They even agree to accompany a "native"--the charming and educated Dr. Aziz (Victor Banerjee)--on a tour of the mystical, ancient Marabar Caves. But their innocent outing turns ugly when Adela emerges from the cave's darkness accusing Aziz of rape. British authorities eagerly pursue--even pressure--Adela to go to court. The truth, however, is not as clear... Less

From M. Night Shyamalan, the writer/director of THE SIXTH SENSE and UNBREAKABLE, comes the story of the Hess family in Bucks County, Pennsylvania, who wake up one morning to find a 500-foot crop circle in their backyard. Graham Hess (Mel Gibson) and his family are told extraterrestrials are responsible for the sign in their field. They watch, with growing dread, the news of crop circles being found all over the world. SIGNS is the emotional story of one family on one farm as they encounter the terrifying last moments of life as the world is being invaded. "It's easy for a filmmaker to blow up the world -- but what Shyamalan does is much riskier. He tries to blow our minds. I was engaged by every inch of SIGNS." - Richard Roeper, Ebert & Roeper.

Director Billy Wilder (Sunset Boulevard) and writer Raymond Chandler (The Big Sleep) adapted James M. Cain's hard-boiled novel into this wildly thrilling story of insurance man Walter Neff (Fred MacMurray), who schemes the perfect murder with the beautiful dame Phyllis Dietrichson (Barbara Stanwyck): kill Dietrichson's husband and make off with the insurance money. But, of course, in these plots things never quite go as planned, and Barton Keyes (Edward G. Robinson) is the wily insurance investigator who must sort things out. From the opening scene you know Neff is doomed, as the story is told in flashback; yet, to the film's credit, this doesn't diminish any of the tension of the movie. This early film noir flick is wonderfully campy by today's standards, and the dialogue is snappy ("I... Less

Even under the heavy censorship of 1946 Hollywood, Lana Turner and John Garfield's libidinous desires burn up the screen in Tay Garnett's adaptation of James M. Cain's torrid crime melodrama. Platinum blond Turner is Cora, a restless sexpot stuck in a roadside diner married to mundane middle-aged fry cook Nick Smith (Cecil Kellaway) when handsome drifter Frank (Garfield) blows her way. It's lust at first sight, a rapacious desire that neither can break off, and before long they're plotting his demise--but in the wicked world of Cain nothing is that easy. Garnett's visual approach is subdued compared to the more expressionistic film noir of the period, but he's at no loss when he films the luminous Turner in her milky-white wardrobe. She radiates repressed sexuality and uncontrollable... Less

For a full dose of pure, unfiltered Joan Crawford, look no further than this slab of scorching film noir. Crawford is in her element as the heroine of James M. Cain's pulp-fiction classic, a ditched wife and mother who is forced to become a waitress. On the strength of Crawford's steely willpower (and maybe those intimidating wide-wing shoulder pads), she constructs an empire of eateries, only to be disappointed by her rotten daughter (Ann Blyth) and a ferret-faced new husband (Zachary Scott). Director Michael Curtiz (Casablanca) whips up a storm of atmosphere, and the script is a series of tartly written exchanges. The best lines go to perennial wisecracker Eve Arden, as Crawford's acid-tongued pal--she earned her only Oscar nomination for the role. Commenting on the ungrateful daughter,... Less

For a full dose of pure, unfiltered Joan Crawford, look no further than this slab of scorching film noir. Crawford is in her element as the heroine of James M. Cain's pulp-fiction classic, a ditched wife and mother who is forced to become a waitress. On the strength of Crawford's steely willpower (and maybe those intimidating wide-wing shoulder pads), she constructs an empire of eateries, only to be disappointed by her rotten daughter (Ann Blyth) and a ferret-faced new husband (Zachary Scott). Director Michael Curtiz (Casablanca) whips up a storm of atmosphere, and the script is a series of tartly written exchanges. The best lines go to perennial wisecracker Eve Arden, as Crawford's acid-tongued pal--she earned her only Oscar nomination for the role. Commenting on the ungrateful daughter,... Less

Even under the heavy censorship of 1946 Hollywood, Lana Turner and John Garfield's libidinous desires burn up the screen in Tay Garnett's adaptation of James M. Cain's torrid crime melodrama. Platinum blond Turner is Cora, a restless sexpot stuck in a roadside diner married to mundane middle-aged fry cook Nick Smith (Cecil Kellaway) when handsome drifter Frank (Garfield) blows her way. It's lust at first sight, a rapacious desire that neither can break off, and before long they're plotting his demise--but in the wicked world of Cain nothing is that easy. Garnett's visual approach is subdued compared to the more expressionistic film noir of the period, but he's at no loss when he films the luminous Turner in her milky-white wardrobe. She radiates repressed sexuality and uncontrollable... Less

Even under the heavy censorship of 1946 Hollywood, Lana Turner and John Garfield's libidinous desires burn up the screen in Tay Garnett's adaptation of James M. Cain's torrid crime melodrama. Platinum blond Turner is Cora, a restless sexpot stuck in a roadside diner married to mundane middle-aged fry cook Nick Smith (Cecil Kellaway) when handsome drifter Frank (Garfield) blows her way. It's lust at first sight, a rapacious desire that neither can break off, and before long they're plotting his demise--but in the wicked world of Cain nothing is that easy. Garnett's visual approach is subdued compared to the more expressionistic film noir of the period, but he's at no loss when he films the luminous Turner in her milky-white wardrobe. She radiates repressed sexuality and uncontrollable... Less

Tough stuff from director Fritz Lang (M), making his first American film with this 1936 story of an innocent man (Spencer Tracy) who escapes a lynch mob and then orchestrates his apparent murder at their hands. Tracy is superb, and the film is uncompromising, until studio interference takes some of the wind out of Lang's sails right at the end. But as the portrait of a character who comes to reflect the destiny he is trying to avoid, this is still essential Lang and a pre-noir classic. --Tom Keogh