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At its core, Munich is a straightforward thriller. Based on the book Vengeance: The True Story of an Israeli Counter-Terrorist Team by George Jonas, it's built on a relatively stock movie premise, the revenge plot: innocent people are killed, the bad guys got away with it, and someone has to make them pay. But director Steven Spielberg uses that as a starting point to delve into complex ethical questions about the cyclic nature of revenge and the moral price of violence. The movie starts with a rush. The opening portrays the kidnapping and murder of Israeli athletes by PLO terrorists at the 1972 Olympics with scenes as heart-stopping and terrifying as the best of any horror movie. After the tragic incident is over and several of the terrorists have gone free, the Israeli government of Golda Meir recruits Avner (Eric Bana) to lead a team of paid-off-the-book agents to hunt down those responsible throughout Europe, and eliminate them one-by-one (in reality, there were several teams). It's physically and emotionally messy work, and conflicts between Avner and his team's handler, Ephraim (Geoffrey Rush), over information Avner doesn't want to provide only make things harder. Soon the work starts to take its toll on Avner, and the deeper moral questions of right and wrong come into play, especially as it becomes clear that Avner is being hunted in return, and that his family's safety may be in jeopardy.

By all rights, Munich should be an unqualified success--it has gripping subject matter relevant to current events; it was co-written by one of America's greatest living playwrights (Tony Kushner, Angels in America) and an accomplished screenwriter (Eric Roth); it stars an appealing and likeable actor in Eric Bana; and it was helmed by Steven Spielberg, of all people. While it certainly is a great movie, it falls just short of the immense heights such talent should propel it to. This is due more to some questionable plot devices than anything else (such as the contrived use of a family of French informants to locate the terrorists). But while certain aspects ring hollow, the movie as a whole is a profound accomplishment, despite being only "inspired by true events," and not factually based on them. From the ferocious beginning to the unforgettable closing shot, Munich works on a visceral level while making a poignant plea for peace, and issuing an unmistakable warning about the destructive cycle of terror and revenge. As one of the characters intones, "There is no peace at the end of this." --Daniel Vancini

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Victor Borge was a master at combining two seemingly disparate elements: comedy and classical music. While the Dane's dapper dignity fit the image of "longhair" music, Borge undercut it with broad physical comedy, clever spoofs, and off-the-cuff wit. A pioneer in the field of live comedy recordings, Borge is nevertheless best appreciated on video, and The Best of Victor Borge Acts One and Two captures a 90-minute concert that includes many of his most famous routines. He chides late-arriving members of the Minneapolis audience ("I come from Copenhagen and was here before you!"), falls off the piano bench, and reads his sheet music upside down. There are a few unwitting guests: a stagehand drafted to turn Borge's pages, soprano Marylyn Mulvey who tries to sing a Verdi aria through Borge's teasing and scolding, and Sahan Arzruni as he and Borge play a two-piano Hungarian rhapsody on a single piano by climbing over and around each other. Borge also presents an opera "written by Mozart but credited to Salieri" ("so you can imagine what kind of opera it is") and proves that he's not merely a clown by skillfully performing a set of waltzes and lullabies. In addition, two of his best-loved sketches are nonmusical: Inflationary Language, in which numbers in language, like the economy, are increased ("I'll go back to Elevenessee.... Three-dleoo."), and Phonetic Punctuation, in which a period is read aloud to sound like fft and an exclamation point fsss fft. Like Anna Russell and PDQ Bach, Victor Borge helped make classical music accessible to a wide audience by showing that it could be laugh-out-loud funny. --David Horiuchi

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Great routines, but truncated recording disappointing

Victor Borge is as funny as ever in this 90-minute live performance. He is thoroughly engaged, very lively, and manages to deliver even his most common routines with such energy and humor that you feel as if you're seeing them for the first time.

