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Food, Inc. lifts the veil on our nation's food industry, exposing how our nation's food supply is now controlled by a handful of corporations that often put profit ahead of consumer health, the livelihood of the American farmer, the safety of workers and our own environment. Food, Inc. reveals surprising and often shocking truths about what we eat, how it's produced and who we have become as a nation.
Q&A with Producer/Director Robert Kenner, Co-Producer/Food Expert Eric Schlosser, Food Expert Michael Pollan and Producer Elise Pearlstein
How did this film initially come about? Kenner: Eric Schlosser and I had been wanting to do a documentary version of his book, Fast Food Nation. And, for one reason or another, it didn't happen. By the time Food, Inc. started to come together, we began talking and realized that all food has become like fast food, and all food is being created in the same manner as fast food.
How has fast food changed the food we buy at the supermarket? Schlosser: The enormous buying power of the fast food industry helped to transform the entire food production system of the United States. So even when you purchase food at the supermarket, you’re likely to be getting products that came from factories, feedlots and suppliers that emerged to serve the fast food chains.
How many years did it take to do this film and what were the challenges? Kenner: From when Eric and I began talking, about 6 or 7 years. The film itself about 2 ½ years. It has taken a lot longer than we expected because we were denied access to so many places.
Pearlstein: When Robby brought me into the project, he was adamant about wanting to hear all sides of the story, but it was nearly impossible to gain access onto industrial farms and into large food corporations. They just would not let us in. It felt like it would have been easier to penetrate the Pentagon than to get into a company that makes breakfast cereal. The legal challenges on this film were also unique. We found it necessary to consult with a first amendment lawyer throughout the entire filming process.
Who or what influenced your film? Kenner: This film was really influenced by Eric Schlosser and Fast Food Nation, but then as we were progressing and had actually gotten funding, it became very influenced as well by Michael Pollan and his book Omnivore’s Dilemma.
And then, as we went out into the world, we became really incredibly influenced by a lot of the farmers we met.
What was the most surprising thing you learned? Kenner: As we set out to find out how our food was made, I think the thing that really became most shocking is when we were talking to a woman, Barbara Kowalcyk, who had lost her son to eating a hamburger with E. coli, and she’s now dedicated her life to trying to make the food system safer. It’s the only way she can recover from the loss of her child. But when I asked her what she eats, she told me she couldn't tell me because she would be sued if she answered.
Or we see Carol possibly losing her chicken farm … or we see Moe, a seed cleaner who’s just being sued for amounts that there’s no way he can pay, even though he’s not guilty of anything. Then we realized there’s something going on out there that supersedes foods. Our rights are being denied in ways that I had never imagined. And it was scary and shocking. And that was my biggest surprise.
So, what does our current industrialized food system say about our values as a nation? Pollan: It says we value cheap, fast and easy when it comes to food like so many other things, and we have lost any connection to where our food comes from.
Kenner: I met a cattle rancher and he said, you know, we used to be scared of the Soviet Union or we used to think we were so much better than the Soviet Union because we had many places to buy things. And we had many choices. We thought if we were ever taken over, we’d be dominated where we’d have to buy one thing from one company, and how that’s not the American way. And he said you look around now, and there’s like one or two companies dominating everything in the food world. We’ve become what we were always terrified of.
And that just always haunted me – how could this happen in America? It seems very un-American that we would be so dominated, and then so intimidated by the companies that are dominating this marketplace.
How has the revolving door relationship between giant food companies and Washington affected the food industry? Pearlstein: We discovered that the food industry has managed to shape a lot of laws in their favor. For example, massive factory farms are not considered real factories, so they are exempt from emissions standards that other factories face. A surprising degree of regulation is voluntary, not mandatory, which ends up favoring the industry.
What have been the consequences for the American consumer? Kenner: Most American consumers think that we are being protected. But that is not the case. Right now the USDA does not have the authority to shut down a plant that is producing contaminated meat. The FDA and the USDA have had their inspectors cut back. And it’s for these companies now to self-police, and what we’ve found is, when there’s a financial interest involved, these companies would rather make the money and be sued than correct it. Self-policing has really just been a miserable failure. And I think that's been really quite harmful to the American consumer and to the American worker.
