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Fess Parker captured the hearts of millions with his strong, confident portrayal of the legendary king of the wild frontier. There's never been a folk hero quite like Davy Crockett, and you'll see why when you watch him "grin" down a bear, battle an Indian chief in a tomahawk duel, and fight for freedom at the Alamo. Disney's popular action-adventure inspired millions of children to sport coonskin caps and sing "The Ballad Of Davy Crockett," which topped the nation's hit list for 13 weeks! As Walt Disney himself proclaimed, the story of Davy Crockett, with its entertaining blend of drama, humor, and adventure, will always be a colorful reflection of the frontier spirit.

If you don't enjoy circus freaks, transvestites, and the idea of intimate relations with arthropods, then you probably won't get the humor in Multiple Maniacs. If, on the other hand, you enjoyed John Waters's infamous Pink Flamingos ("the filthiest film ever made!"), then check out this earlier attempt to shock even the most jaded moviegoer. The story, such as it is, revolves around Lady Divine's Cavalcade of Perversions, a smutty sideshow featuring such depraved attractions as armpit lickers and "actual queers, kissing on the lips." Divine plays a homicidal dominatrix who slaughters hapless suburbanites lured by the carnival's cheap thrills. The filming, like the subject matter, is crude, but shows hints of Waters's keen eye for visuals, as in Divine's first scene, when the colossal drag queen wallows nakedly, ample backside to the camera, delivering his/her lines into a makeup mirror. Things really get going when emcee Mr. David decides to leave Divine for a more petite woman... and Divine's wrathful revenge is diverted by an apparition of the Christ Child of Prague. Before it's over, rabies, Charles Manson, and giant, randy lobsters all come into play. To enjoy Multiple Maniacs, there's just one strategy--sit back and take it. --Grant Balfour

Of all the Philip Marlowes, Robert Mitchum's in Farewell, My Lovely resonates most deeply. That's because this is Marlowe past his prime, and Mitchum imbues Raymond Chandler's legendary private detective with a sense of maturity as well as a melancholy spirit. And yet there's plenty of Mitchum's renowned self-deprecating humor and charismatic charm to remind us of his own iconic presence. As in the previous 1944 film version, Murder, My Sweet, Marlowe searches all over L.A. for the elusive girlfriend of ex-con Moose Malloy, a lovable giant who might as well be King Kong. In typical Chandler fashion, the weary Marlowe uncovers a hotbed of lust, corruption, and betrayal. Like Malloy, he's disillusioned by it all, despite his tough exterior, and possesses a tinge of sentimentality for the good old days. About the only current dream he can hold onto is Joe DiMaggio and his fabulous hitting streak. Made in 1975, a year after Chinatown (shot by the same cinematographer, John Alonzo), Farewell, My Lovely is more straightforward and nostalgic, but still possesses a requisite hard-boiled edge, and the best kind of angst the '70s had to offer. (By the way, you'll notice Sylvester Stallone in a rather violent cameo, a year before his Rocky breakthrough.) --Bill Desowitz

Sarah wishes her brother would be taken away by goblins, but when he really is, she sets out to rescue him and has to cross the Labyrinth before she gets to the Goblin castle.No Track Information AvailableMedia Type: DVDArtist: BOWIE/CONNELLYTitle: LABYRINTHStreet Release Date: 03/27/2007

Sarah (a teenage Jennifer Connelly) rehearses the role of a fairy-tale queen, performing for her stuffed animals. She is about to discover that the time has come to leave her childhood behind. In real life she has to baby-sit her brother and contend with parents who don't understand her at all. Her petulance leads her to call the goblins to take the baby away, but when they actually do, she realizes her responsibility to rescue him. Sarah negotiates the Labyrinth to reach the City of the Goblins and the castle of their king. The king is the only other human in the film and is played by a glam-rocking David Bowie, who performs five of his songs. The rest of the cast are puppets, a wonderful array of Jim Henson's imaginative masterpieces. Henson gives credit to children's author and illustrator Maurice Sendak, and the creatures in the movie will remind Sendak fans of his drawings. The castle of the king is a living M.C. Escher set that adults will enjoy. The film combines the highest standards of art, costume, and set decoration. Like executive producer George Lucas's other fantasies, Labyrinth mixes adventure with lessons about growing up. --Lloyd Chesley