That said, the recording has some flaws. The first you will notice is that the video quality, though not distracting, is nevertheless poor. It's painfully obvious that this DVD was mde from a VHS cassette. The one that most disappointed me most, though, is that "The Best of Victor Borge Acts I and II" is just that--the best of them, not the whole thing. Seven years ago, I purchased a videocassette of this same concert. Since the tape has gotten worn to the point of being unusable, I purchased this DVD expecting to have all of Acts I and II. Sadly, several routines are fully removed, including Borge's birthday sketches and his performance of the Moonlight Sonata. His performance of "Clear the Saloon" and several other pieces have also been cut from the recording. For this reason, although I don't outright regret the purchase, I'm profoundly disappointed with it.

A musical upstart - Excellent

Comedy with a difference. What!? No swearing????
Todays comedian often resort to expletives to get their humour across. Victor is old school, very talented musically and is funny to all ages. For the young a very funny introduction to the classics.

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• Drinkwell Pet Fountain - Pink Limited Edition
  
• Drinkwell is donating a portion of the proceeds from this item to benefit the Susan G. Komen Breast Cancer Foundation.
  
• Pink Fountain + 50 oz Pink Reservoir
  

Filters and aerates continuously moving water to keep it much fresher than standing bowl water. It satisfies the urge for running water and so helps eliminate jumping on counters in search of dripping faucets.

Even cats who don't jump on counters to drink from faucets may drink more water using the Fountain. Why is this important? As the veterinarian who created the Fountain for her own cats knows, many cats may not drink as much water as they should. This is one reason the urine becomes so concentrated and predisposes some cats to urinary tract disease. Cats with urinary tract or kidney disease have a critical need for water to support kidney function or prevent crystal formation and obstruction.

The DRINKWELL PET FOUNTAIN is veterinarian designed and recommended by vet urinary specialists. It encourages water intake and proper hydration in healthy cats, and is especially beneficial in cats with kidney or urinary tract disease. AND it discourages jumping on counters in search of dripping faucets!

Fountain features:

Adjustable flow rate
6 cup bowl capacity
Charcoal filter to absorb tastes and odors, as well as overflow protection.
Patented free falling stream adds more oxygen!
Pet's prefer running water like faucets for freshness!
Drinking more water improves your pet's health!
Shown to help reduce urinary disease in cats!
Helps keep cats off counters and out of sinks!
Extra large charcoal filter removes tastes and odors for added freshness!
It is self-contained, requiring no connection to a water line.
It completely dissembles for cleaning and has a 6-foot power cord.

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William Marshall, a Shakespearean actor with a rich baritone voice, enriches this otherwise bland blaxploitation vampire film with his strong, seductive performance. He's Manuwalde, a European-educated 18th-century African prince who appeals to the Count Dracula for help in ending the slave trade. Dracula, never known as a great emancipator, puts the bite on Manuwalde's troubles, dubs him "Blacula" (the only time the name is uttered in the film), and imprisons him in a casket. Stirred to life, so to speak, centuries later in Los Angeles by gay antique hunters, he steps into the soulful '70s and splits his energies between feeding his bloodlust and wooing a young beauty (Vonetta McGee), a dead ringer for his long-dead wife. Thalmus Rasulala (Friday Foster) is a modern medical professor turned urban Van Helsing, and Elisha Cook Jr. has a bit part as a coroner with a hook for a hand. The potential for a clever urban black twist on the European vampire myth is lost in this dull, thoroughly conventional tale. Marshall is under enough sloppily applied facial hair to make him a wolfman, and his victims walk around with a plastic blue pallor. But despite the limitations, Marshall creates a magnetic, aristocratic character and infuses his monster with a sense of loss and sadness in the climax. It was followed by a sequel, Scream, Blacula, Scream, and inspired Blackenstein. For a more interesting and thoughtful African American take on the vampire legend, look to Ganja and Hess. --Sean Axmaker

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Yes, he's back, and he's still hungry. Ten years after The Silence of the Lambs, Dr. Hannibal "the Cannibal" Lecter (Anthony Hopkins, reprising his Oscar-winning role) is living the good life in Italy, studying art and sipping espresso. FBI agent Clarice Starling (Julianne Moore, replacing Jodie Foster), on the other hand, hasn't had it so good--an outsider from the start, she's now a quiet, moody loner who doesn't play bureaucratic games and suffers for it. A botched drug raid results in her demotion--and a request from Lecter's only living victim, Mason Verger (Gary Oldman, uncredited), for a little Q and A. Little does Clarice realize that the hideously deformed Verger--who, upon suggestion from Dr. Lecter, peeled off his own face--is using her as bait to lure Dr. Lecter out of hiding, quite certain he'll capture the good doctor.

