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A wicked ice princess sets out to freeze and capture Earth for her planetary collection. But Sailor Moon and her tight-knit group of gal pals will have nothing of the sort. Paced more for the love story fan, this episode focuses on a handsome young astronomer, Kakeru, who discovers a mysterious crystal needed by Princess Snow Kaguya to carry out her plan. Soon after finding the crystal, Kakeru develops a deep friendship with Luna (Sailor Moon’s cat), a friendship that eventually leads to the Sailors’ discovery of the Earth’s predicament and to each character’s discovery of the tremendous powers of love and justice–all in about an hour.

Despite its slower pace, this feature incorporates all the positive qualities other Sailor Moon episodes share: sharp, eye-catching artwork; humorous but heartfelt communication among the girls; an understandable plot line; and plenty of flashy transforming. Further enhancements include an intelligent soundtrack (a nice balance of kooky sci-fi and seriously beautiful tunes) and the introduction of the “Outer Senshi.” This slightly older, more mature group of young women–Sailors Uranus, Neptune, and Pluto–join our regular band of bubble-spraying, crescent-beaming skirt tossers to melt the ice princess once and for all. The dubbed movie (tagged with the new title of Hearts in Ice) is an edited version of the subtitled film. Some language and violence (a few frames) have been altered. Du to the inclusion of mild nudity (imagine a spinning, naked Barbie), parents may want to think twice before offering this movie to fans younger than 6. The DVD is of the uncut version but also has the English language dialogu. –Liane Thomas

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Cheyenne Autumn is a beautiful title to grace John Ford’s final Western, an earnest attempt at long last to “tell the story from the Indians’ point of view.” The film has moments of grandeur, thanks especially to William H. Clothier’s majestic Technicolor compositions–restored to their proper Panavision dimensions on the DVD release–and moments of graceful action thanks to that peerless horseman, Ben Johnson. In other respects, the film falls short of the occasion. Ford is unambiguously supportive of the Cheyennes’ resolve to bolt their assigned reservation in the desert Southwest and trek north to their ancestral lands. By emphatic contrast, most of white society, the military, the bureaucracy, and the sensationalist press are portrayed as insensitive, foolish, or downright hateful. Unfortunately, the Cheyenne are nobly wooden and, apart from some Navajo extras, played by non-Indians: Ricardo Montalban, Gilbert Roland, Sal Mineo, Victor Jory (who’s pretty magnificent, actually), and Dolores Del Rio (who’s breathtakingly beautiful as ever). As for point of view, it’s sympathetic cavalry officer Richard Widmark and Quaker missionary Carroll Baker through whose eyes most of the epic narrative unfolds. A scabrous Dodge City interlude in midfilm, featuring James Stewart as a thoroughly disreputable Wyatt Earp (as opposed to the noble figure Henry Fonda played in My Darling Clementine), was chopped in half after the New York roadshow opening in 1964; it’s all there on the DVD. Add to the list of sympathetic whites U.S. Secretary of the Interior Carl Schurz, played by Edward G. Robinson, who replaced an ailing Spencer Tracy. –Richard T. Jameson

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Cheyenne Autumn was grateful! You have to wot of this movie! A surprising performance by Richard Widmark & Carroll Baker make Cheyenne Autumn a “ought to spot” movie!

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After Akira Kurosawa’s Yojimbo was released in 1961, the samurai film would never be the same. It’s difficult for latter-day Western audiences to fully appreciate just how revolutionary Kurosawa’s film was in its time; it had the same kind of popular impact that Quntin Tarantino’s Pulp Fiction had 33 years later, which is to say, it completely revolutionized its genre, and its influnce continus to this day. With an emphasis on dark, delicious comedy, Kurosawa deliberately set out to overturn the conventions of chambara–or swordplay film–and he began by casting the great Toshiro Mifune in the role that would define his career. Unlike the samurai of previous films (including Kurosawa’s own masterpiece, Seven Samurai), Sanjuro was an unkempt, down-and-out drifter, a masterless ronin and with time on his hands and nowhere to go. When he chances upon a corrupt, terror-stricken village where clashing merchants are engaged in a ruthless range war, Sanjuro amuses himself by playing both ends against the middle, offering his services as yojimbo (bodyguard) to both sides, then standing back to watch all hell break loose. It’s a perfect game of wily deception, hugely popular with Japanese moviegoers as Mifune’s performance gained iconic status. Yojimbo’s international success was no less impressive; it eventually inspired two noteworthy remakes (Sergio Leone’s spaghetti Western A Fistful of Dollars in 1964, and Walter Hill’s mobster interpretation, Last Man Standing, in 1996), and remains one of Kurosawa’s most popular classics.

