Confessions of a Teenage Drama Queen

• From the studio that brought you the smash hits FREAKY FRIDAY and THE PRINCESS DIARIES, CONFESSIONS OF A TEENAGE DRAMA QUEEN stars Lindsay Lohan (FREAKY FRIDAY) in a hip and hilarious coming-of-age comedy for the whole family! When the always dramatic Lola (Lohan) and her family move from the center of everything in New York City to the center of a cultural wasteland in suburban New Jersey, she fe

What makes the Special Edition of THE PARENT TRAP so cool isn't just that you get to enjoy Lindsay Lohan's amazing theatrical debut, but that's it's filled with bonus materials you've never seen before. Hallie Parker, a hip Californian, and Annie James, a proper London miss (both played by Lohan) are identical twins who don't even know each other exists -- until they accidentally meet at summer camp. Now they're up to their freckles in schemes and dreams to switch places, get their parents (Dennis Q! uaid and Natasha Richardson) back together, and have the family they've always wished for!If you were a kid in the early 1960s, then you saw The Parent Trap with Hayley Mills--it's as simple as that. Now Disney has pulled the beloved comedy--about a pair of twins who meet for the first time at summer camp and vow to reunite their long-divorced parents--out of the mothballs and remade it with a decidedly '90s feel. This time, the twins act is performed by newcomer Lindsay Lohan, who plays both Hallie and Annie, who each live with one of their parents (Dennis Quaid and Natasha Richardson). Adversaries when they first meet at camp, Hallie and Annie become, well, sisters when they figure out that they are siblings. The comedy springs from their efforts to sabotage Dad's impending marriage to the gold-digging Elaine Hendrix, while reintroducing Dad to Mom. Quaid has a nice, loosey-goosey way with slapstick, as does Richardson, who plays a very funny drunk scene. --Mars! hall Fine Aubrey Fleming (Lindsay Lohan) was living the sm! all town life, until the day she was abducted by a sadistic killer. After a frantic search, Aubrey turns up alive, but changed. She is missing limbs, but has gained a new personality - that of bad girl Dakota Moss. Her parents and the FBI think she’s suffering from delusions, but if Dakota is just a trick of her mind, why do strange wounds keep appearing on her body? Desperate and alone, Aubrey must now unlock family secrets to unmask a mysterious killer with a deadly obsession.Lindsay Lohan made a bid for stardom in a grown-up role with this overripe thriller, in which a serial killer's attack causes her personality to shift from model student to sultry stripper. The burlesque queen (named Dakota) may or may not be the subject of a writing exercise by student Aubrey, but once the latter is abducted and mutilated by a vicious killer, the former takes over, much to the consternation of Aubrey's parents (Julia Ormond and Neal McDonough). Director Chris Sivertson (who proved his knac! k for suspenseful material with The Lost) works hard to gild the nonsensical script with as much visual panache as possible (and he's mostly successful), but there's no getting past the dreary violence or Lohan's performance, which flounders in its attempt to deliver raw sexuality. Lohan's off-screen difficulties helped sink the picture during its brief theatrical run; undoubtedly, her stage routines (which are featured in an extended version on the disc's extras) will be the DVD's chief point of interest, as the movie itself is too flimsy to draw much attention on its own. The supplemental features also include an alternate opening and conclusion (which add nothing to the final product) and a blooper reel. -- Paul Gaita

