The Best of Blu-Ray, Vol. 3 [Blu-ray]The Best of Blu-Ray, Vol. 3 [Blu-ray]

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MOVIE DESCRIPTION:

    The Departed Four 2006 Academy Awards (2006); Best Picture, Director (Martin Scorsese), Adapted Screenplay and Film Editing. The taut, terrific tale of two cops one a lawman inside the mob, one a mob informant on the force. Leonardo DiCaprio, Matt Damon, Jack Nicholson and Mark Wahlberg star.Goodfellas Academy Award (1990): Best Supporting Actor (Joe Pesci). The electrifying, fact-inspired tale of living and dying The Life. Robert De Niro, Ray Liotta, Lorraine Bracco and Paul Sorvino also star in Scorsess masterwork.Blazing Saddles Filmmaker/co-star Mel Brooks goes way out West and way out of his mind with a spiffy spoof set in an 1874 Old West where 1974 Hollywood is just one soundstage away where nonstop fun blasts prejudices to the high comedy heavens.Superman: The Movie A beloved box-office triumph, this awesome adventures legacy soared higher when director Richard Donner revisited the film 22 years later and integrated eight minutes of footage. Christopher Reeve, Marlon Brando, Gene Hackman and Margo Kidder give indelible performances.

DVD FEATURES:
  • Number of Discs: 4
  • Screen: Enhanced Wide Screen Letterbox for 16x9 TV
  • Aspect Ratio: 2.40:1
  • Audio: Dolby Digital Stereo
  • Features:
    • The Departed - 9 additional scenes, 2 dynamic documentaries
    • Goodfellas - Separate cast and crew/cop and crook commentaries, 3 making-of featurettes and storyboard-to-screen comparisons
    • Blazing Saddles - additional scenes, scene-specific director commentary, making-of featurette, Madeline Kahn tribute and Black Bart TV series plot
    • Superman the movie - Director commentary, 2 making-of featurettes, screen test and music-only audio track
AWARDS
  • Academy of Motion Picture Arts and Sciences
  •     Won Best Adapted Screenplay - 2006 (William Monahan)
  •     Won Best Director - 2006 (Martin Scorsese)
  •     Won Best Editing - 2006 (Thelma Schoonmaker)
  •     Won Best Picture - 2006 (Graham King)
  •     Won Best Supporting Actor - 1990 (Joe Pesci)
  •     Won Special Achievement - 1978 (Roy Field, Zoran Perisic, Les Bowie, Denys Coop, Colin Chilvers, Derek Meddings)
  •     Nominated Best Supporting Actor - 2006 (Mark Wahlberg)
  •     Nominated Best Adapted Screenplay - 1990 (Nicholas Pileggi, Martin Scorsese)
  •     Nominated Best Director - 1990 (Martin Scorsese)
  •     Nominated Best Editing - 1990 (Thelma Schoonmaker)
  •     Nominated Best Picture - 1990 (Irwin Winkler)
  •     Nominated Best Supporting Actress - 1990 (Lorraine Bracco)
  •     Nominated Best Editing - 1978 (Stuart Baird)
  •     Nominated Best Original Score - 1978 (John Williams)
  •     Nominated Best Sound - 1978 (Roy Charman, Graham Hartstone, Nicolas Le Messurier, Gordon K. McCallum)
  •     Nominated Best Editing - 1974 (John C. Howard, Danford B. Greene)
  •     Nominated Best Song - 1974 (Mel Brooks, John Morris)
  •     Nominated Best Supporting Actress - 1974 (Madeline Kahn)
  • American Cinema Editors Guild
  •     Won Best Edited Dramatic Feature - 2006 (Thelma Schoonmaker)
  • American Film Institute
  •     Won 100 Greatest American Movies - 1998
  • Art Directors Guild
  •     Nominated Best Art Direction in a Contemporary Film - 2006 (Kristi Zea)
  • Austin Film Critics
  •     Won Best Actor - 2006 (Leonardo DiCaprio)
  •     Won Best Supporting Actor - 2006 (Jack Nicholson)
  •     Nominated Best Picture - 2006
  • Boston Society of Film Critics
  •     Won Best Director - 2006 (Martin Scorsese)
  •     Won Best Ensemble Cast (Runner-up) - 2006
  •     Won Best Picture - 2006
  •     Won Best Screenplay - 2006 (William Monahan)
  •     Won Best Supporting Actor - 2006 (Mark Wahlberg)
  •     Won Best Supporting Actor (Runner-up) - 2006 (Alec Baldwin)
  • British Academy of Film and Television Arts
  •     Won Best Adapted Screenplay - 1991 (Nicholas Pileggi)
  •     Won Best Costume Design - 1990 (Richard Bruno)
  •     Won Best Director - 1990 (Martin Scorsese)
  •     Won Best Picture - 1990 (Martin Scorsese)
  •     Won Editing Award - 1990 (Thelma Schoonmaker)
  •     Won Michael Balcon Award - 1978 (Roy Field, Les Bowie, Colin Chilvers, Derek Meddings)
  •     Won Most Promising Newcomer - 1978 (Christopher Reeve)
  •     Nominated Best Actor - 2006 (Leonardo DiCaprio)
  •     Nominated Best Adapted Screenplay - 2006 (William Monahan)
  •     Nominated Best Director - 2006 (Martin Scorsese)
  •     Nominated Best Editing - 2006 (Thelma Schoonmaker)
  •     Nominated Best Picture - 2006
  •     Nominated Best Supporting Actor - 2006 (Jack Nicholson)
  • Broadcast Film Critics Association
  •     Won Best Director - 2006 (Martin Scorsese)
  •     Won Best Picture - 2006
  •     Nominated Best Actor - 2006 (Leonardo DiCaprio)
  •     Nominated Best Ensemble Acting - 2006
  •     Nominated Best Score - 2006 (Howard Shore)
  •     Nominated Best Screenplay - 2006 (William Monahan)
  •     Nominated Best Supporting Actor - 2006 (Jack Nicholson)
  • Chicago Film Critics Association
