Featurettes/Behind-The-Scenes/Documentaries

On his evening commute, bored accountant Sugiyama (Koji Yakusho) always looks for the beautiful woman who gazes wistfully out the window of the Kishikawa School of Dancing. One night he gets off the train, walks into the studio, and signs up for a class. Soon Sugiyama is so engrossed in his dancing he practices his steps on the train platform and under his desk, and becomes good enough for competition, compelling his wife to hire a private investigator to find out why he stays out late and returns home smelling of perfume.

In Ankert University, California, Alisha (Priyanka Chopra) is the name of that dream everyone wished came true. The most beautiful girl on campus, she makes hearts flutter like leaves in the wind. A snap of her fingers and a line of boys, waiting on her every whim. Everybody Loves Alisha! It is no surprise then that Abhay (Uday Chopra) loves her too. More than his computer programs and MAC stores he thinks of Alisha. Who is Abhay?

John Schlesinger's solid adaptation of Thomas Hardy's novel sees three rival suitors vying for the affections of the beautiful Bathsheba Everdene (Julie Christie decked out in a variety of bonnets and frilly dresses), who has just inherited a farm. The men in her life are stout, whiskered yeoman Gabriel Oak (Alan Bates), an impoverished local farmer; neurotic, repressed squire William Boldwood (Peter Finch); and handsome rascal Sgt. Troy (Terence Stamp), who breaks women's hearts for a hobby.

The third installment in the Librarian franchise more than keeps up with the (Indiana) Joneses. It's unpretentious, good-natured, family-friendly fun without any Crystal Skull-esque letdown. And it's got vampires! Not soulful, swooning high-school vampires, either, but the Big Kahuna of bloodsuckers--Dracula! Noah Wyle returns as Flynn Carsen, the globe-trotting librarian who battles supernatural forces while securing the world's mythical artifacts for the mammoth (and secret) Metropolitan Library.

Ranked 34 on the American Film Institute's list of the 100 Greatest American Films, To Kill a Mockingbird is quite simply one of the finest family-oriented dramas ever made. A beautiful and deeply affecting adaptation of the Pulitzer Prize-winning novel by Harper Lee, the film retains a timeless quality that transcends its historically dated subject matter (racism in the Depression-era South) and remains powerfully resonant in present-day America with its advocacy of tolerance, justice, integrity, and loving, responsible parenthood.

Ah, Barbra. Of all her onscreen personas, she sparkles in none as she does in her role as 1930s comedian Fanny Brice in the musical Funny Girl. Portraying the life of this star of stage and radio, Brice preens and prances and sings, captivating her audience both onscreen and off. Fanny Brice started life on the Lower East Side of New York, the daughter of a Jewish saloon owner. Not the prettiest girl around, Brice still managed to quickly rise to stardom as a performer in the Ziegfield Follies.

What happens when mad scientist Dr. Simon Barsinister (Peter Dinklage) and a former police beagle Shoeshine (voiced by Jason Lee) are involved in a fiery lab accident? A dog with superpowers is born (soon to be dubbed Underdog) and Dr. Barsinister becomes a man obsessed with revenge and bent on genetically modifying the entire population of Capital City.

Among the finest Western-made movies about the East, Bernardo Bertolucci's epic traces the emergence of modern China through the life of one man. After taking on Italian history in The Conformist and 1900, the director was well placed to tackle the story of Pu Yi (played by John Lone as an adult). The narrative proceeds along two tracks: the emperor's post-Forbidden City existence and his cloistered upbringing. Educated by Scotland's Reginald Johnston (Peter O'Toole, in a role slated for Sean Connery), the monarch develops into a sophisticated, if powerless figure.

A different sort of Sergio Leone Western, this one takes place during the Mexican Revolution, with more politics than usual. But there's still plenty of action, with Rod Steiger as a cigar-chomping peasant who robs banks to liberate political prisoners, and James Coburn as an Irish terrorist trying to flee from his bitter past. They team up to thwart a sadistic officer and help the cause; redemption for the more subdued Coburn provides added depth.

Kenneth Branagh's 1993 production of Shakespeare's Much Ado About Nothing is a vigorous and imaginative work, cheerful and accessible for everyone. Largely the story of Benedick (Branagh) and Beatrice (Emma Thompson)--adversaries who come to believe each is trying to woo the other--the film veers from arched wit to ironic romps, and the two leads don't mind looking a little silly at times. But the plot is also layered with darker matters that concern the ease with which men and women fall into mutual distrust.