DOCSLIB.ORG

American Mary: Directed by Jen Soska, Sylvia Soska

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
American Mary: Directed by Jen Soska, Sylvia Soska The Review Cinema AMERICAN MARY does not make you jump out of your seat, Directed by Jen Soska, Sylvia Soska opting instead for intelligent dark humour The clarity and precision of American Mary, and psychologically disturbing scenarios the new horror offering from Canadian in seedy surroundings. Rather than a directors and identical ‘Twisted Twins’ Jen collection of conventional ghoulish scares, and Sylvia Soska, stands in marked contrast the Soska sisters achieve a memorable and to their raw, no-budget breakthrough Dead suitably gothic visual, of Mary in red surgical Hooker in a Trunk. In more ways than just scrubs and black latex gloves operating to the title, the former is a much more subtle the sound of soothing piano arpeggios, or film, and demonstrates how impressive the practicing suturing on raw turkeys. sisters and their distinctive style can be, The plot line brings new meaning to © 2012 The Weinstein Company Inc given any budget at all. doctor–patient confidentiality, as Mary It tells the story of medical student and evades discovery by the authorities, (Samuel L Jackson) setting in motion a aspiring surgeon (or ‘slasher’) Mary Mason, and reaches a gory but rather poignant spiral of violence that ends in a bloody wonderfully portrayed by the laconic denouement, when she is finally faced with showdown. Katharine Isabelle, who stumbles upon the consequences. Remarkably, American There’s a scene near the start of Mel the sinister but lucrative world of ‘body Mary was shot in only 15 days, yet does Brooks’ gut-busting 1974 comedy Western modification’ and literally carves out a new not feel constrained or rushed, and with Blazing Saddles when the railroad career for herself. After a brutal, sexual an outstanding lead performance from foreman, Taggart (veteran character actor attack by one of her surgical lecturers, she Isabelle, it is a refreshingly understated and Slim Pickens), informs his henchman, abandons medicine and turns her skills funny tribute to its two talented creators. Lyle (Burton Gilliam), that there may be toward this twisted, underground cosmetic quicksand ahead. When Lyle offers to send surgery, helping her misfit clientele to Kim Lawrence Ah-See a team of horses ahead to test the ground, ‘express’ themselves through a ‘mod menu’ Email: [email protected] Taggart smacks him upside the head of procedures such as ‘tongue-splitting’ or saying: ‘Horses? We can’t afford to lose any DOI: 10.3399/bjgp13X664360 ‘voluntary amputation’. She even performs horses, you dummy! Send over a couple of an ‘appendage exchange’ on the ‘Demon n*****s’. Twins of Berlin’ (cameo by the Soska sisters It’s a throwaway moment of angry themselves) and with the help of strip-joint eloquence that, in one scene, lays bare * * * * * manager Billy (Antonio Cupo) finds time to over two centuries of American racism, exact gruesome revenge on her lecturer illuminating a brutally stark, uncomfortable (who serves as something of a practice truth; that the Land of the Free was built subject for her new-found speciality). on oppression. In the context of the film, DJANGO UNCHAINED Needless to say, surgeons are not it’s also shockingly funny. With his gory, Directed by Quentin Tarantino portrayed kindly. Laughing that they ‘cut cartoonishly violent reimagining of Sergio Set in America’s Deep South 2 years before up people for a living’, it is their ruthless Corbucci’s Django, Django Unchained, the Civil War, German former dentist turned treatment of Mary that transforms her from Quentin Tarantino, cinema’s greatest bounty hunter Dr King Schultz (Christoph a vulnerable student with financial issues, magpie, loudly makes the same point Waltz) purchases the slave Django (Jamie to the unflinching ‘Bloody Mary’, sauntering for two and three quarter hours (um, Foxx). Schultz is after a trio of outlaws, the from one grisly scene to the next. But the racism and slavery bad!) while homaging notorious Brittle brothers, and only Django gore is not gratuitous and the violence is (STEALING!) scenes here and there from can identify them. In return for fingering the more implied than graphic. American Mary his favourite Spaghetti Westerns and trying brothers Schultz offers Django his freedom to set a Guinness World Record for use of and trains him as a bounty hunter, taking Katharine Isabelle as American Mary. the ‘N-word’. him on as his partner. Funny and profane, packed full of Together the two men spend the entertaining cameos (Don Johnson and winter collecting bounties before setting Jonah Hill as ineffectual Klansmen, original out to rescue Django’s wife Broomhilda Django, Franco Nero) and awash with (Kerry Washington) from the clutches of blood, the resulting collage may just be moustache-twirling villain Calvin Candie Tarantino’s best film in years (certainly (Leonardo DiCaprio), owner of the infamous since Kill Bill: Vol 1) even if does feel at Candyland plantation, where he trains male times like you’re watching Sam Peckinpah’s slaves as ‘mandingo’ fighters for vicious Blazing Saddles. human cockfights while prostituting the female slaves. When Django and Schultz David Watson infiltrate Candyland under false pretences Email: [email protected] however, they arouse the suspicions of Candie’s duplicitous house-slave Stephen DOI: 10.3399/bjgp13X664379 British Journal of General Practice, March 2013 153.
