brucekluger.com

    Us Weekly, 2000

    Home Video & DVD Reviews: 2000 (A through E)
    (See F-M, N-S, T-Z)

    By Bruce Kluger


    24 Hours With...Russell Simmons: Day-in-the-life of ubiquitous music mogul hip-
    hops from Gotham office to palatial digs, checking in with supermodel-wife Kimora
    Lee. Best scene: Jennifer Lopez croons “Happy Birthday” at Puffy’s 30th—dressed
    as Marilyn Monroe. NR; 110 minutes  (MGM)

    28 Days: After trashing her sister’s wedding, New York writer and rabid party animal
    Sandra Bullock lands a four-week gig in a rehab facility where patients chant on
    command. Despite its good intentions, the script is more formulaic than a highball
    recipe in a bachelor’s bartending guide, and eventually blacks out. Steve Buscemi,
    unforgivably underused, is the clinic’s tough-love counselor. PG-13; 104 minutes
    (Columbia TriStar)

    42 Up: In 1964, the Granada TV documentary 7 Up unveiled the dreams of 14
    British children; since then, filmmaker Michael Apted has revisited the gang every
    seven years to see if life has lived up to its potential. This latest chapter delves into
    the karaoke bars and troubled marriages of midlife, but also has its share of
    triumphant twists. Truly fascinating. NR; 130 minutes (First Run Features)

    70 Years of Popeye: Then again, who needs Pokémon when you’ve got a pipe-
    chewing, spinach-scarfing sailor with a gravelly voice and tree-trunk forearms?
    Docu-bio follows Elzie Segar’s “muskled” swabby from doddle to icon. This was
    cartooning, kids. NR; 100 minutes (WinStar)

    2000 Seen By: This creatively packaged collection of eight movies from directors
    around the world reveals each filmmaker’s depiction of last December 31st’s click-
    over into the new millenium—from Jesus’ face-off with the devil at JFK airport (Hal
    Hartley’s The Book of Life) to the descent of a mysterious plague on Taiwan (Tsai
    Ming Liang’s The Hole). For true film buffs. Various ratings; 576 minutes (Winstar)

    The Adventures of Sebastian Cole: Bored teen Adrien Grenier (Drive Me Crazy)
    yearns for diversion, then gets it: Step-dad turns transsexual, Mom hits the bottle.
    Familial quirkiness in Gilbert Grape vein, deftly depicted by fine ensemble. NR; 104
    minutes (Paramount)

    Agnes Browne: Ireland, 1960s: Angelica Huston is the widowed mother of seven
    who sells fruit and borrows from a loan shark to make ends meet--yet refuses to
    give up on her one dream: to see Tom Jones perform in concert. Huston handily
    directed this no-schmaltz dark comedy, which debuted at Cannes in 1999. Arno
    Chevrier plays a French baker who’s sweet on Agnes. R; 91 minutes (USA)

    All About My Mother: Oscar finally smiled upon director Pedro Almodovar (as did
    the Cannes and Golden Globe judges) for his captivating tale of a bereaved woman
    who travels to Barcelona in search of her dead son’s father. A wild ride, enlivened
    by the trademark Almodovar twists, turns and bittersweet delights. In Spanish with
    English subtitles. R; 102 minutes (Columbia TriStar)

    American Beauty: As Oscar’s darling (it nabbed trophies for picture, script,
    direction and Kevin Spacey’s searing star turn, among others), this homage to
    suburbia is wall-to-wall ennui, depravity and lost dreams. It’s also Annette Bening’s
    finest performance ever. R; 122 minutes (DreamWorks)

    The American Experience: The Duel: Compelling recap of events that led up to
    Vice President Aaron Burr’s fatal shooting of Founding Father Alexander Hamilton.
    Brian Dennehy reads Burr; Linda Hunt narrates. Marvelous. NR; 60 minutes (PBS)

    The American Experience: Eleanor Roosevelt: Vivid portrait of nation’s
    preeminent First Lady as feminist, thinker, friend, ambassador, compassionate
    advocate and long-suffering wife and daughter-in-law. Informative and
    enlightening—a gem. NR; 150 minutes (PBS)

    American Movie: Off-the-wall filmmaker Mark Borchardt chronicles his two-year
    obsession to create cinema—with a little help from his mother, octogenarian uncle
    and the people of Menomonee Falls, Wisconsin. A grand prize-winner at Sundance.
    R; 104 minutes (Columbia TriStar)

