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The final battle for Middle-earth begins. Frodo and Sam, led by Gollum, continue their dangerous mission toward the fires of Mount Doom in order to destroy the One Ring. Aragorn struggles to fulfill his legacy as he leads his outnumbered followers against the growing power of the Dark Lord Sauron, so that the Ring-bearer may complete his quest.

DVD Features:
3D Animated Menus
DVD ROM Features:Exclusive online content Link to www.lordoftherings.net
Documentaries:3 in-depth programs that reveal the secrets behind the production of this epic adventure, including: “The Quest Fulfilled: A Director’s Vision” (23:05) “A Filmmaker’s Journey: Making The Return of The King” (28:30) National Geographic Special (45:57)
Featurette:6 featurettes –Aragorn’s Destiny (3:25) –Minas Tirith: Capital of Gondor (3:10) –The Battle of Pelennor Fields (2:14) –Samwise the Brave (4:32) –Eowyn: White Lady of Rohan (3:45) –Digital Horse Doubles (4:35)
Other:2-DISC SET The Battle For Middle Eath Continues–Video Games from EA (3:00)
TV Spot
Theatrical Trailer:Original Theatrical Trailers “The Lord of The Rings” Trilogy Supertrailer (6:45)

With The Return of the King, the greatest fantasy epic in film history draws to a grand and glorious conclusion. Director Peter Jackson’s awe-inspiring adaptation of the Tolkien classic The Lord of the Rings could never fully satisfy those who remain exclusively loyal to Tolkien’s expansive literature, but as a showcase for physical and technical craftsmanship it is unsurpassed in pure scale and ambition, setting milestone after cinematic milestone as the brave yet charmingly innocent Hobbit Frodo (Elijah Wood) continues his mission to Mordor, where he is destined to destroy the soul-corrupting One Ring of Power in the molten lava of Mount Doom. While the heir to the kingdom of Men, Aragorn (Viggo Mortensen), endures the massive battle at Minas Tirith with the allegiance of the elf Legolas (Orlando Bloom), dwarf Gimli (John Rhys-Davies) and the great wizard Gandalf (Ian McKellen), Frodo and stalwart companion Samwise Gamgee (Sean Astin) must survive the schizoid deceptions of Gollum, who remains utterly convincing as a hybrid of performance (by Andy Serkis) and subtly nuanced computer animation.

Jackson and cowriters Fran Walsh and Philippa Boyens have much ground to cover; that they do so with intense pacing and epic sweep is impressive enough, but by investing greater depth and consequence in the actions of fellow Hobbits Merry (Dominic Monaghan) and Pippin (Billy Boyd), they ensure that Return of the King maintains the trilogy’s emphasis on intimate fellowship. While several major characters appear only briefly, and one (Christopher Lee’s evil wizard, Saruman) relegated entirely to the extended version on DVD, Jackson is to be commended for his editorial acumen; like Legolas the archer, his aim as a filmmaker is consistently true, and he remains faithful to Tolkien’s overall vision. If Return suffers from too many endings, as some critic suggested, it’s only because the epic’s conclusion is so loyally inclusive of the actors–most notably Astin–who gave it such strength to begin with. By ending the LOTR trilogy with noble integrity and faith in the power of imaginative storytelling, The Return of the King, like its predecessors, will stand as an adventure for the ages. –Jeff Shannon

Rating: (out of 1130 reviews)