Load more

Recommended publications
  • Quentin Tarantino Retro
    ISSUE 59 AFI SILVER THEATRE AND CULTURAL CENTER FEBRUARY 1– APRIL 18, 2013 ISSUE 60 Reel Estate: The American Home on Film Loretta Young Centennial Environmental Film Festival in the Nation's Capital New African Films Festival Korean Film Festival DC Mr. & Mrs. Hitchcock Screen Valentines: Great Movie Romances Howard Hawks, Part 1 QUENTIN TARANTINO RETRO The Roots of Django AFI.com/Silver Contents Howard Hawks, Part 1 Howard Hawks, Part 1 ..............................2 February 1—April 18 Screen Valentines: Great Movie Romances ...5 Howard Hawks was one of Hollywood’s most consistently entertaining directors, and one of Quentin Tarantino Retro .............................6 the most versatile, directing exemplary comedies, melodramas, war pictures, gangster films, The Roots of Django ...................................7 films noir, Westerns, sci-fi thrillers and musicals, with several being landmark films in their genre. Reel Estate: The American Home on Film .....8 Korean Film Festival DC ............................9 Hawks never won an Oscar—in fact, he was nominated only once, as Best Director for 1941’s SERGEANT YORK (both he and Orson Welles lost to John Ford that year)—but his Mr. and Mrs. Hitchcock ..........................10 critical stature grew over the 1960s and '70s, even as his career was winding down, and in 1975 the Academy awarded him an honorary Oscar, declaring Hawks “a giant of the Environmental Film Festival ....................11 American cinema whose pictures, taken as a whole, represent one of the most consistent, Loretta Young Centennial .......................12 vivid and varied bodies of work in world cinema.” Howard Hawks, Part 2 continues in April. Special Engagements ....................13, 14 Courtesy of Everett Collection Calendar ...............................................15 “I consider Howard Hawks to be the greatest American director.
    [Show full text]
  • Westerns…All'italiana
    Issue #70 Featuring: TURN I’ll KILL YOU, THE FAR SIDE OF JERICHO, Spaghetti Western Poster Art, Spaghetti Western Film Locations in the U.S.A., Tim Lucas interview, DVD reviews WAI! #70 The Swingin’ Doors Welcome to another on-line edition of Westerns…All’Italiana! kicking off 2008. Several things are happening for the fanzine. We have found a host or I should say two hosts for the zine. Jamie Edwards and his Drive-In Connection are hosting the zine for most of our U.S. readers (www.thedriveinconnection.com) and Sebastian Haselbeck is hosting it at his Spaghetti Westerns Database for the European readers (www.spaghetti- western.net). Our own Kim August is working on a new website (here’s her current blog site http://gunsmudblood.blogspot.com/ ) that will archive all editions of the zine starting with issue #1. This of course will take quite a while to complete with Kim still in college. Thankfully she’s very young as she’ll be working on this project until her retirement 60 years from now. Anyway you can visit these sites and read or download your copy of the fanzine whenever you feel the urge. Several new DVD and CD releases have been issued since the last edition of WAI! and co-editor Lee Broughton has covered the DVDs as always. The CDs will be featured on the last page of each issue so you will be made aware of what is available. We have completed several interviews of interest in recent months. One with author Tim Lucas, who has just recently released his huge volume on Mario Bava, appears in this issue.