Pearlstein: The food industry has succeeded in keeping some very important information about their products hidden from consumers. It’s outrageous that genetically modified foods don’t need to be labeled. Today more than 70% of processed foods in the supermarket are genetically modified and we have absolutely no way of knowing. Whatever your position, you should have the right to make informed choices, and we don’t. Now the FDA is contemplating whether or not to label meat and milk from cloned cows. It seems very basic that consumers should have the right to know if they’re eating a cloned steak.
Is it possible to feed a nation of millions without this kind of industrialized processing? Pollan: Yes. There are alternative ways of producing food that could improve Americans’ health. Quality matters as much as quantity and yield is not the measure of a healthy food system. Quantity improves a population’s health up to a point; after that, quality and diversity matters more. And it’s wrong to assume that the industrialized food system is feeding everyone well or keeping the population healthy. It’s failing on both counts.
There is a section of the film that reveals how illegal immigrants are the faceless workers that help to bring food to our tables. Can you give us a profile of the average worker? Schlosser: The typical farm worker is a young, Latino male who does not speak English and earns about $10,000 a year. The typical meatpacking worker has a similar background but earns about twice that amount. A very large proportion of the nation’s farm workers and meatpackers are illegal immigrants.
Why are there so many Spanish-speaking workers? Kenner: The same thing that created obesity in this country, which is large productions of cheap corn, has put farmers out of work in foreign countries, whether it’s Mexico, Latin America or around the world. And those farmers can no longer grow food and compete with the U.S.’ subsidized food. So a lot of these farmers needed jobs and ended up coming into this country to work in our food production.
And they have been here for a number of years. But what’s happened is that we’ve decided that it’s no longer in the best interests of this country to have them here. But yet, these companies still need these people and they’re desperate, so they work out deals where they can have a few people arrested at a certain time so it doesn’t affect production. But it affects people’s lives. And these people are being deported, put in jail and sent away, but yet, the companies can go on and it really doesn’t affect their assembly line. And what happens is that they are replaced by other, desperate immigrant groups.
Could the American food industry exist without illegal immigrants? Schlosser: The food industry would not only survive, but it would have a much more stable workforce. We would have much less rural poverty. And the annual food bill of the typical American family would barely increase. Doubling the hourly wage of every farm worker in this country might add $50 at most to a family’s annual food bill.
What are scientists doing to our food and is it about helping food companies’ bottom line or about feeding a growing population? Schlosser: Some scientists are trying to produce foods that are healthier, easier to grow, and better for the environment. But most of the food scientists are trying to create things that will taste good and can be made cheaply without any regard to their social or environmental consequences.
I am not opposed to food science. What matters is how that science is used … and for whose benefit.
Can a person eat a healthy diet from things they buy in the supermarket if they are not buying organic? If so, how? Pollan: Yes, the supermarkets still carry real food. The key is to shop the perimeter of the store and stay out of the middle where most of the processed food lurks.
How are low-income families impacted at the supermarket? Kenner: Things are really stacked against low-income families in this country. There is a definite desire of the food companies to sell more product to these people because they have less time, they’re working really hard and they have fewer hours in their day to cook. And the fast food is very reasonably priced. Coke is selling for less than water. So when these things are happening, it’s easier for low-income families sometimes to just go in and have a quick meal if they don’t get home until 10 o’clock at night. At the moment, our food is unfairly priced towards bad food.
And, in the same way that tobacco companies went after low-income people because they were heavy users, food companies are going after low-income people because they can market to them, they can make it look very appealing.
What can low-income families do to eat healthier? Schlosser: As much as possible, they can avoid cheap, processed foods and fast foods. It’s possible to eat well and inexpensively. But it takes more time and effort to do so, and that’s not easy when you’re working two jobs and trying to just to keep your head above water. The sad thing is that these cheap foods are ultimately much more expensive when you factor in the costs of all the health problems that come later.
Pollan: It’s possible to eat healthy food on a budget but it takes a greater investment of time. If you are willing to cook and plan ahead, you can eat local, sustainable food on a budget.