    American Pimp: The Hughes Brothers (Menace II Society, Dead Presidents) go
    documentary in this starling portrait of the gold-ringed, alligator-shoed pack that
    herds and hustles the nation’s prostitutes. Gritty on-scene footage (from the streets
    of Miami to L.A.) and unflinching interviews with the “mack-daddies” and their
    “bitches” make for an unapologetic and fascinating peek into an unexplored
    underworld. R; 97 minutes (MGM)

    American Psycho: Doncha miss the Eighties? Christian Bale hits the mark as the
    dashing, successful and murderously bonkers yupster in this indictment of Reagan-
    era excesses, adapted from Bret Easton Ellis’ novel. Through Mary Harron’s slyly
    refracted lens, blood and guts flow freely with pesto and Beaujolais—and the
    costumes are embarrassingly dead-on. Chloë Sevigny is Bale’s clueless but loyal
    secretary. R; 103 minutes (Universal)

    American Virgin: Pouty vixen Mena Suvari agrees to be de-flowered on pay-per-
    view for $200,000, much to the chagrin of her porn filmmaker father (Robert
    Loggia). Despite Suvari’s deft blend of brat and vamp, this would-be satire comes
    across like a teen flick that hoped for trenchant but settled for dumb. Bob Hoskins is
    effectively oily as Loggia’s smut-biz rival. PG; 89 minutes (Paramount)

    Andy Kaufman Plays Carnegie Hall: The oddball comic and wrestling fanatic’s
    greatest one-night stand includes vivid incarnations of Elvis, as well as a surprise
    visit from Kaufman’s controversial alter-ego, the obnoxious lounge singer Tony
    Clifton. (Available separately: a four-tape set of Andy’s best episodes from TV’s
    Taxi, including “Latka the Playboy” and “Mr. Personalities.”) NR; 78 minutes
    (Paramount)

    Angela’s Ashes: Alan Parker directed this sober yet darkly wry adaptation of
    Frank McCourt’s Pulitzer Prize-winning memoir of a Brooklyn clan that moves back
    to Limerick, Ireland, in search of better times. Alas, where the book was a life’s
    journey, this is the Cliff Notes—but still worth a look. Emily Watson and Robert
    Carlyle star. R; 145 minutes (Paramount)

    Anna and the King: Jodie Foster and Chow Yun-Fat headline this lush but
    meandering biopic of the famed Nineteenth century English schoolteacher
    summoned to Siam to tutor the brood of the temperamental monarch. Jodie’s
    schoolmarm pales beneath Chow’s ardent autocrat—but the eye-popping
    backdrops upstage them all. King and I fans note: no tunes in this one. PG-13; 147
    minutes (Fox)

    Annie Get Your Gun: Somehow the 1950 screen version of Irving Berlin’s musical
    about vaudeville’s legendary riflewoman (Betty Hutton) escaped video release—
    until now. Co-starring Howard Keel and stacked with Berlin’s best (“There’s No
    Business Like Show Business,” “Doin’ What Comes Natur’lly), the tape also boasts
    bonus material, including two songs performed by Judy Garland, who Hutton
    replaced at the last minute. NR; 107 minutes (Warner)

    Any Given Sunday: Al Pacino rants and paces through Oliver Stone’s
    testosterone-charged expose on professional football—from its fat cat team owners
    to the black-and-blue linemen. Cameos by gridiron greats (Jim Brown, Dick Butkus)
    and pumped up score keep it rocking, even though it’s longer than the Super Bowl.
    Co-stars Dennis Quaid, Cameron Diaz and Charleton “Bang-Bang” Heston. R; 157
    minutes (Warner)

    Anywhere But Here: Flashy daydreamer (and serial ex-wife) Susan Sarandon
    hauls level-headed daughter Natalie Portman to Beverly Hills to make her a star.
    Good chemistry and decent exploration of the whole girls-and-their-mothers thing.
    But Tumbleweeds it ain’t. PG-13; 114 minutes (Fox)

    The Audrey Hepburn Story: So what if it’s a made-for-TV biopic? It’s a good one.
    Jennifer Love Hewitt pulls off a solid realization of filmdom’s elegant and
    bewitchingly beautiful screen siren, from her childhood in the Nazi-occupied
    Netherlands to her ascension to Hollywood royalty. Delightful nods to Breakfast at
    Tiffany’s and Sabrina make it a devotee’s must-see. PG; 133 minutes (Columbia
    TriStar)