    [Show full text]
  • Two Scoops of Django: Best Practices for Django 1.5 First Edition, Final Version, 20130411 by Daniel Greenfeld and Audrey Roy
    Two Scoops of Django Best Practices For Django 1.5 Daniel Greenfeld Audrey Roy Two Scoops of Django: Best Practices for Django 1.5 First Edition, Final Version, 20130411 by Daniel Greenfeld and Audrey Roy Copyright ⃝c 2013 Daniel Greenfeld, Audrey Roy, and Cartwheel Web. All rights reserved. is book may not be reproduced in any form, in whole or in part, without written permission from the authors, except in the case of brief quotations embodied in articles or reviews. Limit of Liability and Disclaimer of Warranty: e authors have used their best efforts in preparing this book, and the information provided herein “as is.” e information provided is sold without warranty, either express or implied. Neither the authors nor Cartwheel Web will be held liable for any damages to be caused either directly or indirectly by the contents of this book. Trademarks: Rather than indicating every occurence of a trademarked name as such, this book uses the names only in an editorial fashion and to the benet of the trademark owner with no intention of infringement of the trademark. First printing, January 2013 For more information, visit https://django.2scoops.org. For Malcolm Tredinnick 1971-2013 We miss you. iii Contents List of Figures xv List of Tables xvii Authors’ Notes xix A Few Words From Daniel Greenfeld . xix A Few Words From Audrey Roy . xx Introduction xxi A Word About Our Recommendations . xxi Why Two Scoops of Django? . xxii Before You Begin . xxiii is book is intended for Django 1.5 and Python 2.7.x . xxiii Each Chapter Stands On Its Own .
    [Show full text]
  • The South According to Quentin Tarantino
    University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 2015 The South According To Quentin Tarantino Michael Henley University of Mississippi Follow this and additional works at: https://egrove.olemiss.edu/etd Part of the American Studies Commons Recommended Citation Henley, Michael, "The South According To Quentin Tarantino" (2015). Electronic Theses and Dissertations. 887. https://egrove.olemiss.edu/etd/887 This Thesis is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. THE SOUTH ACCORDING TO QUENTIN TARANTINO A Thesis presented in partial fulfillment of requirements for the degree of Master of Arts in the Department of the Center for the Study of Southern Culture The University of Mississippi by MICHAEL LEE HENLEY August 2015 Copyright Michael Lee Henley 2015 ALL RIGHTS RESERVED ABSTRACT This thesis explores the filmmaker Quentin Tarantino’s portrayal of the South and southerners in his films Pulp Fiction (1994), Death Proof (2007), and Django Unchained (2012). In order to do so, it explores and explains Tarantino’s mixture of genres, influences, and filmmaking styles in which he places the South and its inhabitants into current trends in southern studies which aim to examine the South as a place that is defined by cultural reproductions, lacking authenticity, and cultural distinctiveness. Like Godard before him, Tarantino’s movies are commentaries on film history itself. In short, Tarantino’s films actively reimagine the South and southerners in a way that is not nostalgic for a “southern way of life,” nor meant to exploit lower class whites.
