BEST OF HD DVD-V03 (HD-DVD/4PK/BLAZING S/DEPARTED/GOODFELLAS/SUPERMAN) DVD

Blazing Saddles
Vulgar, crude, and occasionally scandalous in its racial humor, this hilarious bad-taste spoof of Westerns, co-written by Richard Pryor, features Cleavon Little as the first black sheriff of a stunned town scheduled for demolition by an encroaching railroad. Little and co-star Gene Wilder have great chemistry, and the delightful supporting cast includes Harvey Korman, Slim Pickens, and Madeline Kahn as a chanteuse modelled on Marlene Dietrich. As in Young Frankenstein (1974), Silent Movie (1976), and High Anxiety (1977), director/writer Mel Brooks gives a burlesque spin to a classic Hollywood movie genre; in his own manic, Borscht Belt way, Brooks was a central player in revising classic genres in light of Seventies values and attitudes, an effort most often associated with such directors as Robert Altman and Peter Bogdanovich . Some of this film's sequences, notably a gaseous bean dinner around a campfire, have become comedy classics. ~ Robert Firsching, All Movie Guide

The Departed
Legendary director Martin Scorsese takes the helm for this tale of questionable loyalties and blurring identities set in the South Boston organized crime scene and inspired by the wildly popular 2002 Hong Kong crime film Infernal Affairs. As the police force attempts to reign in the increasingly powerful Irish mafia, authorities are faced with the prospect of sending in an undercover agent or seeing their already frail grip on the criminal underworld slip even further. Billy Costigan (Leonardo DiCaprio) is a young cop looking to make a name for himself in the world of law enforcement. Collin Sullivan (Matt Damon) is a street-smart criminal who has successfully infiltrated the police department with the sole intention of reporting their every move to ruthless syndicate head Frank Costello (Jack Nicholson). When Costigan is assigned the task of working his way into Costello's tightly guarded inner circle, Sullivan is faced with the responsibility of rooting out the informer before things get out of hand. With the stakes constantly rising and time quickly running out for the undercover cop and his criminal counterpart, each man must work feverishly to reveal his counterpart before his identity is exposed by the other. Martin Sheen, Alec Baldwin, and Ray Winstone co-star, and writer William Monahan adapts a screenplay originally penned by Alan Mak and Felix Chong. ~ Jason Buchanan, All Movie Guide

GoodFellas
Martin Scorsese explores the life of organized crime with his gritty, kinetic adaptation of Nicolas Pileggi's best-selling Wiseguy, the true-life account of mobster and FBI informant Henry Hill. Set to a true-to-period ock soundtrack, the story details the rise and fall of Hill, a half-Irish, half-Sicilian New York kid who grows up idolizing the "wise guys" in his impoverished Brooklyn neighborhood. He begins hanging around the mobsters, running errands and doing odd jobs until he gains the notice of local chieftain Paulie Cicero (Paul Sorvino), who takes him in as a surrogate son. As he reaches his teens, Hill (Ray Liotta) is inducted into the world of petty crime, where he distinguishes himself as a "stand-up guy" by choosing jail time over ratting on his accomplices. From that moment on, he is a part of the family. Along with his psychotic partner Tommy (Joe Pesci), he rises through the ranks to become Paulie's lieutenant; however, he quickly learns that, like his mentor Jimmy (Robert DeNiro), his ethnicity prevents him from ever becoming a "made guy," an actual member of the crime family. Soon he finds himself the target of both the feds and the mobsters, who feel that he has become a threat to their security with his reckless dealings. Goodfellas was rewarded with six Academy Award nominations including Best Picture; Pesci would walk away with Best Supporting Actor for his work. ~ Jeremy Beday, All Movie Guide