If someone wanted to get involved and help change the system, what would you suggest they do? Pearlstein: I hope people will want to be more engaged in the process of eating and shopping for food. We have learned that there are a lot of different fronts to fight on this one, and people can see what most resonates with them. Maybe it’s really just “voting with their forks” – eating less meat, buying different food, buying from companies they feel good about, going to farmers markets.
People can try to find a CSA – community supported agriculture – where you buy a share in a farm and get local food all year. That really helps support farmers and you get fresh, seasonal food. On the local political level, people can work on food access issues, like getting more markets into low income communities, getting better lunch programs in schools, trying to get sodas out of schools. And on a national level, we’ve learned that reforming the Farm Bill would have a huge influence on our food system. It requires some education, but it is something we should care about.
What do you hope people take away from this film? Schlosser: I hope it opens their eyes.
Kenner: That things can change in this country. It changed against the big tobacco companies. We have to influence the government and readjust these scales back into the interests of the consumer. We did it before, and we can do it again.
Pollan: A deeper knowledge of where their food comes from and a sense of outrage over how their food is being produced and a sense of hope and possibility of the alternatives springing up around the country. Food, Inc. is the most important and powerful film about our food system in a generation.
For most Americans, the ideal meal is fast, cheap, and tasty. Food, Inc. examines the costs of putting value and convenience over nutrition and environmental impact. Director Robert Kenner explores the subject from all angles, talking to authors, advocates, farmers, and CEOs, like co-producer Eric Schlosser (Fast Food Nation), Michael Pollan (The Omnivore's Dilemma), Gary Hirschberg (Stonyfield Farms), and Barbara Kowalcyk, who's been lobbying for more rigorous standards since E. coli claimed the life of her two-year-old son. The filmmaker takes his camera into slaughterhouses and factory farms where chickens grow too fast to walk properly, cows eat feed pumped with toxic chemicals, and illegal immigrants risk life and limb to bring these products to market at an affordable cost. If eco-docs tends to preach to the converted, Kenner presents his findings in such an engaging fashion that Food, Inc. may well reach the very viewers who could benefit from it the most: harried workers who don't have the time or income to read every book and eat non-genetically modified produce every day. Though he covers some of the same ground as Super-Size Me and King Korn, Food Inc. presents a broader picture of the problem, and if Kenner takes an understandably tough stance on particular politicians and corporations, he's just as quick to praise those who are trying to be responsible--even Wal-Mart, which now carries organic products. That development may have more to do with economics than empathy, but the consumer still benefits, and every little bit counts. --Kathleen C. Fennessy
Features:
In Food, Inc., filmmaker Robert Kenner lifts the veil on our nation's food industry, exposing the highly mechanized underbelly that's been hidden from the American consumer with the consent of our government's regulatory agencies, USDA and FDA. Our nation's food supply is now controlled by a handful of corporations that often put profit ahead of consumer health, the livelihood of the American farm
In the second chapter of Stephenie Meyer’s best-selling Twilight series, the romance between mortal Bella Swan (Kristen Stewart) and vampire Edward Cullen (Robert Pattinson) grows more intense as ancient secrets threaten to destroy them. When Edward leaves in an effort to keep Bella safe, she tests fate in increasingly reckless ways in order to glimpse her love once more. But when she’s saved from the brink by her friend, Jacob Black (Taylor Lautner), Bella will uncover mysteries of the supernatural world that will put her in more peril than ever before.