    [Show full text]
  • Spaghetti Westerns
    Spaghetti Westerns - Week 2 Week 6 Week 10 Fall 2019 September 16 October 14 November 11 The Classic Western Thanksgiving Holiday The (Stylized) Italian Western and Professor: Yuri M. Sangalli September 18 October 16 (Genre) History November 13 ☎: 661.2111 ext-87390 (UC 4313) Yojimbo – Akira Kurosawa, 1961 Run Man, Run (Corri uomo corri) – Sergio Sollima, 1968 The Wild Bunch – Sam Peckinpah, ✉: Please use OWL for all course Week 3 1969 correspondence September 23 Week 11 Marking scheme: The Samurai Film and the Peplum November 18 Test - two hours, in class 15% Adventure Film After the Italian Western: The Group presentation + report September 25 Professional Plot (written/web-based) 15% Django – Sergio Corbucci, 1966 November 20 Essay - 2200 words max. 25% Django Unchained – Quentin Final exam – three hours 30% Week 4 Tarantino, 2012 Class participation and September 30 attendance* 15% Week 12 The Servant of 2 Masters Plot November 25 *attendance taken at each October 2 Quentin Tarantino’s “Southern screening and class The Good, the Bad and the Ugly (Il Western” buono, il brutto e il cattivo) – Sergio November 27 Group presentations Students are expected to view Leone, 1966 Week 7 films and complete readings October 21 before coming to class. Week 13 The Zapata Spaghetti Plot December 2 October 23* Group presentations Vengeance Plots and Urban December 4 Vigilantes: the Poliziesco Group presentations Revolver – Sergio Sollima, 1973 Friday December 6 Essay due Week 8 Week 5 October 28 October 7 Test (2 hours) The Transitional Plot October 30 October 9* Once Upon a Time in the West (C’era Week 1 The Meta Spaghetti Western: una volta il West) – S.
    [Show full text]
  • The University of Bradford Institutional Repository
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Bradford Scholars The University of Bradford Institutional Repository http://bradscholars.brad.ac.uk This work is made available online in accordance with publisher policies. Please refer to the repository record for this item and our Policy Document available from the repository home page for further information. To see the final version of this work please visit the publisher’s website. Access to the published online version may require a subscription. Citation: Goodall M (2016) Spaghetti savages: cinematic perversions of 'Django Kill'. In: Broughton L (Ed.) Critical perspectives on the Western: from A Fistful of Dollars to Django Unchained. Maryland: Rowman & Littlefield. 199-212. Copyright statement: © 2016. Rowman & Littlefield. All rights reserved. Reproduced in accordance with the publisher's self-archiving policy. ‘Spaghetti Savages’: the cinematic perversions of Django Kill Mark Goodall Introduction: the ‘Savage Western’ …The world of the Italian western is that of an insecure environment of grotesqueness, abounding in almost surrealistic dimensions, in which violence reigns1 The truth in stories always generates fear2 It is widely accepted that the ‘Spaghetti Western’, one of the most vivid genres in cinematic history, began with Sergio Leone’s 1964 film Per un pugno di dollari/A Fistful of Dollars. Although A Fistful of Dollars was not the first Italian Western per se, it was the first to present a set of individual and distinctive traits for which Latino versions of the myths of the West would subsequently become known. In short, Leone’s much imitated film served to introduce a sense of ‘separate generic identity’3 to the Italian Western The blank, amoral character of ‘The Man With No Name’, played by the American television actor Clint Eastwood, was something of a surprise initially but his cool manner under extreme provocation from all sides was an engaging and powerful attribute.
    [Show full text]
  • Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
    INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room.
    [Show full text]
  • Diplomsko Delo
    UNIVERZA V MARIBORU FILOZOFSKA FAKULTETA Oddelek za anglistiko in amerikanistiko DIPLOMSKO DELO Nina Rošer MARIBOR, 2013 UNIVERZA V MARIBORU FILOZOFSKA FAKULTETA Oddelek za anglistiko in amerikanistiko Diplomsko delo POSTMODERNA SUŽENJSKA PRIPOVED Graduation thesis POSTMODERN SLAVE NARRATIVE Mentor: red. prof. Victor Kennedy Kandidatka: Nina Rošer Maribor, 2013 Lektorica za slovenski jezik: Tadeja Pucko, prof. slovenščine ACKNOWLEDGEMENTS I would like to thank my mentor, Dr. Victor Kennedy for his help and advice during the process of writing my diploma. I would also like to thank my parents for their love and all the support that they have provided me over the years. FILOZOFSKA FAKULTETA Koroška cesta 160 2000 Maribor, Slovenija www.ff.um.si IZJAVA Podpisana Nina Rošer rojena 10. 6. 1988 študentka Filozofske fakultete Univerze v Mariboru, smer angleški jezik s književnostjo in sociologija, izjavljam, da je diplomsko delo z naslovom Postmodern Slave Narrative pri mentorju red. prof. Victorju Kennedyu, avtorsko delo. V diplomskem delu so uporabljeni viri in literatura korektno navedeni; teksti niso prepisani brez navedbe avtorjev. Kraj, Maribor Datum, 7. 6. 2013 ________________________________ (podpis študenta-ke) ABSTARCT The aim of this diploma is to show the development and characteristics of slave narratives by analysing the novel Beloved by Toni Morrison and Quentin Tarantino’s film Django Unchained. The aim is also to show the impact that African-American history (particularly slavery) has had on African American literature. Slavery is one of the main themes of African American writers, particularly in the 18th century; however, it is also an important subject of modern literature and writers. One of those is Toni Morrison, who is a literary voice of slave literature and whose work seeks to shed a light on the problems of African American people.