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Two soldiers of fortune leave 19th century India for the primitive land of Kafiristan where they plan to become kings.A grandly entertaining, old-fashioned adventure based on the Rudyard Kipling short story, The Man Who Would Be King is the kind of rousing epic about which people said, even in 1975, “Wow! They don’t make ‘em like that anymore!” When director John Huston (The Maltese Falcon, The Treasure of the Sierra Madre, The African Queen) first started trying to make the film, with Gable and Bogart, the project was derailed by the latter’s death. It was a few decades before Huston was able to finally realize his dream movie–and with an unimprovable cast. Sean Connery and Michael Caine are, respectively, Daniel Dravot and Peachy Carnahan, a pair of lovably roguish British soldiers who set out to make their fortunes by conning the priests of remote Kafiristan into making them kings. It’s a rollicking tale, an epic satire of imperialism, and the good-natured repartee shared by Caine and Connery is pure gold. In today’s screen adventures, humor is usually imposed on the material by a writer or director trying to make some kind of cleverly self-aware comment (“Hey, we know it’s a movie!”), but that sort of jokiness can create so much ironic distance that it pushes the audience right out of the picture. Huston lets the humor emerge naturally from the characters, for whom we wind up caring more deeply than we ever expected. –Jim Emerson A grandly entertaining, old-fashioned adventure based on the Rudyard Kipling short story, The Man Who Would Be King is the kind of rousing epic about which people said, even in 1975, “Wow! They don’t make ‘em like that anymore!” When director John Huston (The Maltese Falcon, The Treasure of the Sierra Madre, The African Queen) first started trying to make the film, with Gable and Bogart, the project was derailed by the latter’s death. It was a few decades before Huston was able to finally realize his dream movie–and with an unimprovable cast. Sean Connery and Michael Caine are, respectively, Daniel Dravot and Peachy Carnahan, a pair of lovably roguish British soldiers who set out to make their fortunes by conning the priests of remote Kafiristan into making them kings. It’s a rollicking tale, an epic satire of imperialism, and the good-natured repartee shared by Caine and Connery is pure gold. In today’s screen adventures, humor is usually imposed on the material by a writer or director trying to make some kind of cleverly self-aware comment (“Hey, we know it’s a movie!”), but that sort of jokiness can create so much ironic distance that it pushes the audience right out of the picture. Huston lets the humor emerge naturally from the characters, for whom we wind up caring more deeply than we ever expected. –Jim Emerson

Rating: (out of 154 reviews)

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During the Second World War, an American soldier escapes his Japanese captors and flees into the jungles of Borneo, where he is found and taken in by Dayak headhunters. Two years later, British commandos arrive and are amazed to discover that the American has become king of the tribe. Initially reluctant to help the commandos, the king wages an all-out war on the Japanese after the invaders destroy his village.

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The wonder. The magic. The genius. Now for an encore presentation with stunning new restorations, all-new special features and more. The Richard Schickel documentary, “Charlie” available exclusively in this Chaplin Giftset. THE CIRCUS The Little Tramp accidentally becomes a big-top star in the comedy that earned Chaplin a special Academy Award?. CITY LIGHTS A forever classic – and an American Film Institute Top-100 Movie. The Tramp becomes a working man, saving money for an operation that will restore a blind flower girl’s sight. THE KID The Tramp and his ragamuffin sidekick (6-year-old Jackie Coogan) triumph over life’s hard knocks in the landmark film that changed the notion of what a screen comedy could be. A KING IN NEW YORK/A WOMAN OF PARIS Chaplin jabs at social conventions! U.S. pop culture is the target of his satiric A King in New York. And the whirl of French high society frames director Chaplin’s tragic love story A Woman of Paris.

MONSIEUR VERDOUX Killer comedy! Chaplin turns his sunny nature inside out to play a roving gent who wins the love and bank accounts of spinsters, then murders the hapless biddies.The second magnificent collection of Charlie Chaplin’s work is even more stuffed with goodies than the first: six feature films, a round-up of two-reelers, and a new documentary, plus a cornucopia of deleted scenes and context. Each feature is accompanied by a half-hour “Chaplin Today” featurette, in which a filmmaker comments from a 21st-century perspective. Claude Chabrol extols the wicked virtues of Monsieur Verdoux and calls Chaplin “a thoroughly modern director,” while Jim Jarmusch speaks gallantly on the political satire of the problematic A King in New York.