  •     Won Best Adapted Screenplay - 2006 (William Monahan)
  •     Won Best Director - 2006 (Martin Scorsese)
  •     Won Best Picture - 2006
  •     Nominated Best Actor - 2006 (Leonardo DiCaprio)
  •     Nominated Best Cinematography - 2006 (Michael Ballhaus)
  •     Nominated Best Supporting Actor - 2006 (Jack Nicholson)
  • Dallas/Fort Worth Film Critics Association
  •     Won Best Director - 2006 (Martin Scorsese)
  •     Nominated Best Picture - 2006
  • Directors Guild of America
  •     Won Best Director - 2006 (Martin Scorsese)
  •     Nominated Best Director - 1990 (Martin Scorsese)
  • Hollywood Foreign Press Association
  •     Won Best Director - 2006 (Martin Scorsese)
  •     Nominated Best Performance by an Actor in a Motion Picture - Drama - 2006 (Leonardo DiCaprio)
  •     Nominated Best Performance by an Actor in a Supporting Role in a Motion Pictu - 2006 (Jack Nicholson, Mark Wahlberg)
  •     Nominated Best Picture - Drama - 2006
  •     Nominated Best Screenplay - 2006 (William Monahan)
  •     Nominated Best Director - 1990 (Martin Scorsese)
  •     Nominated Best Performance by an Actor in a Supporting Role in a Motion Pictu - 1990 (Joe Pesci)
  •     Nominated Best Performance by an Actress in a Supporting Role in a Motion Pic - 1990 (Lorraine Bracco)
  •     Nominated Best Picture - Drama - 1990
  •     Nominated Best Screenplay - 1990 (Nicholas Pileggi, Martin Scorsese)
  •     Nominated Best Original Score - 1978 (John Williams)
  • Iowa Film Critics Association
  •     Nominated Best Director - 2006 (Martin Scorsese)
  • Kansas City Film Critics Association
  •     Won Best Adapted Screenplay - 2006 (William Monahan)
  • Las Vegas Film Critics Association
  •     Won Best Director - 2006 (Martin Scorsese)
  •     Won Best Editing - 2006 (Thelma Schoonmaker)
  •     Won Best Picture - 2006
  • London Film Critics Association
  •     Nominated Best Director - 2006 (Martin Scorsese)
  •     Nominated Best Picture - 2006
  •     Nominated British Producer of the Year - 2006 (Graham King)
  • Los Angeles Film Critics Association
  •     Won Best Cinematography - 1989 (Michael Ballhaus)
  •     Won Best Director - 1989 (Martin Scorsese)
  •     Won Best Picture - 1989
  •     Won Best Supporting Actor - 1989 (Joe Pesci)
  •     Won Best Supporting Actress - 1989 (Lorraine Bracco)
  • National Board of Review
  •     Won Best Director - 2006 (Martin Scorsese)
  •     Won Best Ensemble Cast - 2006
  •     Won Best Supporting Actor - 1990 (Joe Pesci)
  •     Nominated Best Picture - 2006
  •     Nominated Best Picture - 1990
  •     Nominated Best Picture - 1978
  • National Society of Film Critics
  •     Won Best Supporting Actor - 2006 (Mark Wahlberg)
  •     Won Best Director - 1989 (Martin Scorsese)
  •     Won Best Picture - 1989
  •     Nominated Best Director - 2006 (Martin Scorsese)
  •     Nominated Best Screenplay - 2006 (William Monahan)
  • New York Film Critics Circle
  •     Won Best Actor - 1990 (Robert De Niro)
  •     Won Best Director - 1990 (Martin Scorsese)
  •     Won Best Picture - 1990
  • New York Film Critics Society
  •     Won Best Director - 2006 (Martin Scorsese)
  •     Won Best Picture (Runner-up) - 2006
  •     Won Best Screenplay (Runner-up) - 2006 (William Monahan)
  • Oklahoma Film Critics Circle
  •     Won Best Director - 2006 (Martin Scorsese)
  •     Nominated Best Picture - 2006
  • Online Film Critics Association
  •     Won Best Director - 2006 (Martin Scorsese)
  •     Nominated Best Actor - 2006 (Leonardo DiCaprio)
  •     Nominated Best Adapted Screenplay - 2006 (William Monahan)
  •     Nominated Best Editing - 2006 (Thelma Schoonmaker)
  •     Nominated Best Picture - 2006
  •     Nominated Best Supporting Actor - 2006 (Jack Nicholson, Mark Wahlberg)
  • Phoenix Film Critics Association
  •     Won Best Adapted Screenplay - 2006 (William Monahan)
  •     Won Best Director - 2006 (Martin Scorsese)
  •     Won Best Editing - 2006 (Thelma Schoonmaker)
  •     Won Best Supporting Actor - 2006 (Jack Nicholson)
  •     Nominated Best Picture - 2006
  • Producers Guild of America
  •     Nominated Producer of the Year - 2006 (Graham King)
  • Rome International Film Festival
  •     Film Presented - 2006
  • Satellite Awards
  •     Won Best Adapted Screenplay - 2006 (Felix Chong, William Monahan, Alan Mak)
  •     Won Best Picture - Drama - 2006
  •     Won Best Supporting Actor - 2006 (Leonardo DiCaprio)
  •     Nominated Best Director - 2006 (Martin Scorsese)
  •     Nominated Best Supporting Actor - 2006 (Jack Nicholson)
  • Screen Actors Guild
  •     Nominated Best Ensemble Acting - 2006
  •     Nominated Best Supporting Actor - 2006 (Leonardo DiCaprio)
  • Southeastern Film Critics Association
  •     Won Best Adapted Screenplay - 2006 (William Monahan)
  •     Won Best Director - 2006 (Martin Scorsese)
  •     Won Best Picture - 2006
  • Toronto Film Critics Association
  •     Nominated Best Director - 2006 (Martin Scorsese)
  •     Nominated Best Picture - 2006
  •     Nominated Best Screenplay - 2006 (William Monahan)
  •     Nominated Best Supporting Actor - 2006 (Mark Wahlberg)