    Autumn in New York: Rakish restaurateur Richard Gere targets sprite young
    thang Winona Ryder for his next belt-notch, only to find himself falling in love. That’
    s good, right? Wrong—she’s got a year to live. Disease-of-the-week premise
    notwithstanding, you may find yourself willingly manipulated, thanks to the earnest
    performances and easy-does-it pacing of actress-turned-director Joan Chen. And
    Gotham never looked so good. PG-13; 103 minutes (MGM)

    The Awful Truth: This three-tape compilation of Michael Moore’s critically-
    acclaimed angry citizen TV series replays the show’s first-season, whose sassy
    sorties against corporate America include uncovering the dark side of working for
    Disney, forcing tobacco executives to listen to a voice box choir and hectoring an
    insurance company flack into coughing up a pancreas for a dying policyholder.
    Painfully funny. NR; 300 minutes (Docurama)

    The Bachelor: Unlucky-in-love Chris O’Donnell must marry in 24 hours in order to
    collect $100 million inheritance. Somewhat endearing variation on time-worn
    premise (think Arthur), but mainly for O’Donnell fans. PG-13; 102 minutes (New
    Line)

    The Beach: In his much-anticipated grown-up follow-up to Titanic, Leonardo
    DiCaprio sulks and shrugs as an American ex-pat searching for a fabled Utopia on
    an uncharted Thai Island. Is it good? Sure—good and awful. Overwrought script,
    overacted scenes and overblown narration by Leo evoke sighs and moans where
    there should be oohs and ahs. Nice scenery, though. R; 119 minutes (Fox)

    Beastie Boys DVD Anthology: This two-disk BB bonanza includes 18 videos (with
    switchable angles), rare interviews and photos, and special mixes by, among
    others, Fat Boy Slim. Rock on. (Criterion Collection)

    Being John Malkovich: Puppeteer-turned-filing clerk John Cusack stumbles upon
    secret portal leading into the titular screen star’s skull. Downright brilliant and mind-
    bendingly bizarre, with KO performances by Cameron Diaz and Oscar-nominee
    Catherine Keener. R; 112 minutes (USA)

    Berkeley Square: Three young nannies babysit and bond in turn-of-the-century
    London. As seen on PBS, it’s been hailed as the second coming of “Upstairs,
    Downstairs” Five tapes. (BFS)

    Best of the Original Avengers!: As the critically skewered Uma Thurman-Ray
    Fiennes version fades from memory, here comes the genuine TV article, starring
    Patrick Macnee as John Steed, the genteel super agent with the bowler hat and
    unflappable air. Included in the three-tape set: six episodes featuring all three of
    Macnee’s leading ladies—Honor Blackman, Linda Thorson and the knee-
    weakening Diana Rigg. A must for fans. NR; 330 minutes (A&E)

    Beyond the Mat: New edition of the 1999 feature-length valentine to wrestlemania
    boasts never-before-seen footage, including Q&As with Mick Foley, Chyna and The
    Rock. Ouch. (Universal)

    Bicentennial Man: Robin Williams charms as an android with feelings in Isaac
    Asimov’s futuristic allegory about nuts, bolts and love. As usual, Robin hits the
    ground running; but unfortunately, the sap starts flowing as the android grows more
    human, and the film ultimately blows a fuse. Sam Neill co-stars as Robin’s first
    owner. PG; 131 minutes (Buena Vista)

    The Big Kahuna: A trio of industrial lubricant salesman (Kevin Spacey, Danny
    DeVito, Peter Facinelli) holes up in a hotel hospitality suite, waxing philosophical
    while waiting for titular hot shot exec to strut in and make their day. Roger Reuff’s
    biting script (think Miller meets Mamet meets Godot) is a tad too talky, but, man,
    does Spacey cook. So what else is new? R; 91 minutes (Universal)

    Big Momma’s House: FBI agent (and quick-change artist) Martin Lawrence
    assumes the identity of a cranky corpulent grandmother while staking out a violent
    fugitive in a small southern town. Do we care that Martin’s copy-catting Eddie’s
    winning drag act from the Nutty Professor series? Hardly—he’s still a riot. (And, by
    the way, Flip Wilson put on the dress before anyone.) PG-13; 98 minutes (Fox)