Superman: The Movie
Richard Donner's big-budget blockbuster Superman: The Movie is an immensely entertaining recounting of the origin of the famous comic book character. Opening on Krypton (where Marlon Brando plays Superman's father), the film follows the Man of Steel (Christopher Reeve) as he's sent to Earth where he develops his alter-ego Clark Kent and is raised by a Midwestern family. In no time, the movie has run through his teenage years, and Clark gets a job at the Daily Planet, where he is a news reporter. It's there that he falls in love with Lois Lane (Margot Kidder), who is already in love with Superman. But the love story is quickly sidetracked once the villainous Lex Luthor (Gene Hackman) launches a diabolical plan to conquer the world and kill Superman. Superman: The Movie is filled with action, special effects and a surprising amount of humor. ~ Stephen Thomas Erlewine, All Movie Guide

Cast Cleavon Little as Bart Gene Wilder as Jim, the Waco Kid Slim Pickens as Taggart Harvey Korman as Hedley Lamarr David Huddleston as Olson Johnson Mel Brooks as Governor Lepetomane Mel Brooks as Indian Chief Alex Karras as Mongo Madeline Kahn as Lili Von Shtupp Leonardo DiCaprio as Billy Costigan Matt Damon as Colin Sullivan Jack Nicholson as Frank Costello Mark Wahlberg as Sergeant Dignam Martin Sheen as Captain Queenan Ray Winstone as Mr. French Vera Farmiga as Madolyn Anthony Anderson as Brown Alec Baldwin as Captain Ellerby James Badge Dale as Barrigan David Patrick O'Hara as Fitzy J.C. MacKenzie as Building Manager Mark Rolston as Delahunt Kevin Corrigan as Cousin Sean Robert De Niro as James Conway Ray Liotta as Henry Hill Joe Pesci as Tommy DeVito Lorraine Bracco as Karen Hill Paul Sorvino as Paul Cicero Frank Sivero as Frankie Carbone Tony Darrow as Sonny Bunz Mike Starr as Frenchy Frank Vincent as Billy Batts Frank di Leo as Tuddy Cicero Christopher Serrone as Young Henry Henny Youngman as Himself Jerry Vale as Himself Marlon Brando as Jor-El Gene Hackman as Lex Luthor Christopher Reeve as Clark Kent/Superman Margot Kidder as Lois Lane Ned Beatty as Otis Jackie Cooper as Perry White Glenn Ford as Jonathan Kent Trevor Howard as First Elder Jack O'Halloran as Non Valerie Perrine as Eve Teschmacher Maria Schell as Vond-Ah Terence Stamp as Gen. Zod Susannah York as Lara Jeff East as Young Clark Kent Marc McClure as Jimmy Olsen Sarah Douglas as Ursa Harry Andrews as Second Elder Lee Quigley as Baby Kal-El Aaron Smolinski as Baby Clark Kent

