On the Blu-ray
Sleeping Beauty was the last and most lavish of Walt Disney's animated fairy tales. He told the artists not to hurry and to give him "a moving illustration": The film required almost four and one-half years and one million finished drawings. Instead of the 19th century storybook illustrations that had influenced the look of Snow White and Pinocchio, the artists adapted the flattened perspective and jewel-like colors of 15th century French illuminated manuscripts. The results remain unmatched for sheer visual opulence. However, Sleeping Beauty suffers from a weak story: the vision of an ageless princess slumbering in a vine-shrouded tower was replaced with elements of Snow White and a boy-meets-girl musical. The evil Maleficent and the three Good Fairies (Flora, Fauna, and Merryweather) dominate the film, rather than Princess Aurora and Prince Philip. Sleeping Beauty was originally released in 70mm, and the Blu-ray edition restores the film to its original splendor. (Many earlier releases trimmed the wide-screen images and/or muted the glowing palatte.) The Bonus DVD looks good on a flat screen monitor, but it pales in comparison to the richness of the Blu-ray. In addition to the commentaries and a making-of documentary, the set includes myriad extras that vary widely in quality. Nostalgia buffs will enjoy the recreation of the old Sleeping Beauty's Castle attraction in Disneyland, and the TV program "Four Artists Paint One Tree" provides a welcome showcase for key talents from the film. But the CG animation of the dragon and the voice imitations of the Good Fairies fail to capture the magic of the originals in the "Dragon Encounter"; the "Maleficent's Challenge Game"--a hi-tech Twenty Questions--sounds only vaguely like the redoubtable sorceress. The BD-Live features require an awful lot of bother: after wading through (or ignoring) 130 screens of legalese, participants must enter their Social Security number or other personal information in the drawn-out sign-on process. Once that's finally done, viewers can send special messages to pop up during the film, chat online with others who are watching, and view it in synch with others. The question is whether or not you want to. (Rated G: violence) --Charles Solomon
Stills from Sleeping Beauty (Click for larger image)
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Cut to Jefferson Jones, a sailor adrift at sea for weeks after his destroyer is torpedoed. Memories of the food described in Lane's columns are central to his survival. After his rescue, as he's recuperating in a naval hospital, a marriage-minded nurse thinks she might nudge Jones to the altar if he could only experience a real domestic Christmas. And it just so happens that she was nurse to the grandchild of Alexander Yardley, the wealthy and powerful publisher of --you guessed it--Smart Housekeeping magazine. And so, she pens the letter that could unravel Lane's carefully constructed fraud. She writes to Yardley asking that Jones be included in America's ultimate Christmas--the one to be held at the Lane family farm in Connecticut. The pompous Yardley (ably portrayed by Sidney Greenstreet) believes the Lane myth and instantly sniffs a story that will send his magazine's circulation skyrocketing. And staring down a lonely holiday, he decides to join the Lanes for Christmas on the farm, too. Now, all Lane has to do is come up with a farm. And a husband. And let's not forget the baby. Christmas in Connecticut is classic screwball entertainment of the best kind, with its on-target skewering of social convention and house-of- cards-about-to-tumble tension: a perfect farcical vision of domestic blitz. --Susan Benson
A Christmas Carol 1938
This is the desert-island choice of the many versions of A Christmas Carol, with a magnificent, full-bodied portrayal of Ebenezer Scrooge by Alastair Sim that leaves everyone else in the dust. Lean and direct, this film's version of the story wastes no time trying to impress viewers with the magical nature of the spirits' visitations. Director Brian Desmond Hurst keeps the focus on Scrooge's life story, beautifully simplifying and underscoring the theme of lost women with a haunting musical refrain from the folk song "Barbara Allen." Sim's commitment to the role is at times astonishing; his Scrooge's Christmas-morning ecstasy is a marvel of giddy technique. Watch for Patrick Macnee (Steed in The Avengers) as the young Jacob Marley--the actor made his screen debut in this 1951 production. --Tom Keogh
The Shop Around the Corner
One of the most charming and romantic films around, this 1940 comic romance finds James Stewart (Vertigo, It's A Wonderful Life) working in a small shop in Budapest and longing for a girl to call his own. His coworker, Margaret Sullavan, feels the same, and soon they are both corresponding and falling in love with their respective pen pals. What they don't realize is that they are writing to and falling in love with each other, but the problem is that they can't stand each other in person. The beguiling nature of the mistaken identity formula that influenced countless films is done to perfection here, and the wry combativeness and delightful banter between the two leads makes this a very special film. --Robert Lane
It Happened on 5th Avenue
Making his winter home in a vacant New York City mansion,owned by vacationing industrialist Michael O'Connor (Charlie Ruggles), a philosophizing hobo decides to take in a homeless ex-G.I. O'Connor's unhappy daughter, Trudy (Gale Storm), running away from finishing school, returns home unexpectedly but doesn't tell anyone who she is or who her dad is when he comes looking for her disguised as a butler. Meanwhile, O'Connor unwittingly competes with the ex-G.I. in a land deal. The film, nominated best original story, contains a worthwhile message of self worth.