  • Venice International Film Festival
  •     Won Silver Lion for Best Director - 1990 (Martin Scorsese)
  • Washington D.C. Film Critics Association
  •     Won Best Director - 2006 (Martin Scorsese)
  • Writers Guild of America
  •     Won Best Adapted Screenplay - 2006 (William Monahan)
ADDITIONAL INFORMATION:
REVIEWS:
  • A rousing big-budget spectacle of the highest order, 1978's Superman succeeds thanks to its snappy pace, a witty script and a slew of memorable performances. Director Richard Donner wanted an unknown for the tricky title role; Christopher Reeve fits the bill with a finely nuanced performance, poking fun at the Superman mystique without diminishing its power. The reliable Gene Hackman steals just about every scene he's in as smarmy archenemy Lex Luthor. In a smaller but no less memorable role, Marlon Brando was reportedly paid close to $4 million dollars for his ten-minute cameo as The Man of Steel's father. Superman proved to be another hit for Donner, following 1976's The Omen; the film would inspire three sequels of descending quality (though many argue that the second installment is in fact superior to this one). ~ Brendon Hanley, Rovi
  • Mel Brooks at his ribald, tasteless best, Blazing Saddles stands out as one of the all-time great film spoofs. Sparing no one from his outrageous brand of humor, Brooks proved he was an egalitarian when it came to making fun of people, regardless of skin color or religious persuasion: where blacks may come off as stereotypical, whites are seen as just plain stupid and ignorant. Beyond its over-the-top humor and genre revision of the Western, Blazing Saddles boasts some great performances, with Madeline Kahn, Gene Wilder, and Slim Pickens doing some of the best work of their careers. It also features a number of scenes that have elevated the film into the realm of the comedy classic, perhaps most infamously the one involving beans, a campfire, and the most gratuitous display of flatulence ever to cloud a movie screen. ~ Rebecca Flint Marx, Rovi
  • Seventeen years after revising the book on gangster movies in his breakthrough Mean Streets, Martin Scorsese returned to the netherworld of Italian-American organized crime with this stunningly ambitious, ferociously entertaining look at one man's rise and fall in a Mafia family. Shot and edited with a propulsive sense of rhythm that Gene Krupa would envy (this may be the fastest 150 minutes in film history), Goodfellas explores the 30-year career of Henry Hill (Ray Liotta) as a "mechanic" working for mob boss Paulie Cicero (Paul Sorvino). While most films about gangsters attribute their characters' criminal lives to greed or sociopathic behavior, Scorsese makes it clear Henry and his friends Jimmy Conway (Robert De Niro) and Tommy DeVito (Joe Pesci) are gangsters because they enjoy it: they like to steal, they enjoy violence, and their "work" allows them to profit from these qualities, which would be a hindrance in nearly any other career. However, while the film offers a point-blank look at New York's criminal underworld from the '50s to the '80s, Scorsese also uses this story as a unusual but clear moral fable. In the first few reels, Henry and his partners follow a strict code of honor and make sure to obey Cicero's wishes: you pay tribute to the boss, you stay away from dealing drugs, and you don't kill anyone unless it's absolutely necessary. By the mid-'70s, these guidelines have been forgotten, and as Henry, Jimmy, and Tommy slip away from Paulie's corrupt but strictly ordered ethical universe, it leads only to death and betrayal. Scorsese has long been fascinated with the actions of men searching for a moral compass in a faithless land, but he's rarely told the story with such kinetic force and audacious skill. ~ Mark Deming, Rovi
  • The Departed has all the earmarks of a standard undercover cop film. William Monahan's flawless script manages to juggle half a dozen major characters and another half-dozen important minor ones. We get the backstory for each of these characters, and we understand what draws them together so that their interactions feel motivated by behavior and psychology rather than just plot mechanics. With remarkable clarity, Monahan depicts the chain of command for competing police units as well as for the crime ring they are investigating. Based on the finished film, it would be hard to imagine that any decent filmmaker wound not be able to make a good film out of this solid material. The gifted Martin Scorsese turns it into arguably the greatest undercover cop film ever made. Most of the great Scorsese movies are, at their core, genre films. GoodFellas and Mean Streets are both gangster films, the former structured almost exactly like the classic Warner Bros. crime films of the '30s like Scarface and The Public Enemy. Raging Bull is, plot point for plot point, a boxing melodrama from the '40s and '50s. Scorsese elevates these films above the realm of simple genre exercises by infusing them with a unique synthesis of influences, and with an unrivaled ability to mix formal compositions with naturalistic acting.