Crew Bill Brodie - Art Director Norman Reynolds - Art Director Maurice Fowler - Art Director Norman Dorme - Art Director Tony Reading - Art Director Stuart Craig - Art Director Ernest Archer - Art Director Tom Mankiewicz - Consultant/advisor Yvonne Blake - Costume Designer Richard Donner - Director Stuart Baird - Editor Ilya Salkind - Executive Producer John Williams - Composer (Music Score) Leslie Bricusse - Songwriter Jamie Brown - Makeup Connie Reeve - Makeup Philip Rhodes - Makeup Sylvia Croft - Makeup Kay Freeborn - Makeup Basil Newall - Makeup Louis Lane - Makeup Graham Freeborn - Makeup Nick Maley - Makeup John Barry - Production Designer Leslie Dilley - Production Designer Gene Rudolf - Production Designer Geoffrey Unsworth - Cinematographer Pierre Spengler - Producer Alexander Salkind - Producer Ilya Salkind - Producer Fred C. Weiler - Set Designer Peter Howitt - Set Designer Colin Chilvers - Special Effects George Gibbs - Special Effects Denys Coop - Special Effects Zoran Perisic - Special Effects Les Bowie - Special Effects Roy Field - Special Effects Derek Meddings - Special Effects Graham Hartstone - Sound/Sound Designer Nicolas Le Messurier - Sound/Sound Designer Mario Puzo - Screen Story Robert Benton - Screenwriter Mario Puzo - Screenwriter David Newman - Screenwriter Leslie Newman - Screenwriter Bill Brodie - Art Director Norman Reynolds - Art Director Maurice Fowler - Art Director Norman Dorme - Art Director Tony Reading - Art Director Stuart Craig - Art Director Ernest Archer - Art Director Tom Mankiewicz - Consultant/advisor Yvonne Blake - Costume Designer Richard Donner - Director Stuart Baird - Editor Ilya Salkind - Executive Producer John Williams - Composer (Music Score) Leslie Bricusse - Songwriter Jamie Brown - Makeup Connie Reeve - Makeup Philip Rhodes - Makeup Sylvia Croft - Makeup Kay Freeborn - Makeup Basil Newall - Makeup Louis Lane - Makeup Graham Freeborn - Makeup Nick Maley - Makeup John Barry - Production Designer Leslie Dilley - Production Designer Gene Rudolf - Production Designer Geoffrey Unsworth - Cinematographer Pierre Spengler - Producer Alexander Salkind - Producer Ilya Salkind - Producer Fred C. Weiler - Set Designer Peter Howitt - Set Designer Colin Chilvers - Special Effects George Gibbs - Special Effects Denys Coop - Special Effects Zoran Perisic - Special Effects Les Bowie - Special Effects Roy Field - Special Effects Derek Meddings - Special Effects Graham Hartstone - Sound/Sound Designer Nicolas Le Messurier - Sound/Sound Designer Mario Puzo - Screen Story Robert Benton - Screenwriter Mario Puzo - Screenwriter David Newman - Screenwriter Leslie Newman - Screenwriter Bill Brodie - Art Director Norman Reynolds - Art Director Maurice Fowler - Art Director Norman Dorme - Art Director Tony Reading - Art Director Stuart Craig - Art Director Ernest Archer - Art Director Tom Mankiewicz - Consultant/advisor Yvonne Blake - Costume Designer Richard Donner - Director Stuart Baird - Editor Ilya Salkind - Executive Producer John Williams - Composer (Music Score) Leslie Bricusse - Songwriter Jamie Brown - Makeup Connie Reeve - Makeup Philip Rhodes - Makeup Sylvia Croft - Makeup Kay Freeborn - Makeup Basil Newall - Makeup Louis Lane - Makeup Graham Freeborn - Makeup Nick Maley - Makeup John Barry - Production Designer Leslie Dilley - Production Designer Gene Rudolf - Production Designer Geoffrey Unsworth - Cinematographer Pierre Spengler - Producer Alexander Salkind - Producer Ilya Salkind - Producer Fred C. Weiler - Set Designer Peter Howitt - Set Designer Colin Chilvers - Special Effects George Gibbs - Special Effects Denys Coop - Special Effects Zoran Perisic - Special Effects Les Bowie - Special Effects Roy Field - Special Effects Derek Meddings - Special Effects Graham Hartstone - Sound/Sound Designer Nicolas Le Messurier - Sound/Sound Designer Mario Puzo - Screen Story Robert Benton - Screenwriter Mario Puzo - Screenwriter David Newman - Screenwriter Leslie Newman - Screenwriter Bill Brodie - Art Director Norman Reynolds - Art Director Maurice Fowler - Art Director Norman Dorme - Art Director Tony Reading - Art Director Stuart Craig - Art Director Ernest Archer - Art Director Tom Mankiewicz - Consultant/advisor Yvonne Blake - Costume Designer Richard Donner - Director Stuart Baird - Editor Ilya Salkind - Executive Producer John Williams - Composer (Music Score) Leslie Bricusse - Songwriter Jamie Brown - Makeup Connie Reeve - Makeup Philip Rhodes - Makeup Sylvia Croft - Makeup Kay Freeborn - Makeup Basil Newall - Makeup Louis Lane - Makeup Graham Freeborn - Makeup Nick Maley - Makeup John Barry - Production Designer Leslie Dilley - Production Designer Gene Rudolf - Production Designer Geoffrey Unsworth - Cinematographer Pierre Spengler - Producer Alexander Salkind - Producer Ilya Salkind - Producer Fred C. Weiler - Set Designer Peter Howitt - Set Designer Colin Chilvers - Special Effects George Gibbs - Special Effects Denys Coop - Special Effects Zoran Perisic - Special Effects Les Bowie - Special Effects Roy Field - Special Effects Derek Meddings - Special Effects Graham Hartstone - Sound/Sound Designer Nicolas Le Messurier - Sound/Sound Designer Mario Puzo - Screen Story Robert Benton - Screenwriter Mario Puzo - Screenwriter David Newman - Screenwriter Leslie Newman - Screenwriter