Extras from I Know Who Killed Me

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Thea (Lindsay Lohan) is stuck in a dead-end job that she can't afford to lose. To stay emplo! yed, she fakes a pregnancy, and now she's milking her one big ! lie for everything it's worth. But faking this pregnancy is going to make giving birth look easy. Chris Parnell and Cheryl Hines also star in this hilarious comedy.Labor Pains stars Lindsay Lohan as much-abused secretary Thea Dixon, whose boss makes her clean his dog when it rolls in poop. On the brink of being fired, Thea makes a desperate claim: She’s pregnant! Fear of a lawsuit prevails and she keeps her job... but now she’s got to keep up her story. It’s a chore at first, but Thea soon discovers that pregnancy has its privileges; she ends up with a promotion and a fledgling romance--all threatened by the possible revelation of her deceit. Labor Pains has the kind of preposterous but plot-driving premise that might have made for a great screwball comedy in the 1940s. Unfortunately, the clumsy script fumbles every promising scene with obvious jokes and no sense of how to maintain the tricky balance of absurdity and genuine feeling that the story requires. The m! ovie gets a boost from its bouncy soundtrack, Lohan’s likability (only a few years ago she was riding high from Freaky Friday and Mean Girls), and an enjoyable supporting turn from Cheryl Hines (Curb Your Enthusiasm) as Thea’s caustic co-conspirator in the secretarial pool. Janeane Garofalo has a cameo as a talk-show host. --Bret FetzerAUCTION DESCRIPTION On her second full-length album, Lindsay Lohan tries to leave her Disney image behind for good. And what better way to do it than by starting off with the stark "Confessions of a Broken Heart (Daughter to Father)," in which the singer wrestles with her stormy relationship with her felonious father? Lohan Sr. also is the object of the tortured "My Innocence" (as in, Dad, you took it away.) But the best tracks here are the ones on which Lohan Jr. spares us the angsty therapy and delivers tuneful pop-rock. Sure, the kind of rousing mega-chorus used on "Black Hole" has already been heard--to gre! ater effect--in Kelly Clarkson's "Since U Been Gone," but it's! still n ifty. Elsewhere, "A Little More Personal" begins with Lohan talking about how talking at the start of a song is "rad," but then it turns into a very Cars-like tune--and it's hard to think of a catchier band than the Cars. No wonder it all sounds so impressively slick: For this transitional album, Lohan has surrounded herself with a team of pros--Kara DioGuardi (who's also written for Lohan rivals Ashlee Simpson and Hilary Duff, and coauthored 9 of the 12 songs here), power-popster Butch Walker, and former Evanescence guitarist Ben Moody. The first two also put their producing stamp on a cover of Cheap Trick's "I Want You to Want Me" that's even more upbeat than the original, while Moody applied his tech skills on the other cover, Stevie Nicks' "Edge of Seventeen." Moody particularly shines on "Fastlane," however, a super-catchy number that's one of four for which Lohan gets a songwriting credit. Has she grown up? Maybe not entirely yet, but Lohan is showing the promise of an! honorable mainstream career. --Elisabeth VincentelliFrom the director of How to Lose a Guy in Ten Days, comes a "funny, twist-of-fate comedy" (KBWB-TV)! Lindsay Lohan lights up the screen as Ashley, the luckiest girl in Manhattan. But little does she know, her good fortune is about to change. When Ashley shares a kiss at a party with Jake, a bad luck magnet, they miraculously switch paths. Suddenly Ashley is plagued by one hilarious disaster after another, and Jake is headed for fame instead of failure. As she desperately races to find Jake and reverse her misfortune, Ashley discovers that her terrible twist-of-fate is the luckiest thing that ever happened to her.Ashley (Lindsay Lohan) is lucky: She always gets a taxi, she always says the right thing when the right person needs to hear it, gorgeous dresses get mis-delivered to her apartment. But when she kisses a cute guy at a masquerade ball, her luck vanishes--because the guy is a total loser named Jake (Chris Pin! e, The Princess Diaries 2) whose collapsing life desper! ately ne eds a little luck. Suddenly everything goes right for Jake, while Ashley--who now can't take a step without breaking a heel--has to go on a mad search for the unknown guy she kissed so she can retrieve her stolen luck. Just My Luck isn't as creative with this whimsical premise as it could be, but there are amusing moments as the movie wends its way to the inevitable happy conclusion. As a Lindsay Lohan vehicle, this isn't as smart and funny as Mean Girls or as all-around likable as Freaky Friday, but it's superior to Confessions of a Teenage Drama Queen or Herbie: Fully Loaded. Lohan's fans are likely to enjoy the light pop of the British band McFly, who play themselves and have a scruffy charm. --Bret FetzerFrom the studio that brought you the smash hits FREAKY FRIDAY and THE PRINCESS DIARIES, CONFESSIONS OF A TEENAGE DRAMA QUEEN stars Lindsay Lohan (FREAKY FRIDAY) in a hip and hilarious coming-of-age comedy for the whole family! Wh! en the always dramatic Lola (Lohan) and her family move from the center of everything in New York City to the center of a cultural wasteland in suburban New Jersey, she feels her life is simply not worth living! But no matter who or what gets in the way, Lola won't give up on her life's ambition: to be a star! In a crowd-pleasing movie treat bursting with music, dance, and excitement, Lola's fun-filled adventure won't be glamorous or easy, but it might just show her that real life could exceed even her wildest dreams!Tucked into the middle of Confessions of a Teenage Drama Queen is a charming sequence in which two girls from New Jersey (Linsay Lohan and Alison Pill) try to go to a rock concert in New York and have their illusions broken, then restored, and then broken, just a bit, again. Lola (Lohan) yearns for glory by playing the lead in the high school play and getting to meet the lead singer of a band called Sidarthur. Despite the spiteful efforts of a popular gi! rl, Lola gets everything she wants without much of a struggle.! Most of the movie takes place in a glitzy but flavorless high-school world with glossy teenagers dressed like a less discriminating Christina Aguilera. Pill (Pieces of April) shines in the thankless role of the geeky best friend. Also featuring Glenne Headley (Dick Tracy) and Carol Kane (Office Killer). --Bret Fetzer