New Moon, the second in Stephenie Meyer's blockbuster teen-fiction saga adapted for film, is stronger than its predecessor, Twilight. Director Chris Weitz (The Golden Compass), taking the helm from Catherine Hardwicke, brings a lighter, more assured touch to the sequel, which continues the star-crossed love story of mortal Bella (Kristen Stewart) and vampire Edward (Robert Pattinson). Incidentally, Edward is absent for most of the film; after an accident on Bella's birthday reminds Edward that her life is always at risk when he's around, he chooses to abandon her, sending her into a deep depression. The only person who helps her heal her broken heart is her friend Jacob (Taylor Lautner), a member of the Quileute tribe who, as he grows taller, beefier, and more aggressive (with less clothing), comes to realize he's not entirely human either. But even his love for Bella doesn't prevent her from throwing herself in the path of danger, because that's the only time she can see visions of Edward. One such fateful misunderstanding sends Edward into the coven of the Volturi (a sort of vampire Mafia, if you will), where the most dangerous vampires hold both Edward and Bella's fate in their cold, dark hands. Much of New Moon rests on the shoulders of Lautner, so scrawny in Twilight, who famously packed on the muscle to avoid getting recast. He's very nearly successful in carrying the load, but the cheese-tastic beefcake scenes disservice him, and Jacob and Bella's complicated friendship stumbles on its way to any kind of love triangle. Some of that blame lies with Stewart, who understandably holds her emotions close to her chest but reveals much too little (c'mon, even an angsty girl has to be a little joyful in the arms of two different hunks). As is with the book, the film is just a bridge between sagas, so the plot drags and not a lot happens. Fortunately, while Twilight was trapped in its own self-consciousness, the wobbly-legged cast seems to have found stronger footing in New Moon; the jokes come faster, the writing (by Melissa Rosenberg, who also scribed Twilight) is a hair wittier. (Even Pattinson seems more comfortable in Edward's skin.) The Volturi, highlighted by Michael Sheen's Aro and Dakota Fanning's Jane, also make an all-too-brief impression, but at least there's more to look forward to when Eclipse, the third installment, is released. --Ellen A. Kim
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SEE THE EVENT OF A LIFETIME AT THEATERS – LOOK FOR IT SOON ON DVD AND BLU-RAY. Michael Jackson's This Is It will offer Jackson fans and music lovers worldwide a rare, behind-the-scenes look at the performer as he developed, created and rehearsed for his sold-out concerts that would have taken place beginning this summer in London's O2 Arena. Chronicling the months from April through June 2009, the film is produced with the full support of the Estate of Michael Jackson and drawn from more than one hundred hours of behind-the-scenes footage, featuring Jackson rehearsing a number of his songs for the show. Audiences will be given a privileged and private look at Jackson as he has never been seen before. In raw and candid detail, Michael Jackson's This Is It captures the singer, dancer, filmmaker, architect, creative genius and great artist at work as he creates and perfects his final show. Directed by Kenny Ortega, who was both Michael Jackson's creative partner and the director of the stage show.
It's hard not to watch This Is It without feeling a mixture of sorrow and elation. When he passed away in the summer of 2009, Michael Jackson was in the midst of rehearsals for his final tour, an ambitious 50-date engagement. In editing 120 hours of rehearsal footage together, Jackson producer Kenny Ortega proves that it would've been an event for the ages. Michael performs material that spans his career, from a Motown medley to multi-platinum hits from Off the Wall, Thriller, and Bad. Though he hadn't toured in 10 years, it becomes instantly apparent, despite rumors to the contrary, that Jackson was still in full possession of that unmistakable voice--high-pitched whoops and all--and that he still had the gravity-defying moves of a man half his age. Jackson and Ortega also collaborated on some real showstoppers, such as a graveyard-set "Thriller"; an imposing "They Don't Care About Us," in which several dancers appear to morph into thousands; and a film noir sequence in which the singer slides in and out of Gilda and other black-and-white classics, singing "Smooth Criminal" all the while. Not everything works, like the Jackson 5 numbers, in which he flubs a few lyrics, claiming that his earpiece isn't working properly, but as he readily acknowledges, "That's what rehearsal is for." It's a tragedy that he didn't get the chance to share this dazzling show with the world, but Ortega allows fans to feel as if it actually happened--at least onscreen. --Kathleen C. Fennessy
Stills from Michael Jackson: This Is It (Click for larger image)
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Jillian Michaels winning trainer on NBC's "The Biggest Loser" helps you lose big--up to 20 pounds in 30 days! Her 30-Day Shred DVD includes three 20-minute circuit-training workouts that burn mega calories and build strong lean muscle. Each workout is progressively harder so start with the Level 1 and when you are ready progress to Level 2 and then Level 3. Each level contains a 20-minute workout based on Jillian's exclusive 3-2-1 Strength/Cardio/Ab training circuit: 3 minutes of strength 2 minutes of cardio and 1minute of ab work. There's also a brief warm-up session and a cool-down stretch. Follow Jillian's program for 30 days and you will see amazing results!System Requirements:Running Time: 60 minutesFormat: DVD MOVIE Genre: HEALTH/FITNESS/EXERCISE Rating: NR UPC: 031398226956 Manufacturer No: 22695