    Black and White: Director James Toback zooms in on the cultural intersection of
    rap artists, basketball players, scummy hangers-on and teeny-bopping (pants-
    dropping) WASP girls. Potent stuff—though occasionally uneven—with effective
    use of improv and a pulsing hip-hop soundtrack. Brooke Shields and Robert
    Downey, Jr. co-star as an obsessive documentarist and her conflicted gay
    husband. Worth a look. R; 98 minutes (Columbia TriStar)

    Body and Soul: Former heavyweight champ Ray “Boom Boom” Mancini is small
    town pugilist looking to turn pro while duking it out with the mob. Not a KO—but OK.
    Co-stars Joe Mantegna and Rod Steiger. R; 95 minutes (MGM)

    Boiler Room: Call it Wall Street with attitude. Giovanni Ribisi and Ben Affleck
    headline a parable about greed and need that tracks a posse of shady traders who
    hock stock from a small Long Island firm. The smart, complicated script and ballsy
    turns by Affleck and Ron Rifkin keep you riveted, even when you have no idea what
    anyone’s talking about. R; 120 minutes (New Line)

    The Bone Collector: Quadriplegic forensics detective Denzel Washington enlists
    reluctant crime scene whiz Angelina Jolie to track down sadistic serial killer. Paint-
    by-numbers plot and bed-ridden Denzel slow the gruesome action, but Jolie’s
    comely, grumpy rookie cop keeps you riveted. R; 118 mins. (Universal)

    Boys and Girls: Lifelong pals Freddie Prinze, Jr. and Claire Forlani begin
    wondering if their fire-and-ice friendship might be more a bit more comfy between
    the sheets—then they find out. Familiar emotional territory nicely rediscovered,
    thanks to an earnest script and charming performances. Co-stars Jason Biggs
    (American Pie) and Heather Donahue (last seen running for her life in the Blair
    Witch woods). PG-13; 94 minutes (Dimension)

    Boys Don’t Cry: Oscar-winner Hillary Swank astounds as troubled Nebraska miss
    impersonating a male to win hearts of local girls. Painfully true tale told in gritty
    detail. Co-star Chloë Sevigny co-stars. R; 116 minutes (Fox)

    The Bridge on the River Kwai: Special DVD edition of David Lean’s 1958 Oscar-
    winner includes a making-of featurette, behind-the-scenes footage and a jungle
    load of memorabilia. (Columbia TriStar)

    Bringing Out the Dead: Nicolas Cage is a sleep-deprived EMS paramedic working
    Hell’s Kitchen in a hallucinatory fog. Despite gritty, arty touches from director
    Scorsese, flick goes into cardiac arrest before the closing credits. John Goodman
    and Patricia Arquette co-star. R; 120 minutes (Paramount)

    Burn the Floor: Forty-four hoofers from 15 countries mix Latin, street and
    classical in erotic, exotic dance extravaganza (though best viewed in small doses).
    Vid debut timed with soundtrack CD release and national stage tour. NR; 97
    minutes (Universal)

    But I’m a Cheerleader: Hollywood’s favorite hormonally-charged coquette,
    Natasha Lyone, is a high school pom-pom swinger whose parents and boyfriend
    are convinced is a lesbian. Their solution? Ship her off to sexual reorientation
    camp, where the tightly-wound director (Cathy Moriarity) and formerly gay rehab
    counselor (RuPaul Charles, playing a man) try to set her straight. Infectiously weird.
    R; 86 minutes (Universal)

    The Cars Live: Flashback city. This rare concert footage—shot in Germany during
    the band’s only European tour, and broadcast on German TV on June 7, 1979—
    features songs from the rockers’ first two albums, as well as the never-recorded
    audience favorite “Take What You Want.” One question: Was Ric Ocasek ever that
    young? A must for fans. NR; 46 minutes (Rhino)

    The Cell: Low-key Jennifer Lopez is a high-tech therapist who specializes in mind-
    tripping through other people’s brains. Her mission: to plug into the dreams of a
    comatose serial killer (a perfectly twisted Vincent D’Onnofrio) to find out where he’s
    hiding his latest victim. Goofy premise notwithstanding, it’s cool and compelling—in
    a creepy sort of way. Vince Vaughn co-stars as the cop in charge. R; 107 minutes
    (New Line)