Clean

• Maggie Cheung (2046) gives a bravura performance as a complex, troubled woman who is trying to forge a bond with her young son, while at the same time healing and distancing herself from a past full of drugs, jail, and turbulent relationships. Format: DVD MOVIE Genre: DRAMA Rating: R Age: 660200313722 UPC: 660200313722 Manufacturer No: PALMDV3137

Two snake demons and their love-hate relationships with mortal men is a dazzling visual feast filled with unforgettable images. Features: dolby digital sound. Languages: cantonese mandarin english and chinese subtitles. Trailers chapters. Studio: Tai Seng Entertainment Release Date: 08/23/2005 Starring: Maggie Cheung Run time: 98 minutes Rating: Nr Director: Tsui HarkHong Kong action diva Maggie Cheung (Ashes of Time Redux, In the Mood for Love) plays herself in Olivier Assayas' spiky satire of the French film industry. After! seeing her in Johnny To's Heroic Trio, past-his-prime director René Vidal (New Wave legend Jean-Pierre Léaud) impetuously casts Cheung as the lead in his remake of the silent classic Les Vampires. Unable to speak a word of French, Cheung tries to navigate the disorganized production while clad in a head-to-toe rubber catsuit and receiving cryptic direction from Vidal. Things only get crazier as she juggles a lovesick bisexual costumer (Nathalie Richard), a gossipy executive's wife (Bulle Ogier) and the whole backbiting crew. With freewheeling shots choreographed to the strains of Sonic Youth and Luna, Irma Vep immerses the viewer into the heady desperation and l'amour fou of modern moviemaking. Zeitgeist Films celebrates its 20th Anniversary with a sparkling new DVD release of this supercool comic gem.