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SEE THE EVENT OF A LIFETIME AT THEATERS – LOOK FOR IT SOON ON DVD AND BLU-RAY. Michael Jackson's This Is It will offer Jackson fans and music lovers worldwide a rare, behind-the-scenes look at the performer as he developed, created and rehearsed for his sold-out concerts that would have taken place beginning this summer in London's O2 Arena. Chronicling the months from April through June 2009, the film is produced with the full support of the Estate of Michael Jackson and drawn from more than one hundred hours of behind-the-scenes footage, featuring Jackson rehearsing a number of his songs for the show. Audiences will be given a privileged and private look at Jackson as he has never been seen before. In raw and candid detail, Michael Jackson's This Is It captures the singer, dancer, filmmaker, architect, creative genius and great artist at work as he creates and perfects his final show. Directed by Kenny Ortega, who was both Michael Jackson's creative partner and the director of the stage show.
It's hard not to watch This Is It without feeling a mixture of sorrow and elation. When he passed away in the summer of 2009, Michael Jackson was in the midst of rehearsals for his final tour, an ambitious 50-date engagement. In editing 120 hours of rehearsal footage together, Jackson producer Kenny Ortega proves that it would've been an event for the ages. Michael performs material that spans his career, from a Motown medley to multi-platinum hits from Off the Wall, Thriller, and Bad. Though he hadn't toured in 10 years, it becomes instantly apparent, despite rumors to the contrary, that Jackson was still in full possession of that unmistakable voice--high-pitched whoops and all--and that he still had the gravity-defying moves of a man half his age. Jackson and Ortega also collaborated on some real showstoppers, such as a graveyard-set "Thriller"; an imposing "They Don't Care About Us," in which several dancers appear to morph into thousands; and a film noir sequence in which the singer slides in and out of Gilda and other black-and-white classics, singing "Smooth Criminal" all the while. Not everything works, like the Jackson 5 numbers, in which he flubs a few lyrics, claiming that his earpiece isn't working properly, but as he readily acknowledges, "That's what rehearsal is for." It's a tragedy that he didn't get the chance to share this dazzling show with the world, but Ortega allows fans to feel as if it actually happened--at least onscreen. --Kathleen C. Fennessy
Stills from Michael Jackson: This Is It (Click for larger image)
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Nerdy college student Columbus (Jesse Eisenberg) has survived the plague that has turned mankind into flesh-devouring zombies because he’s scared of just about everything. Gun-toting, Twinkie-loving Tallahassee (Woody Harrelson) has no fears. Together, they are about to stare down their most horrifying challenge yet: each other’s company. Emma Stone and Abigail Breslin co-star in this double-hitting, head-smashing comedy.
If there's been a zombie apocalypse and you're road-tripping alone though the wasteland, you could do worse than run into Tallahassee (Woody Harrelson), a bourbon-swilling bad-boy butt-kicker with a really cool car. This is where the careful hero of Zombieland, a kid nicknamed Columbus (Jesse Eisenberg), finds himself early in the film, and you can hardly blame him for hitching a ride with this swaggering Alpha Male. Still, they have their hands full not only with gibbering zombies but also with two sisters (Emma Stone and Abigail Breslin) who will stop at nothing to reach a Disneyland-like amusement park in L.A. Although Zombieland gets off to a rocky start with Columbus's overly-cute narration (he's got a list of rules for surviving in the zombie world), it settles into an amusing comedy, regularly interrupted by bouts of blood-letting. The road-trip stuff is enough fun that when the movie does arrive at its version of Disneyland, the air goes out of it a little; sure, there's a giant zombie blowout, with entrails flying, but it's not quite the same. Director Ruben Fleischer keeps the gags coming, although the movie is often funnier in its odd little asides (both Eisenberg and Harrelson are expert at this) than in its official jokes. Comic high point: an interlude at the home of a very famous movie star, who plays himself--and we'll leave the spoiler unspoiled, in case anybody hasn't heard about this funny extended cameo. --Robert Horton
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The greatest adventure of all time begins with Star Trek, the incredible story of a young crew’s maiden voyage onboard the most advanced starship ever created: the U.S.S. Enterprise. On a journey filled with action, comedy and cosmic peril, the new recruits must find a way to stop an evil being whose mission of vengeance threatens all of mankind. The fate of the galaxy rests in the hands of bitter rivals. One, James Kirk (Chris Pine), is a delinquent, thrill-seeking Iowa farm boy. The other, Spock (Zachary Quinto), was raised in a logic-based society that rejects all emotion. As fiery instinct clashes with calm reason, their unlikely but powerful partnership is the only thing capable of leading their crew through unimaginable danger, boldly going where no one has gone before.