Blazing Saddles
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, All Movie Guide
 

The Departed
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, All Movie Guide
 

GoodFellas
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, All Movie Guide
 

Superman: The Movie
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, All Movie Guide
 

Disc Title: Blazing Saddles - People Awards: Danford B. Greene: Academy, Best Editing (nominated) John C. Howard: Academy, Best Editing (nominated) John Morris: Academy, Best Song (nominated) Madeline Kahn: Academy, Best Supporting Actress (nominated) Mel Brooks: Academy, Best Song (nominated)

Disc Title: The Departed - People Awards: Alan Mak: Satellite Awards, Best Adapted Screenplay (winner) Alec Baldwin: Boston Society of Film Critics, Best Supporting Actor (Runner-up) (winner) Felix Chong: Satellite Awards, Best Adapted Screenplay (winner) Graham King: London Film Critics Circle, British Producer of the Year (nominated) Graham King: Producers Guild of America, Producer of the Year in Theatrical Motion Pictures (nominated) Howard Shore: Broadcast Film Critics Association, Best Score (nominated) Jack Nicholson: Austin Film Critics Association, Best Supporting Actor (winner) Jack Nicholson: British Academy Awards, Best Supporting Actor (nominated) Jack Nicholson: Broadcast Film Critics Association, Best Supporting Actor (nominated) Jack Nicholson: Chicago Film Critics Circle, Best Supporting Actor (nominated) Jack Nicholson: Golden Globe, Best Supporting Actor (nominated) Jack Nicholson: Online Film Critics, Best Supporting Actor (nominated) Jack Nicholson: Phoenix Film Critics Circle, Best Supporting Actor (winner) Jack Nicholson: Satellite Awards, Best Supporting Actor (nominated) Kristi Zea: Art Directors Guild, Best Art Direction - Contemporary Film (nominated) Leonardo DiCaprio: Austin Film Critics Association, Best Actor (winner) Leonardo DiCaprio: British Academy Awards, Best Actor (nominated) Leonardo DiCaprio: Broadcast Film Critics Association, Best Actor (nominated) Leonardo DiCaprio: Chicago Film Critics Circle, Best Actor (nominated) Leonardo DiCaprio: Golden Globe, Best Actor - Drama (nominated) Leonardo DiCaprio: Online Film Critics, Best Actor (nominated) Leonardo DiCaprio: Satellite Awards, Best Supporting Actor (winner) Leonardo DiCaprio: Screen Actors Guild, Best Supporting Actor (nominated) Mark Wahlberg: Academy, Best Supporting Actor (nominated) Mark Wahlberg: Boston Society of Film Critics, Best Supporting Actor (winner) Mark Wahlberg: Golden Globe, Best Supporting Actor (nominated) Mark Wahlberg: National Society of Film Critics, Best Supporting Actor (winner) Mark Wahlberg: Online Film Critics, Best Supporting Actor (nominated) Mark Wahlberg: Toronto Film Critics Circle, Best Supporting Actor (nominated) Martin Scorsese: Academy, Best Director (winner) Martin Scorsese: Boston Society of Film Critics, Best Director (winner) Martin Scorsese: British Academy Awards, Best Director (nominated) Martin Scorsese: Broadcast Film Critics Association, Best Director (winner) Martin Scorsese: Chicago Film Critics Circle, Best Director (winner) Martin Scorsese: Dallas-Ft. Worth Film Critics Awards, Best Director (winner) Martin Scorsese: Directors Guild of America, Best Director (winner) Martin Scorsese: Golden Globe, Best Director (winner) Martin Scorsese: Iowa Film Critics, Best Director (nominated) Martin Scorsese: Las Vegas Film Critics Circle, Best Director (winner) Martin Scorsese: London Film Critics Circle, Best Director (nominated) Martin