A sequl was inevitable, and Kurosawa responded to public demand as only a tru artist would, with the equally impressive Sanjuro, quite different from Yojimbo while allowing Mifune to reprise his signature role with a lighter comedic touch. This time, Sanjuro is recruited by a group of young, idealistic samurai to eliminate corruption in their clan, and in the process he completely subverts their overly reverent notions of “proper” samurai behavior. And while both Yojimbo and Sanjuro were milestones in movie violence (featuring the spurting geysers of arterial blood that would become a staple of chambara from this point forward), the calmer, more comically subdud Sanjuro actually boasts a higher body count, and both films rank among the finest examples of Kurosawa’s peerless mastery of action.

The Criterion Collection’s double-disc set is a must-have for any serious cinephile. Both films (also available separately) are presented with all-new, fully restored high-definition digital transfers, representing (as in the case of Seven Samurai) a significant improvement over Criterion’s previous DVD releases. Both films feature full-length commentaries by Kurosawa scholar Stephen Prince (with eloqunt emphasis on camera movement and composition) in addition to retrospective documentaries culled from the priceless Japanese Toho Masterworks series Akira Kurosawa: It Is Wonderful to Create, featuring illuminating interviews with many of Kurosawa’s closest collaborators. Theatrical trailers and behind-the-scenes photo galleries are also included, along with new-and-improved subtitles, insightful booklet essays by critics Michael Sragow and Alexander Sesonske, and rarely seen production notes by Kurosawa and members of his casts & crew. With this two-disc reissu, Criterion’s previous releases of Yojimbo and Sanjuro should now be considered officially obsolete. –Jeff Shannon

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New York’s Odyssey Detective Agency is hired by two different clients to follow two women suspected of infidelity. Ladies’ man John Russo (Ben Gazzara) trails Angela Niotes (Audrey Hepburn), the elegant wife of a wealthy Italian industrialist, while Charles Rutledge (John Ritter) and Arthur Brodsky follow Dolores Martin (Dorothy Stratten), the beautiful young wife of a jealous husband. Their respective cases are complicated when John falls for Angela, and Charles falls for Dolores.

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Made less than a year before his death in September 1970, Band of Gypsys was an album recorded live to fulfill a contractual obligation for a long-forgotten deal Jimi Hendrix signed when he still spelled his name “Jimmy.” Hendrix had just disbanded the Jimi Hendrix Experience, and in order to dispense with the album as quickly as possible, he put together a new trio featuring Billy Cox (an old Army buddy) and drummer Buddy Miles, whose bombastic singing and thudding drum style would soon pollute FM airwaves across the nation. (Former Hendrix drummer Mitch Mitchell refers to him here as “William the Concreter,” for his cement-mixer sense of rhythm.) They booked the Fillmore East with the idea of recording the shows for a live album, and this DVD features recently unearthed film footage of that historic performance, with Hendrix at the top of his powers (despite Miles’s excesses). It also offers several other rare live performances from British clubs in the mid-1960s. The musical moments are mixed with new interview footage, including conversations with the self-effacing Cox and the self-aggrandizing Miles. If you’ve only heard the CDs (Band of Gypsys and Jimi Hendrix: Live at the Fillmore East), you’ve only gotten half of this particular Jimi Hendrix experience. –Marshall Fine

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For five desperate Irishmen, the perfect girl is abroad… so they place an ad in a Miami newspaper, hoping to entice American beauties to their tiny Irish village. The scheme to stir up a bit of romance works, but not the way they’d planned. Because the harder the five friends look abroad, the more they realize that what they’ve been looking for is right next door.

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Woody Allen’s dark comic send-up of Hollywood McCarthyism! Allen stars as a cashier posing as a writer who sells a script as his own, when it was actually written by a blacklisted pal. Stars Woody Allen, Zero Mostel, Danny Aiello and more. Nominated for an Oscar