It turns out there's a conspiracy afoot, masterminded by the devious, gruesomely aged Ru'afo (F. Murray Abraham, hamming it up under makeup resembling a cosmetic surgeon's worst nightmare), who's in cahoots with a renegade Starfleet admiral (Anthony Zerbe, in one of his final screen roles). They covet the fountain-of-youth power of the Ba'ku planet, but because their takeover plan violates Starfleet's Prime Directive of noninterference, it's up to Picard and crew to stop the scheme. Along the way, they all benefit from the metaphasic effect, which manifests itself as Worf's puberty (visible as a conspicuous case of Klingon acne), Picard's youthful romance with a Ba'ku woman (the lovely Donna Murphy), the touching though temporary return of Geordi's natural eyesight, and a moment when Troi asks Dr. Crusher if she's noticed that her "boobs are firming up."
Some fans scoffed at these humorous asides, but they're what make this Trek film as entertaining as it is slightly disappointing. Without the laughs (including Data's rousing excerpt from Gilbert & Sullivan's HMS Pinafore), this is a pretty routine entry in the franchise, with no real surprises, a number of plot holes, and the overall appearance of a big-budget TV episode. As costar and director, Jonathan Frakes proves a capable carrier of the Star Trek flame--and it's nice to see women in their 40s portrayed as smart and sexy--but while this is surely an adequate Trek adventure, it doesn't quite rank with the best in the series. --Jeff Shannon
Nemesis
Neo thus embarks on an adventure that is both terrifying and enthralling. Pitted against an enemy that transcends human concepts of evil, Morpheus and his team must train Neo to believe that he is the chosen champion of their fight. With mind-boggling, technically innovative special effects and a thought-provoking script that owes a debt of inspiration to the legacy of cyberpunk fiction, this is much more than an out-and-out action yarn; it's a thinking man's journey into the realm of futuristic fantasy, a dreamscape full of eye candy that will satisfy sci-fi, kung fu, action, and adventure fans alike. Although the film is headlined by Reeves and Fishburne--who both turn in fine performances--much of the fun and excitement should be attributed to Moss, who flawlessly mixes vulnerability with immense strength, making other contemporary female heroines look timid by comparison. And if we were going to cast a vote for most dastardly movie villain of 1999, it would have to go to Hugo Weaving, who plays the feckless, semipsychotic Agent Smith with panache and edginess. As the film's box-office profits soared, the Wachowski brothers announced that The Matrix is merely the first chapter in a cinematically dazzling franchise--a chapter that is arguably superior to the other sci-fi smash of 1999 (you know... the one starring Jar Jar Binks). --Jeremy Storey
The Matrix Reloaded
Considering the lofty expectations that preceded it, The Matrix Reloaded triumphs where most sequels fail. It would be impossible to match the fresh audacity that made The Matrix a global phenomenon in 1999, but in continuing the exploits of rebellious Neo (Keanu Reeves), Morpheus (Laurence Fishburne), and Trinity (Carrie-Anne Moss) as they struggle to save the human sanctuary of Zion from invading machines, the codirecting Wachowski brothers have their priorities well in order. They offer the obligatory bigger and better highlights (including the impressive "Burly Brawl" and freeway chase sequences) while remaining focused on cleverly plotting the middle of a brain-teasing trilogy that ends with The Matrix Revolutions. The metaphysical underpinnings can be dismissed or scrutinized, and choosing the latter course (this is, after all, an epic about choice and free will) leads to astonishing repercussions that made Reloaded an explosive hit with critics and hardcore fans alike. As the centerpiece of a multimedia franchise, this dynamic sequel ends with a cliffhanger that virtually guarantees a mind-blowing conclusion. --Jeff Shannon
The Matrix Revolutions
Despite the inevitable law of diminishing returns, The Matrix Revolutions is quite satisfying as an adrenalized action epic, marking yet another milestone in the exponential evolution of computer-generated special effects. That may not be enough to satisfy hardcore Matrix fans who turned the Wachowski Brothers' hacker mythology into a quasi-religious pop-cultural phenomenon, but there's no denying that the trilogy goes out with a cosmic bang instead of the whimper that many expected. Picking up precisely where The Matrix Reloaded left off, this 130-minute finale finds Neo (Keanu Reeves) at a virtual junction, defending the besieged human enclave of Zion by confronting the attacking machines on their home turf, while humans combat swarms of tentacled mechanical sentinels as Zion's fate lies in the balance. It all amounts to a blaze of CGI glory, devoid of all but the shallowest emotions, and so full of metaphysical hokum that the trilogy's detractors can gloat with I-told-you-so sarcasm. And yet, Revolutions still succeeds as a slick, exciting hybrid of cinema and video game, operating by its own internal logic with enough forward momentum to make the whole trilogy seem like a thrilling, magnificent dream. -- Jeff Shannon