Scorsese: National Board of Review, Best Director (winner) Martin Scorsese: National Society of Film Critics, Best Director (nominated) Martin Scorsese: New York Film Critics Society, Best Director (winner) Martin Scorsese: Oklahoma Film Critics Circle Awards, Best Director (winner) Martin Scorsese: Online Film Critics, Best Director (winner) Martin Scorsese: Phoenix Film Critics Circle, Best Director (winner) Martin Scorsese: Satellite Awards, Best Director (nominated) Martin Scorsese: Southeastern Film Critics Circle, Best Director (winner) Martin Scorsese: Toronto Film Critics Circle, Best Director (nominated) Martin Scorsese: Washington D.C. Film Critics Associatio, Best Director (winner) Michael Ballhaus: Chicago Film Critics Circle, Best Cinematography (nominated) Thelma Schoonmaker: Academy, Best Editing (winner) Thelma Schoonmaker: American Cinema Editors Guild, Best Edited Dramatic Feature (winner) Thelma Schoonmaker: British Academy Awards, Best Editing (nominated) Thelma Schoonmaker: Las Vegas Film Critics Circle, Best Editing (winner) Thelma Schoonmaker: Online Film Critics, Best Editing (nominated) Thelma Schoonmaker: Phoenix Film Critics Circle, Best Editing (winner) William Monahan: Academy, Best Adapted Screenplay (winner) William Monahan: Boston Society of Film Critics, Best Screenplay (winner) William Monahan: British Academy Awards, Best Adapted Screenplay (nominated) William Monahan: Broadcast Film Critics Association, Best Screenplay (nominated) William Monahan: Chicago Film Critics Circle, Best Adapted Screenplay (winner) William Monahan: Golden Globe, Best Screenplay (nominated) William Monahan: Kansas City Film Critics Awards, Best Adapted Screenplay (winner) William Monahan: National Society of Film Critics, Best Screenplay (nominated) William Monahan: New York Film Critics Society, Best Screenplay (Runner-up) (winner) William Monahan: Online Film Critics, Best Adapted Screenplay (nominated) William Monahan: Phoenix Film Critics Circle, Best Adapted Screenplay (winner) William Monahan: Satellite Awards, Best Adapted Screenplay (winner) William Monahan: Southeastern Film Critics Circle, Best Adapted Screenplay (winner) William Monahan: Toronto Film Critics Circle, Best Screenplay (nominated) William Monahan: Writers Guild of America, Best Adapted Screenplay (winner)

The Departed - Film Awards: Academy, Best Picture (winner) Austin Film Critics Association, Best Picture (nominated) Boston Society of Film Critics, Best Ensemble Cast (Runner-up) (winner) Boston Society of Film Critics, Best Picture (winner) British Academy Awards, Best Picture (nominated) Broadcast Film Critics Association, Best Ensemble Acting (nominated) Broadcast Film Critics Association, Best Picture (winner) Chicago Film Critics Circle, Best Picture (winner) Dallas-Ft. Worth Film Critics Awards, Best Picture (nominated) Golden Globe, Best Picture - Drama (nominated) Las Vegas Film Critics Circle, Best Picture (winner) London Film Critics Circle, Best Film (nominated) National Board of Review, Best Picture (nominated) National Borad of Review, Best Ensemble Cast (winner) New York Film Critics Society, Best Picture (Runner-up) (winner) Oklahoma Film Critics Circle Awards, Best Picture (nominated) Online Film Critics, Best Picture (nominated) Phoenix Film Critics Circle, Best Picture (nominated) Satellite Awards, Best Picture - Drama (winner) Screen Actors Guild, Best Ensemble Acting (nominated) Southeastern Film Critics Circle, Best Picture (winner) Toronto Film Critics Circle, Best Picture (nominated)