    Scorsese saves his "Directed By" credit for the end of the film, but from the opening shot onward there is never a doubt about the identity of the man behind the camera. A great director is sometimes referred to as an image-maker, and this film offers numerous examples of his visual skills. Scorsese and cinematographer Michael Ballhaus masterfully play light and dark against each other, obscuring and revealing actors' faces in ways that express the shifting power struggles between them. Scorsese and longtime editor Thelma Schoonmaker throw heaps of plot at the audience with such command and authority that he is never forced to let the story lag in order for the audience to catch up. Scenes are interwoven in such a way that they come alive for the viewer in unexpected and rewarding ways. There are also a handful of allusions to other great films like M and Psycho -- the best of these is an emotionally powerful shot that directly references The Third Man. The shot works perfectly even if a viewer has never seen the Carol Reed classic, but if they have, it infuses the scene with added poignancy.

    In Reservoir Dogs, Quentin Tarantino explained why undercover cop stories always make good movies: a good undercover cop has to be the most naturalistic actor in the room. The Departed offers two such characters to set this dynamic into motion; Matt Damon plays Colin Sullivan, a corrupt detective on crime boss Frank Costello's payroll, and Leonardo DiCaprio portrays William Costigan, a cop with the personal history to help him pass as a typical Southie tough guy. Damon's boy-next-door charm shines through during his early scenes with love interest Vera Farmiga, a police psychiatrist. They are both so at ease in front of the camera that they often make the audience feel as if they are eavesdropping. Damon achieves this same naturalism during his more forceful scenes, most memorably when playing against Mark Wahlberg. Wahlberg's no-BS staff sergeant has only a few scenes, but they are memorable both for their quotable dialogue and Wahlberg's commanding performance. Martin Sheen plays wisdom and weariness in equal measure as Wahlberg's boss, subtly reminding everybody that although he never achieved the fame of Pacino, De Niro, or Hoffman, he is certainly among his generation's most compelling screen performers. Alec Baldwin does a hilarious riff on his Glengarry Glen Ross character, mixing it with the quirky, funny bosses he's played in films like Fun With Dick and Jane and Along Came Polly.