J.J. Abrams' 2009 feature film was billed as "not your father's Star Trek," but your father will probably love it anyway. And what's not to love? It has enough action, emotional impact, humor, and sheer fun for any moviegoer, and Trekkers will enjoy plenty of insider references and a cast that seems ideally suited to portray the characters we know they'll become later. Both a prequel and a reboot, Star Trek introduces us to James T. Kirk (Chris Pine of The Princess Diaries 2), a sharp but aimless young man who's prodded by a Starfleet captain, Christopher Pike (Bruce Greenwood), to enlist and make a difference. At the Academy, Kirk runs afoul of a Vulcan commander named Spock (Zachary Quinto of Heroes), but their conflict has to take a back seat when Starfleet, including its new ship, the Enterprise, has to answer an emergency call from Vulcan. What follows is a stirring tale of genocide and revenge launched by a Romulan (Eric Bana) with a particular interest in Spock, and we get to see the familiar crew come together, including McCoy (Karl Urban), Uhura (Zoe Saldana), Sulu (John Cho), Chekhov (Anton Yelchin), and Scottie (Simon Pegg).
The action and visuals make for a spectacular Big-Screen Movie, though the plot by Abrams and his writers, Roberto Orci and Alex Kurtzman (who worked together on Transformers and with Abrams on Alias and Mission Impossible III), and his producers (fellow Losties Damon Lindeloff and Bryan Burk) can be a bit of a mind-bender (no surprise there for Lost fans). Hardcore fans with a bone to pick may find faults, but resistance is futile when you can watch Kirk take on the Kobayashi Maru scenario or hear McCoy bark, "Damnit, man, I'm a doctor, not a physicist!" An appearance by Leonard Nimoy and hearing the late Majel Barrett Roddenberry as the voice of the computer simply sweeten the pot. Now comes the hard part: waiting for some sequels to this terrific prequel. --David Horiuchi
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Brad Pitt takes no prisoners in Quentin Tarantino’s high-octane WWII revenge fantasy Inglourious Basterds. As war rages in Europe, a Nazi-scalping squad of American soldiers, known to their enemy as “The Basterds,” is on a daring mission to take down the leaders of the Third Reich. Bursting with “action, hair-trigger suspense and a machine-gun spray of killer dialogue” (Peter Travers, Rolling Stone), Inglourious Basterds is “another Tarantino masterpiece” (Jake Hamilton, CBS-TV)!
Although Quentin Tarantino has cherished Enzo G. Castellari's 1978 "macaroni" war flick The Inglorious Bastards for most of his film-geek life, his own Inglourious Basterds is no remake. Instead, as hinted by the Tarantino-esque misspelling, this is a lunatic fantasia of WWII, a brazen re-imagining of both history and the behind-enemy-lines war film subgenre. There's a Dirty Not-Quite-Dozen of mostly Jewish commandos, led by a Tennessee good ol' boy named Aldo Raine (Brad Pitt) who reckons each warrior owes him one hundred Nazi scalps--and he means that literally. Even as Raine's band strikes terror into the Nazi occupiers of France, a diabolically smart and self-assured German officer named Landa (Christoph Waltz) is busy validating his own legend as "The Jew Hunter." Along the way, he wipes out the rural family of a grave young girl (Melanie Laurent) who will reappear years later in Paris, dreaming of vengeance on an epic scale.