Taking the basic plot contraptions from Thomas Harris's baroque novel, Hannibal is so stylistically different from its predecessor that it forces you to take it on its own terms. Director Ridley Scott gives the film a sleek, almost European look that lets you know that, unlike the first film (which was about the quintessentially American Clarice), this movie is all Hannibal. Does it work? Yes--but only up to a point. Scott adeptly sets up an atmosphere of foreboding, but it's all buildup for anticlimax, as Verger's plot for abducting Hannibal (and feeding him to man-eating wild boars) doesn't really deliver the requisite visceral thrills, and the much-ballyhooed climatic dinner sequence between Clarice, Dr. Lecter, and a third unlucky guest wobbles between parody and horror. Hopkins and Moore are both first-rate, but the film contrives to keep them as far apart as possible, when what made Silence so amazing was their interaction. When they do connect it's quite thrilling, but it's unfortunately too little too late. --Mark Englehart

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With a voracious trio of mako sharks wreaking havoc, Deep Blue Sea dares to up the ante on Jaws, but director Renny Harlin trades the nuanced suspense of Spielberg's 1975 blockbuster for the trickery of the digital age. In other words, why build genuine terror when you can show ill-fated humans getting torn into bloody chunks? The aforementioned makos have been lab rats in an effort to harvest a miracle cure for Alzheimer's disease from the brains of sharks, but the research has an unfortunate side effect: the sharks get smarter, and they're determined to break out of Aquatica, the deep-sea complex where they've been penned.

Model-actress Saffron Burrows plays the researcher; Thomas Jane pulls double-duty as shark expert and action hunk; Samuel L. Jackson's the corporate sponsor who chooses the worst time for an Aquatica tour; and rapper LL Cool J is nicely cast as Aquatica's cook and comic relief. Michael Rapaport, Jacqueline McKenzie, and Stellan Skarsgård round out the cast, most of whom are turned into shark food as the makos turn Aquatica into a floating junkyard. Harlin takes devilish pleasure in providing sudden, unexpected shocks--no small feat in such a derivative thriller--and as a series of action set-pieces, Deep Blue Sea never disappoints. It's inevitable that Burrows should end up in her underwear like Sigourney Weaver in Alien, but even then the movie offers a credible reason for the strip-down; that Deep Blue Sea can be simultaneously ridiculous and sensible is just another one of its shlocky charms. --Jeff Shannon

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For its seventh edition, The Amazing Race welcomed two familiar faces. Reality TV vets Rob and Amber were one of eleven teams competing for the million-dollar prize. The other contestants covered the spectrum, like boyfriends Lynn and Alex, brothers Brian and Greg, married couple Uchenna and Joyce, and mother/son duo Susan and Patrick. The latter decides he'll do whatever it takes to beat Boston Rob. As he notes in the season premiere, "I watched Survivor. He's as dumb as a rock." The show’s top-rated installment spanned five continents and 40,000 miles, from Long Beach, CA to Fort Lauderdale, FL. Other pit stops include Buenos Aires, Istanbul, and London. Some of the more colorful challenges include llama herding in Peru and cave rappelling in South Africa, while the emotional high point is a trip to a Soweto orphanage, an experience that reduces Uchenna and Joyce to tears. There will also be sacrifices along the way, as when Gretchen, the second oldest contestant--after her 69-year-old husband, Meredith--has a frightening fall and Joyce says so long to her hair. The seventh season of The Amazing Race is broken into 12 episodes, including three two-part programs. This boxed set features a mini-documentary, chatty commentary from four of the highest-ranked teams, and over three hours of deleted material. After the race aired, Lynn and Alex and Rob and Amber--on network TV, naturally--tied the knot. It was also revealed that Joyce once had a recurring role on Star Trek: The Next Generation. --Kathleen C. Fennessy

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The 2003 debut of Chappelle's Show on Comedy Central marked a high point for the cable channel, and now the entire, wildly creative first season can be seen, with hundreds of bleeps removed. That's not to say Chappelle's Show is perfect entertainment: there are too many moments among the 12 episodes here that descend into pointless scatology and booty fever. But for the most part, Chappelle, a talented comic slowly growing into greatness, is trying to push the sketch-humor envelope and succeeds at surprising us with original concepts and merciless execution.