    Leonardo DiCaprio deserves much praise for his excellent work in the film. He broods, and goes for the big emotions when it is appropriate, but for the most part serves as the quiet center of this film. He delivers a monologue in the middle of the movie where he explains that no matter what tension surrounds him, no matter how fast his heart beats, his hands remains still. That remains true throughout the picture, but DiCaprio compensates for this control by letting his eyes do much of the work. During moments of openness, his bearing and his posture don't change, but his eyes convey just enough vulnerability for the audience to register his inner experiences, both with regard to the specific scene and to the double-life that is slowly eating him alive.

    If DiCaprio is the solid center of the film, and Damon is the most naturalistic, then Jack Nicholson gets to be the life of the party. As outrageous as Costello's behavior often is, and as remarkable as some of the pearls of wisdom that come from his mouth are, he never once makes this unhinged criminal too big to be real. Unlike the mad-dog performances in films such as Batman, The Shining, or The Witches of Eastwick, every element of The Departed helps keep Jack Nicholson frighteningly and realistically monstrous.

    From the rigid chain of command that exists in both the cop and the criminal worlds to the ways the various characters play out their power dynamics, the movie returns to the subject of authority time and again. Even the images and the music act as governances of power, demanding attention so deftly that the audience gives it over without question. There is an author responsible for all that authority. His name is Martin Scorsese, and The Departed stands alongside his other masterpieces -- GoodFellas, Taxi Driver, Raging Bull, Mean Streets -- as a testament to his prodigious talent. ~ Perry Seibert, Rovi

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