Now, this isn't one more big-screen comic book. As the masterly opening sequence reaffirms, Tarantino is a true filmmaker, with a deep respect for the integrity of screen space and the tension that can accumulate in contemplating two men seated at a table having a polite conversation. IB reunites QT with cinematographer Robert Richardson (who shot Kill Bill), and the colors and textures they serve up can be riveting, from the eerie red-hot glow of a tabletop in Adolf Hitler's den, to the creamy swirl of a Parisian pastry in which Landa parks his cigarette. The action has been divided, Pulp Fiction-like, into five chapters, each featuring at least one spellbinding set-piece. It's testimony to the integrity we mentioned that Tarantino can lock in the ferocious suspense of a scene for minutes on end, then explode the situation almost faster than the eye and ear can register, and then take the rest of the sequence to a new, wholly unanticipated level within seconds.
Again, be warned: This is not your "Greatest Generation," Saving Private Ryan WWII. The sadism of Raine and his boys can be as unsavory as the Nazi variety; Tarantino's latest cinematic protégé, Eli (director of Hostel) Roth, is aptly cast as a self-styled "golem" fond of pulping Nazis with a baseball bat. But get past that, and the sometimes disconcerting shifts to another location and another set of characters, and the movie should gather you up like a growing floodtide. Tarantino told the Cannes Film Festival audience that he wanted to show "Adolf Hitler defeated by cinema." Cinema wins. --Richard T. Jameson
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The epic story of Lost twists, turns and time shifts in its brilliant fifth season. Packed with bonus material, including a revealing interview with the cast and an exclusive behind the scenes feature with Josh, Lost is better than ever.
When destiny calls, the Oceanic 6 frantically race back to the island. Discover what forced them to return and find out the fate of all those who were left behind. The answers to some of Lost's most pressing questions are revealed in this spectacular 5-disc collection, complete with deleted scenes, a behind the scenes celebration of the 100th episode and an incredible vault of exclusive bonus features. The show that revolutionized primetime proves once again why it is television's most addictive and creative series. Bonus Features Include: 7 Lost on location, A Day with Josh Holloway, Los Angeles crew tribute with Michael Emerson, the 100th episode, Time Frame and Continuity, Bloopers, Deleted Scenes
Since Lost made its debut as a cult phenomenon in 2004, certain things seemed inconceivable. In its fourth year, some of those things, like a rescue, came to pass. The season ended with Locke (Terry O'Quinn) attempting to persuade the Oceanic Six to return, but he dies before that can happen--or so it appears--and where Jack (Matthew Fox) used to lead, Ben (Emmy nominee Michael Emerson) now takes the reins and convinces the survivors to fulfill Locke's wish.
As producers Damon Lindelof and Carlton Cuse state in their commentary on the fifth-season premiere, "We're doing time travel this year," and the pile-up of flashbacks and flash-forwards will make even the most dedicated fan dizzy. Ben, Jack, Hurley (Jorge Garcia), Sayid (Naveen Andrews), Sun (Yunjin Kim), and Kate (Evangeline Lilly) arrive to find that Sawyer (Josh Holloway) and Juliet (Elizabeth Mitchell) have been part of the Dharma Initiative for three years. The writers also clarify the roles that Richard (Nestor Carbonell) and Daniel (Jeremy Davies) play in the island's master plan, setting the stage for the prophecies of Daniel's mother, Eloise Hawking (Fionnula Flanagan), to play a bigger part in the sixth and final season.
Dozens of other players flit in and out, some never to return. A few, such as Jin (Daniel Dae Kim), live again in the past. Lost could've wrapped things up in five years, as The Wire did, but the show continues to excite and surprise. As Lindelof and Cuse admit in the commentary, there's a "fine line between confusion and mystery," adding, "it makes more sense if you're drunk." Other extras include deleted scenes, featurettes, a "lost" episode of Mysteries of the Universe, and commentary from writers Edward Kitsis and Adam Horowitz on "He's Our You," a reference to Sayid, who tries to change the future by changing the past. --Kathleen C. Fennessy