The merely clever material includes "National Geography's Third World Girls Gone Wild," basically an update on those topless-native-women gags of yore, and Chappelle's "Educated Guess Line," in which the sage comic eschews psychic powers to logically deduce racial insights from his callers' questions. Far more wicked is an in-your-face satire on such autobiographical film fare as Antwone Fisher and 8 Mile, in which Chappelle plays himself ascending from street hustler to rapper-comedian to bona fide savior of America. The best thing here, however, is a parallel-universe version of The Real World, in which the usual racial proportions on MTV's workhorse series are reversed, thrusting a token white guy into a Hoboken houseful of crazy African Americans. There are also laughs in "Ask a Gay Guy with Mario Cantoned," as well as a sketch about an "inner-thoughts cam" and a nasty piece about Chappelle's Make-a-Wish visit to a dying child, which decays into a cruel video game competition. Overlooking the series' weaker material, this is outstanding television comedy. --Tom Keogh

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Movie critic Roger Ebert made this amusing observation about Malice: "This is the only movie I can recall in which an entire subplot about a serial killer is thrown in simply for atmosphere." He's referring to the fact that this hokey but highly charged thriller is so packed with plot twists and red herrings that you'll soon find yourself so confused that you just have to sit back and hope that it will all make sense by the time the credits roll. It never does make much sense, but the movie at least has the look, feel, and twisted momentum of a really good thriller, and the talent on both sides of the camera is pretty impressive. Alec Baldwin plays a hot-shot surgeon who meets up with an old med-school buddy (Bill Pullman), whose wife (Nicole Kidman) has no objections when Baldwin moves into the upstairs room of their New England Victorian home. The situation's ripe for intrigue, suspicion, temptation, emergency surgery, legal proceedings, and just about anything else you'd find in a movie that desperately struggles to out-Hitchcock Hitchcock. Talk about McGuffins--this movie's chock full of 'em! When the plot thickens to the consistency and clarity of quicksand, you can still enjoy the darkly stylish work of master cinematographer Gordon Willis--or you can check out director Harold Becker's more coherent thriller Sea of Love. With Kidman and Baldwin working up a steamy lather, this one's just fun enough to be an agreeable waste of time. --Jeff Shannon

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Spring, 1864. The air is filled with exploding gunfire and the awful sounds of men collapsing in agony as they march forward into Hell. Relive the most vicious fighting of the Civil War, in which General Ulysses S. Grant forcibly reversed the tide of the conflict by paying with the blood of thousands. It was a desperate time for the Union. For three bloody years and despite their greater numbers, the troops had frequently been outmatched by the brilliant strategies of the Confederate leader, General Robert E. Lee. As General Ulysses S. Grant took charge of the Army of the Potomac that spring, he was determined to gain the upper hand in the war once and for all - no matter what the cost. Grant's relentless tactics led to furious clashes, including the Battle of the Wilderness, the Battle at Laura Hill and the fighting at the Mule Shoe and Cold Harbor. In a few short weeks, Grant sacrificed 50,000 men, more Americans than were lost during the entire Vietnam War. But his brutal strategies worked. By the time of Lee's surrender a year later, his own army of 60,000 had been decimated, reduced to a mere 7,500. These crucial weeks are authentically dramatized, using over 10,000 Civil War re-enactors, 2,000 horses, 50 cannons and heart-rending text from letters of those who were there. Filmed on hallowed ground and with riveting commentary by author Jeff Shaara (Gods and Generals) and noted Civil War expert, Edwin C. Bearss, it's a chillingly realistic experience of the final, desperate hours between North and South.

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