    Chicken Run: Clay never looked so good. Mel Gibson provides the voice of
    Rocky, an American rooster who vows to save a coop full of harried hens from
    inevitable chicken-pot-piedom. This first full-length effort from the Aardman
    animation factory (creators of Wallace and Gromit) is charmingly sweet and
    downright hilarious. Miranda Richardson is the evil Mrs. Tweedy, the farm
    commandant with fowl intentions. G; 89 minutes (DreamWorks)

    The Cider House Rules: Director Lasse Halstrom’s gentle adaptation of John
    Irving’s novelabout a boy coming of age in an orphanage/abortion clinic in 1940’s
    Maine--is as good as it gets, with a brilliant narrative, evocative backdrops and a
    glorious cast. Oscars went to John Irving’s no-apologies screenplay and Michael
    Caine’s complex take on the doc in charge. PG-13; 131 minutes (Miramax)

    Coming Apart (1969): Late-Sixties cult fave follows twisted shrink Rip Torn, whose
    specialty is kinky, neurotic women. Nudity and suggestive staging earned it an X in
    its original release. Worth a look. NR; 110 minutes (Kino)

    Committed: Abandoned Gotham wife Heather Graham traces her husband’s
    whereabouts to a dusty trailer park in Texas, where a desert artist, a medicine man
    and a voodoo doll complicate her attempts to restore matrimonial bliss. Graham
    carries this goofy affair ably, but would somebody please give the woman a decent
    role already? Luke Wilson co-stars. R; 98 minutes (Miramax)

    Cradle Will Rock: Writer-director Tim Robbins’ ambitious but overly busy history of
    the left-leaning WPA Federal Theater Project features a bunch of stars—Susan
    Sarandon, Bill Murray, two Cusacks, etc.—and polemics galore. But perhaps a
    smaller bite may have worked better.

    Crazy in Alabama: Young boy fights segregation in Sixties Alabama, inspired by
    his star-struck, husband-killing aunt. Uneven but charming directorial bow of
    Antonio Banderas, whose wife Melanie steals the show as the uncorked widow. PG-
    13; 113 minutes (Columbia TriStar)

    Creature Comforts: The 1990 Oscar-winning short from Aardman Animations
    (Chicken Run) arrives on DVD, along with three irresistible claymation gems. A
    must for buffs. (Image)

    Crime and Punishment in Suburbia: Dostoyevsky meets the teen flick when
    popular cheerleader Monica Keena (Dawson’s Creek) conspires with her jock
    boyfriend to murder her abusive stepfather—only to have Mom (Ellen Barkin) take
    the rap. It’s not exactly American Beauty (what is?), but the script’s grit and
    conscience—and Keena’s convincing spin as the tortured high schooler—make it
    worth a look. R; 98 minutes (MGM)

    Cuba: Three-part documentary/travelogue, including Cuban history, politics and
    music. NR; (BFS)

    Dementia: John J. Parker’s surreal 1955 dreamscape—now a cult classic—tracks
    a psychotic beatnik as she wanders the night on skid row. Disturbingly erotic and
    deliciously noir (it was shot without dialogue), the DVD edition includes a later
    version—retitled Daughter of Horrorfeaturing a narration track of senseless
    twaddle, courtesy of Ed McMahon. In B&W. NR; 60 minutes (Kino)

    Deterrence: 2008: Blizzard-bound in a Colorado diner while on the campaign trail,
    U.S. President Kevin Pollak kicks off a thermonuclear war via satellite TV, as
    astonished aides and patrons look on. More play than movie, though the fast and
    frantic script keeps you guessing till the final countdown begins. Timothy Hutton
    smarms and charms as the Chief Exec’s right hand. R; 104 minutes (Paramount)

    Divine Trash: Steve Yeager’s jaunty docubio of cult filmmaker John Waters and
    his favorite headliner, the 300-pound cross-dressing megastar, Divine (aka, Glen
    Milstead), zooms in on the making of the twosome’s most notorious collaboration,
    Pink Flamingos (1972), a domestic comedy about “the filthiest people alive.”
    Program includes interviews with cast and crew, including a 25-year-old Waters.
    NR; 105 minutes (Fox Lorber)

    Dogma: Kevin (Clerks, Chasing Amy) Smith’s religious rumination about good, evil,
    and how Jersey figures into the apocalypse shoots for trenchant allegory but bails
    at slapstick sitcom. Ben Affleck and Matt Damon star as a couple of shady angels.
    R; 128 minutes (Columbia TriStar)