The Kid (1921), Chaplin’s first feature, relates directly to Chaplin’s own hard upbringing. The Tramp adopts a street kid (Jackie Coogan), in a seamless blend of slapstick and sentiment. For A Woman of Paris (1923), Chaplin experimented: straight, adult melodrama, with no Charlie onscreen (save for a brief cameo). 1927′s The Circus is prized by many Chaplin critics as pure sublime comedy, less burdened by sentiment or politics than subsequent films. City Lights (1931) is an undisputed masterpiece; the Tramp befriends a blind girl, leading to one of the great bittersweet endings in film history. (Among the extras: a priceless seven-minute deleted scene involving little more than Chaplin and a piece of wood stuck in a grate.) With Monsieur Verdoux (1947), Chaplin turned his back on the Tramp and invented an elegant lady killer (literally); audiences disapproved, but the film stands as a fascinating essay on himself. Finally, after his exile from the United States, Chaplin made A King in New York (1957), which is mostly flat, except as autobiography.

The Chaplin Revue gathers six essential short works, from the superb A Dog’s Life (1918) to his last two-reeler, The Pilgrim. A separate disc contains film critic Richard Schickel’s comprehensive documentary Charlie: The Life and Art of Charles Chaplin, which does nicely by Chaplin’s life and his working process, with keen comments from admirers such as Woody Allen and Johnny Depp. This box set is more than film history; it’s a living treasure. –Robert Horton

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The story line, adapted from an earlier, nonmusical stage hit, follows widowed English teacher Anna Leonowens (Deborah Kerr) to her new posting as tutor to the Siamese king’s formidable mob of children. The collision of East and West affords its winning mixture of drama and humor, and the warm friendship that grows between the king and the patrician teacher provides a poignant, unfulfilled romance between the two wary protagonists. Into this framework, the composers insert a superb score, echoing Asian motifs, as well as a bouquet of lovely songs including “Hello, Young Lovers,” “Shall We Dance,” and two ensemble pieces for Anna and the royal children (“Getting to Know You” and “I Whistle a Happy Tune”) that suggest prototypes for Rodgers & Hammerstein’s later hit, The Sound of Music.

For this 1956 production, 20th Century Fox lavished stereophonic sound, widescreen cinematography, intricate production design, and stunning sets. Technically, this newly mastered THX version is the best-looking and -sounding King yet to hit video. But, regardless of format, the glorious music is reason enough to hit “play.” –Sam SutherlandThe third Rodgers & Hammerstein Broadway hit to go before the cameras, The King and I boasts a career-making performance from Yul Brynner, repeating his stage triumph as the titular monarch and proving to moviegoers that bald can be beautiful. It’s Brynner’s proud king that provides the fulcrum to the plot, and it’s Brynner himself, with his piercing gaze and graceful physicality, that demands our attention.

The story line, adapted from an earlier, nonmusical stage hit, follows widowed English teacher Anna Leonowens (Deborah Kerr) to her new posting as tutor to the Siamese king’s formidable mob of children. The collision of East and West affords its winning mixture of drama and humor, and the warm friendship that grows between the king and the patrician teacher provides a poignant, unfulfilled romance between the two wary protagonists. Into this framework, the composers insert a superb score, echoing Asian motifs, as well as a bouquet of lovely songs including “Hello, Young Lovers,” “Shall We Dance,” and two ensemble pieces for Anna and the royal children (“Getting to Know You” and “I Whistle a Happy Tune”) that suggest prototypes for Rodgers & Hammerstein’s later hit, The Sound of Music.

For this 1956 production, 20th Century Fox lavished stereophonic sound, widescreen cinematography, intricate production design, and stunning sets. Technically, this newly mastered THX version is the best-looking and -sounding King yet to hit video, but in its full-frame, pan-and- scan version the formatting downsizes far too much of the splendor, losing some sharpness to the imagery. For viewing on all but the smallest screens, the widescreen edition is vastly superior. But, in either version, the glorious music is reason enough to hit “play.” –Sam Sutherland

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