    [Show full text]
  • The Director's Method in Contemporary Visual Effects Film
    The Director’s Method in Contemporary Visual Effects Film: The Influence of Digital Effects on Film Directing Gianluca Balla PhD University of York Theatre, Film and Television September 2016 Abstract The director’ s method – meant as the organisation of the filmmaking process – is usually characterised by common procedures such as work on the script, shot design and the actors’ performance. For films involving a large-scale use of digital effects, directors consistently approach such procedures with a particular attitude dictated by the digital pipeline, the step-by- step technical procedure through which computer-generated images are created. In light of this, the use of digital effects might influence the director’s method. This thesis aims to define what is considered to be a consensual methodological approach to direct films with no or few digital effects and then compares this approach to when such effects are conspicuously involved. This analysis is conducted through interviews with working directors, visual effects companies and practitioners, and integrated with the current literature. The frame of the research is represented by a large spectrum of contemporary films produced in western countries and which involve digital effects at different scales and complexity but always in interaction with live-action. The research focuses on commercial films and excludes computer-animated and experimental films. The research is intended to address an area in production studies which is overlooked. In fact, although the existent literature examines both digital effects and film directing as distinct elements, there is to date no detailed analysis on the influence that the former has on the latter.
    [Show full text]
  • Django 60Pp Booklet
    ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO 1 CONTENTS 4 Django: Cast and Crew 7 The D is Silent: A Legend is Born (2018) by Howard Hughes 13 Django Story: The Legend Continues (2018) by Howard Hughes 27 The Other Sergio of Italian Cinema (2018) by Roberto Curti 35 Sergio Corbucci on Django (1993) 36 Django: Contemporary Reviews compiled by Roberto Curti 38 Texas, Adios: Cast and Crew 41 Cut to the Action: The Films of Ferdinando Baldi (2018) by Howard Hughes 51 Texas, Adios: Contemporary Reviews compiled by Roberto Curti ARROW VIDEO ARROW VIDEO 54 About the Restorations ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO 2 3 ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO 1966 CAST Franco Nero Django Loredana Nusciak Maria José Bódalo General Hugo Rodriguez Eduardo Fajardo Major Jackson Ángel Álvarez Nathaniel, the saloonkeeper Gino Pernice (as Jimmy Douglas) Brother Jonathan Remo De Angelis (as Erik Schippers) Ricardo, Rodriguez gang member José Canalejas (as José Canalecas) Rodriguez gang member Simón Arriaga Miguel, Rodriguez gang member Rafael Albaicín Rodriguez gang member José Terrón Ringo Luciano Rossi Klan member Ivan Scratuglia C.S.C. Klan member Gilberto Galimberti Klan member (uncredited) Lucio De Santis Whipping bandit (uncredited) CREW Directed by Sergio Corbucci Produced by Manolo Bolognini and Sergio Corbucci Story and Screenplay by Sergio Corbucci and Bruno Corbucci Screenplay in collaboration with Piero Vivarelli and Franco Rossetti Director of Photography
    [Show full text]