Disc Title: GoodFellas - People Awards: Joe Pesci: Academy, Best Supporting Actor (winner) Joe Pesci: Golden Globe, Best Supporting Actor (nominated) Joe Pesci: L.A. Film Critics Association, Best Supporting Actor (winner) Joe Pesci: National Board of Review, Best Supporting Actor (winner) Lorraine Bracco: Academy, Best Supporting Actress (nominated) Lorraine Bracco: Golden Globe, Best Supporting Actress (nominated) Lorraine Bracco: L.A. Film Critics Association, Best Supporting Actress (winner) Martin Scorsese: Academy, Best Adapted Screenplay (nominated) Martin Scorsese: Academy, Best Director (nominated) Martin Scorsese: British Academy Awards, Best Director (winner) Martin Scorsese: Directors Guild of America, Best Director (nominated) Martin Scorsese: Golden Globe, Best Director (nominated) Martin Scorsese: Golden Globe, Best Screenplay (nominated) Martin Scorsese: L.A. Film Critics Association, Best Director (winner) Martin Scorsese: New York Film Critics Circle, Best Director (winner) Martin Scorsese: Venice International Film Festival, Silver Lion for Best Director (winner) Michael Ballhaus: L.A. Film Critics Association, Best Cinematography (winner) Nicholas Pileggi: Academy, Best Adapted Screenplay (nominated) Nicholas Pileggi: British Academy Awards, Best Screenplay Adaptation (winner) Nicholas Pileggi: Golden Globe, Best Screenplay (nominated) Richard Bruno: British Academy Awards, Best Costume Design (winner) Robert De Niro: New York Film Critics Circle, Best Actor (winner) Thelma Schoonmaker: Academy, Best Editing (nominated) Thelma Schoonmaker: British Academy Awards, Editing Award (winner)

GoodFellas - Film Awards: Academy, Best Picture (nominated) American Film Institute, 100 Greatest American Movies (winner) British Academy Awards, Best Film (winner) Golden Globe, Best Film (Drama) (nominated) L.A. Film Critics Association, Best Picture (winner) National Board of Review, Best Picture (nominated) National Society of Film Critics, Best Film (winner) New York Film Critics Circle, Best Picture (winner)

Disc Title: Superman: The Movie - People Awards: Christopher Reeve: British Academy Awards, Most Promising Newcomer (winner) Colin Chilvers: Academy, Special Achievement (winner) Denys Coop: Academy, Special Achievement (winner) Derek Meddings: Academy, Special Achievement (winner) Gordon K. McCallum: Academy, Best Sound (nominated) Graham Hartstone: Academy, Best Sound (nominated) John Williams: Academy, Best Original Score (nominated) John Williams: Golden Globe, Best Original Score (nominated) Les Bowie: Academy, Special Achievement (winner) Nicolas Le Messurier: Academy, Best Sound (nominated) Roy Charman: Academy, Best Sound (nominated) Roy Field: Academy, Special Achievement (winner) Stuart Baird: Academy, Best Editing (nominated) Zoran Perisic: Academy, Special Achievement (winner)

Superman: The Movie - Film Awards: National Board of Review, Best Picture (nominated)

General Specifications: Language Options: English, French, Spanish Subtitle Options: Sound Processing: DD5.1: Dolby Digital w/ sub-woofer channel DD2: Dolby Digital Stereo DD1: Dolby Digital Mono Additional 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 DVD Aspect Ratio: 2.40:1: 2.40:1 1.85:1: Theatre Wide-Screen MPAA Rating: R DVD Discs Included: 4 DVD Sides: 4 DVD DVD Region Code: Content Length: min