    Dreaming of Joseph Lees: Samantha Morton (Sweet and Lowdown) is a Fifties
    sawmill clerk in rural England torn between a flirty pig farmer and her handsome,
    one-legged cousin. Surprisingly potent—and, boy, does the camera love Sam. R;
    92 minutes (Fox)

    Drive Me Crazy: Popular but dateless high-schooler Melissa Joan Hart (TV’s teen
    witch Sabrina) transforms mangy neighbor boy into passable prom date. You’ll
    yawn, but your kids will re-rent ad nauseam. Hart’s big screen bow hits the mark.
    PG-13; 91 mins. (Fox)

    Drowning Mona: When titular bitch (Bette Midler) buys the farm in a freak Yugo
    accident, the town sheriff (Danny De Vito) smells murder and sets out to investigate
    who wanted her dead. The answer? Everybody. A wickedly funny potboiler, with
    tongue-in-cheek performances by all. Neve Campbell and Jamie Lee Curtis co-star.
    PG13; 94 minutes (Columbia TriStar)

    East is East: England, 1970’s: Generations, cultures and personalities collide as
    a beleaguered Pakistani family man tries to cope with seven children who are more
    drawn to disco than to Eastern  traditions. Om Puri is the put-upon patriarch, and
    Linda Bassett plays the dutiful wife, reprising her role from the hit Brit stage play.
    Quirky, funny and fine. R; 96 minutes (Miramax)

    East Side Story: Ever see a dancing pig farmer? A singing tractor driver? Director
    Dana Ranger compiles clips from a bizarre wave of little-known musical
    extravaganzas cranked out by Eastern bloc propagandists from 1934 to 1973 (e.g.,
    the Soviet’s Volga, Volga, 1938, or East Germany’s Hard Work, Happy Holiday,
    1950). Fascinating history and refreshingly funny. A film fest fave. NR; 78 minutes
    (Kino)

    East/West: A young Russian family of three returns to the Soviet Union after World
    War II to discover that Stalin’s Twentieth Century paradise is a bum deal. Oscar-
    winning director Regis Wargnier (Indochine) reteams with Catherine Deneuve (here
    playing a politically connected French actress on tour) for this sumptuously shot
    historical romance. In Russian and French, with subtitles. PG-13; 125 minutes
    (Columbia/TriStar)

    End of Days: Ex-cop Schwarzenegger battles Satan (Gabriel Byrne), who’s
    searching for a woman to bear his child (stand in line, pal). Awful in theatre, great
    on tape—especially the devilish F/X. R; 121 minutes (Universal)

    The End of the Affair: 1946: Perpetually glum novelist Ralph Fiennes hires private
    dick to track former lover Julianne Moore, who dumped him after bombs began
    falling on London. Refreshingly old-fashioned, but moody as all hell. R; 101 minutes
    (Columbia TriStar)

    Endurance: Gripping docudrama tracks Ethiopian long-distance runner Haile
    Gebrselassie’s quest for Olympic gold—from training in Addis Abbaba to victory at
    the 1996 Atlanta Games. Includes actual race footage and appearances by
    Gebrselassie and family. G; 83 minutes (Buena Vista)

    Erin Brockovich: Julia Roberts plays the real life single-mom and legal secretary
    whose dogged investigation of contaminated water at a $28 billion-dollar PG&E
    utility brings sudden notoriety--and a huge law suit--to a small California town.
    Roberts’ steely-eyed performance (can anyone say Oscar?) and the film’s $125
    million b.o. make it one of the year’s best. Albert Finney co-stars. R; 132 minutes
    (Universal)

    Eye of the Beholder: Mysterious man-killer Ashley Judd eludes helplessly smitten
    spy Ewen McGregor across the continent and beyond. Stylishly directed and often
    compelling—yet ultimately confounding and aimless, with a perfectly ridiculous
    finale. R; 101 minutes (Columbia TriStar)

    Eyes Wide Shut: Rich doc Cruise does emergency exploratory of underground sex
    cult when wife Kidman confesses to illicit longings. Nicole scorches and Tom idles in
    Kubrick’s cinematically lush, emotionally arid swan song. (Note: beware the studio-
    inserted onlookers obstructing the x-rated action at the orgy.) R ; 159 mins.
    (Warner)


    (See Bruce Kluger's 2000 Us Weekly video/DVD reviews, F-M, N-S, T-Z)