  • Corbucci Rétrospective 9 – 29 Juillet
    SERGIO CORBUCCI RÉTROSPECTIVE 9 – 29 JUILLET Le Mercenaire Jean-Pierre Mocky par exemple, Le ragazzi dei Parioli, avec ses airs mélanco- liques et « Nouvelle Vague », aurait-il été le premier essai d’une carrière d’auteur au sens fort du terme ? On ne le saura jamais. Le film fut un désastre commer- cial qui déterminera la suite de la carrière du cinéaste. Dans ses entretiens avec Noël Simsolo, Sergio Leone racontait : « Dans la séquence finale, le héros devait sortir pour se battre. L’histoire était dramatique. Les spectateurs étaient émus. Ils attendaient la fatalité de ce final. Mais voilà que le personnage jaillit dans la rue en faisant “Pan ! Pan !” Il utilise ses doigts à la place des revolvers. Le public n’apprécia pas cette conclusion en forme de blague. (…) Une catastrophe. (…) Sergio vint me voir. Il était désespéré. Il voulait redevenir assistant. » Dès lors, le cinéaste se consacra au divertissement pur, à la réalisation de films SERGIO CORBUCCI populaires, en dessous des radars d’une critique italienne peu disposée à s’in- téresser à cet opium du peuple. Il suivra les modes et les goûts d’un public à la fois routinier et volatile tout en apportant une touche personnelle. Ses péplums (Romulus et Rémus, Le Fils de Spartacus) annoncent les futurs westerns. Mais Romulus et Rémus avant ceux-ci, Corbucci avait signé quelques-uns des meilleurs films tardifs met- tant Toto en vedette (Les Deux Maréchaux, Chi si ferma e perduto, Il monaco di Monza) et servit le comique rustique du duo Franco et Ciccio (Les Fils du LE CARNAVAL DES ÂMES léopard, Il giorno piu corto), démente incarnation cinématographique de l’art des marionnettes siciliennes.
    [Show full text]
  • ALLEGHENY COLLEGE GAME ROOM ALPHABETICAL MOVIE LIST As of July 9, 2019 TITLE TYPE GENRE
    ALLEGHENY COLLEGE GAME ROOM ALPHABETICAL MOVIE LIST As of July 9, 2019 TITLE TYPE GENRE DVD'S 300 DVD Action 1408 DVD Horror (500) Days of Summer DVD Comedy 12 Years a Slave DVD Action 127 Hours DVD Adventure 17 Again DVD Comedy 2 Guns DVD Action 21 Jump Street DVD Action 28 Days Later DVD Action 28 Weeks Later DVD Drama 3 Days to Kill DVD Action 40 Year Old Virgin, The DVD Comedy 50 First Dates DVD Comedy 50/50 DVD Comedy 5ifth Estate, The DVD Biography 8 Mile DVD Drama Abraham Lincoln Vampire Hunter DVD Action Accountant, The DVD Action Ace Ventura, Pet Detective DVD Comedy Act of Valor DVD Action Adjustment Bureau DVD Thriller Age of Adeline DVD Drama Aliens DVD Action Allegiant (The Divergent Series) DVD Action Allied DVD Action Almost Famous DVD Comedy Aloha DVD Comedy American Hustle DVD Drama American Made DVD Action American Pie DVD Comedy American Pie 2 DVD Comedy Anchorman DVD Comedy Anchorman 2 DVD Comedy Angels and Demons DVD Drama Animal House, National Lampoon's DVD Comedy Anna Karenina DVD Drama Annie DVD Family Annie (with Quvenzhane Wallace/Jamie Foxx) DVD Family Apocalypse Now Redux DVD Action Apollo 13 DVD Drama TITLE TYPE GENRE ARGO DVD Drama Aristocats, The DVD Family Army Of Darkness DVD Action Arrival DVD Drama Artist, The DVD Drama August Rush DVD Drama Austin Powers, Goldmember DVD Comedy Austin Powers, International Man Of Mystery DVD Comedy Avatar DVD Action Avengers, The DVD Action Back To The Future I DVD Action Back to the Future II DVD Action Back to the Future III DVD Action Bad Boys DVD Action Bad Boys
    [Show full text]