Sarah (a teenage Jennifer Connelly) rehearses the role of a fairy-tale queen, performing for her stuffed animals. She is about to discover that the time has come to leave her childhood behind. In real life she has to baby-sit her brother and contend with parents who don't understand her at all. Her petulance leads her to call the goblins to take the baby away, but when they actually do, she realizes her responsibility to rescue him. Sarah negotiates the Labyrinth to reach the City of the Goblins and the castle of their king. The king is the only other human in the film and is played by a glam-rocking David Bowie, who performs five of his songs. The rest of the cast are puppets, a wonderful array of Jim Henson's imaginative masterpieces. Henson gives credit to children's author and illustrator Maurice Sendak, and the creatures in the movie will remind Sendak fans of his drawings. The castle of the king is a living M.C. Escher set that adults will enjoy. The film combines the highest standards of art, costume, and set decoration. Like executive producer George Lucas's other fantasies, Labyrinth mixes adventure with lessons about growing up. --Lloyd Chesley

This smart, tautly directed thriller from Wolfgang Petersen is about the cat-and-mouse games between a Secret Service agent named Horrigan (Clint Eastwood) and the brilliant, psychopathic assassin (John Malkovich) who's itching to get the President in his cross hairs. The back-story--Horrigan is haunted by his inability to prevent John Kennedy's assassination (Eastwood is computer-generated into archival footage)--is more than a little hokey, but the plotting itself is smartly, even ingeniously, constructed. Petersen manages a viselike grip on the tension and Eastwood even gets to deliver an ever-more-timely lecture on the diminished nature of the office of President. Eastwood's as gruff and as infuriating to the by-the-book Powers That Be as ever, and Malkovich oozes delightful menace. Renee Russo capably costars as a colleague with whom Horrigan gets friendly. --David Kronke

Bluray Disc

A pet project of Little Mermaid, Aladdin, and Hercules codirectors Ron Clements and John Musker, Treasure Planet is an ambitious animation hybrid (traditional animation combined with elaborate CGI backgrounds). It was the subject of numerous in-studio battles, but Disney office politics and a poor public reception distracted from its many admirable qualities, not the least being its overall fidelity to Robert Louis Stevenson's classic novel Treasure Island. Curiously revamped as a sci-fi adventure with spacefaring galleons, flintlock ray guns, and extreme-sports attitude, it caters to an young audience for whom Stevenson's adventure is an unknown quantity, revving up the material with arcade-game excitements. It's entertaining, for what it is, and kids will surely enjoy it. Maybe next time, however, Disney will follow its own legacy and properly adapt Stevenson (as they did with their 1950 live-action classic) for a new, and hopefully receptive, generation. --Jeff Shannon

SPACE PIRATE JIM HAWKINS IS ON A QUEST FOR HIDDEN TREASURE. ALONG HIS JOURNEY, HE MEETS ANOTHER INTERSTELLAR PIRATE, LONG JOHN SILVER, WHO HELPS HIM SEARCH THE GALAXY AND FIGHT OFF ALIENS.

The people who felt betrayed when Linda Eder covered several pop songs on 2002's Gold will be relieved that her follow-up, Broadway My Way, is a return to the Great White Way. As if to prove that she isn't limited to either the songs of Frank Wildhorn or ballads, Eder tackles some well-known show tunes. The ballads tend to be overwrought, so it's best to look for the uptempo numbers. The singer's take on "Some People" is technically fine but so va-va-voom showbiz that it lacks the deranged edge that makes the song so compellingly dramatic. Things work a lot better on "I Am What I Am": while Eder doesn't take it to the top (or rather over the top), this is as close as she gets to Mermanizing a number. Elsewhere, "Don't Rain on My Parade" (immortalized by Streisand) and "Man of La Mancha" are appropriately brassy and triumphant, with Eder roaring her way through both songs. Fans of both Eder and Wildhorn should note that the singer reprises her Svengali's "Gold," the title track from her previous album, and an excerpt from his long-in-the-works Camille Claudel. --Elisabeth Vincentelli

On the eagerly awaited Broadway My Way, Atlantic recording artist and acclaimed Broadway sensation Linda Eder performs classics including 'On the Street Where You Live' (from My Fair Lady), 'Edelweiss' (from The Sound of Music), 'Don't Rain On My Parade' (from Funny Girl) and 10 other great broadway songs performed in a whole new voice. 2003.

The Importance of Being Earnest by Charlie MoleThis product is manufactured on demand using CD-R recordable media. Amazon.com's standard return policy will apply.