SPECIAL FEATURES
- 16:9 Anamorphic transfer, available for the first time in North America
- Audio commentary: a discussion with d! irector Olivier Assayas and critic Jean-Michel Frodon
- 30 ! minutes of never before seen on-set footage, plus an additional audio essay by Assayas and Frodon
- "Man Yuk: A Portrait of Maggie Cheung" (1997), a short film by Assayas
- Black-and-white rushes of Cheung as Irma Vep on Parisian rooftops
- Original French theatrical trailer
- Optional English subtitles for the deaf and hearing impaired
- 16-page booklet with essays on Maggie Cheung and Les Vampires director Louis Feuillade by Assayas, and a new appreciation by critic Kent JonesIn the tradition of films about filmmaking, Irma Vep takes its own special place among such films as Fellini's 8½. A has-been director decides to remake the silent French serial film Les Vampires starring a Hong Kong action film superstar. The production is falling behind schedule and its star, Maggie Cheung (who plays herself), finds herself an outsider with the film's crew save for a woman costumer (Nathalie Richard) who has a crush on her. Rene the director (Jea! n-Pierre Leaud) cast Maggie after viewing one of her many martial-arts fantasy films. Although he finds her perfect for the part of the jewel thief in Les Vampires, the rest of the crew cannot see the reasons for casting Maggie beyond her beauty and how she looks in her tight-fitting latex costume. Rene's vision is soon lost on everyone and he suffers a mental breakdown. The film is reassigned to Jose (Lou Castel), a seemingly more commanding director (although he takes the job because his welfare is about to run out), whose first decision is to fire Maggie. Irma Vep is presented as a comedy, but at its heart lies an examination of the art and craft of filmmaking. In a clever turn, Maggie creeps around her hotel getting into character, in essence remaking Irma Vep for real-life director Olivier Assayas. Assayas wrote the film in 10 days and shot the film in a month after meeting Maggie Cheung at a film festival--a fascinating case of life imitating art.! .. or is it the other way around? --Shannon GeeEmily Wa! ng (Magg ie Cheung) is a woman who wrestles with her dream of becoming a singer, her fitness as a mother, and daily life without her partner Lee (James Johnston). Her past is riddled with drugs and regrets, the result of which left Lee dead in a desolate motel room in Hamilton, Ontario, and landed Emily with a six-month jail sentence. The only thing that she desires for the future is a loving relationship with her son Jay, who is being cared for by Lee’s parents, Albrecht (Nick Nolte) and Rosemary (Martha Henry). While Rosemary blames Emily for the death of Lee, Albrecht recognizes the importance of the bond between a mother and her son, and his faith sets the standard for the faith Emily must find in herself. CLEAN follows Emily to Hamilton, Paris, London and San Francisco and in three languages, as she battle for a place in a world reluctant to forget the woman she has been and unwilling to accept her as the woman she longs to be.After the uncharacteristically epic Les Des! tinées and surprisingly cynical Demonlover, Olivier Assayas got his groove back with the cautiously optimistic Clean. Granted, the globe-trotting tale gets off to a grim start, but the grace notes gradually begin to accumulate. Corkscrew-coiffed Emily (Hong Kong superstar Maggie Cheung) is the outspoken lover of struggling musician Lee (James Johnston, formerly of Brit band Gallon Drunk). She's also a heroin addict, just like her partner. When he dies from an overdose, she does time for possession, while his Canadian parents, Albrecht (Nick Nolte in a nicely-shaded performance) and Rosemary (Martha Henry), gain custody of son Jay (James Dennis). Upon release, Emily returns to France to find work, stay clean, and earn the right to reclaim her child. Except for Albrecht, no one believes she can pull it off. Worse yet, many hold her responsible for Lee's death. (The echoes of Courtney Love and Yoko Ono can't be coincidental.) A decade has passed since Assaya! s directed Cheung in the dazzling Irma Vep. Since that ! time, th ey married and divorced, but the professional relationship persists, culminating in a Best Actress award at Cannes for a performance that calls for dialogue in English, French, and Cantonese--even some singing. As suggested by the title, Clean is cool and somewhat detached, an effect reinforced by Éric Gautier's crisp cinematography and a soundtrack heavy on early Eno, but it sidesteps the histrionics frequently associated with the recovery film. Featuring Tricky and David Roback (Mazzy Star) as themselves. --Kathleen C. Fennessy

Vanessa

• Where EMMANUELLE ended, the original ads panted, VANESSA begins! The tantalizing Olivia Pascal of BLOODY MOON and ISLAND OF 1000 DELIGHTS stars as the titular teen who journeys from curious convent virgin to prisoner of a lavish Hong Kong bordello. But along the way, she ll experience the sensual and shocking extremes of pleasure, pain and even black magic perversion. In a world where respectable

The Infamous Saga Of An Innocent Schoolgirl Turned Sexual Plaything... Now Totally Uncut & Uncensored

"Where EMMANUELLE ended," the original ads panted, "VANESSA begins!" The tantalizing Olivia Pascal of BLOODY MOON and ISLAND OF 1000 DELIGHTS stars as the titular teen who journeys from curious convent virgin to prisoner of a lavish Hong Kong bordello. But along the way, she'll experience the sensual and shocking extremes of pleasure, pain and even black magic perversion. In a world w! here respectable men and women have gone mad with greed and lust, can one succulent young girl escape her family's ultimate legacy of depravity?

Eva Garden (VIRGIN REPORT), Astrid Boner (SCHOOLGIRL REPORT) and Anton Diffring (MARK OF THE DEVIL II, FACELESS) co-star in this eye-popping flesh-fest, now fully restored and featuring some of the most talked-about scenes in European softcore history!