Product Details

• Actors: Russell Crowe, Joaquin Phoenix, Connie Nielsen, Marlon Brando, Al Pacino
• Directors: Mel Gibson, Francis Ford Coppola, James Cameron, James L. Brooks, Ridley Scott
• Writers: Alan Ball
• Format: Box set, Color, DVD, Widescreen, NTSC
• Language: English, French, German, Italian, Latin, Russian, Swedish
• Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
  
• Aspect Ratio: 2.35:1
• Number of discs: 8
• Rating: R (Restricted)
• Studio: Paramount
• DVD Release Date: February 6, 2007
• Run Time: 1095 minutes
• Average Customer Review: 4.7 out of 5 stars  See all reviews (3 customer reviews)
• ASIN: B000L43PLQ
• Amazon.com Sales Rank: #56,980 in Movies & TV (See Bestsellers in Movies & TV)

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  #20 in	Movies & TV > Comedy > Comedy Directors > James L. Brooks
  #28 in	Movies & TV > Action & Adventure > Action Stars > Russell Crowe
  #36 in	Movies & TV > Action & Adventure > Action Directors > Ridley Scott

• For more information about "Best Picture Collection (American Beauty / Braveheart / Forrest Gump / Gladiator / The Godfather / Titanic / Terms of Endearment)" visit the Internet Movie Database (IMDb)

Editorial Reviews

Amazon.com

Braveheart
Mel Gibson's Oscar-winning 1995 Braveheart is an impassioned epic about William Wallace, the 13th-century Scottish leader of a popular revolt against England's tyrannical Edward I (Patrick McGoohan). Gibson cannily plays Wallace as a man trying to stay out of history's way until events force his hand, an attribute that instantly resonates with several of the actor's best-known roles, especially Mad Max. The subsequent camaraderie and courage Wallace shares in the field with fellow warriors is pure enough and inspiring enough to bring envy to a viewer, and even as things go wrong for Wallace in the second half, the film does not easily cave in to a somber tone. One of the most impressive elements is the originality with which Gibson films battle scenes, featuring hundreds of extras wielding medieval weapons. After Eisenstein's Alexander Nevsky, Orson Welles's Chimes at Midnight, and even Kenneth Branagh's Henry V, you might think there is little new that could be done ! in creating scenes of ancient combat; yet Gibson does it. --Tom Keogh

American Beauty
From its first gliding aerial shot of a generic suburban street, American Beauty moves with a mesmerizing confidence and acuity epitomized by Kevin Spacey's calm narration. Spacey is Lester Burnham, a harried Everyman whose midlife awakening is the spine of the story, and his very first lines hook us with their teasing fatalism--like Sunset Boulevard's Joe Gillis, Burnham tells us his story from beyond the grave. It's an audacious start for a film that justifies that audacity. Weaving social satire, domestic tragedy, and whodunit into a single package, Alan Ball's first theatrical script dares to blur generic lines and keep us off balance, winking seamlessly from dark, scabrous comedy to deeply moving drama. The Burnham family joins the cinematic short list of great dysfunctional American families, as Lester is pitted against his manic, materialistic realtor wife, Carolyn (Annette Bening, making the most of a mostly unsympathetic role) and his sullen, contemptuous tee! naged daughter, Jane (Thora Birch, utterly convincing in her edgy balance of self-absorption and wistful longing). Into their lives come two catalytic outsiders. A young cheerleader (Mena Suvari) jolts Lester into a sexual epiphany that blooms into a second adolescence. And an eerily calm young neighbor (Wes Bentley) transforms both Lester and Jane with his canny influence. Credit another big-screen newcomer, English theatrical director Sam Mendes, with expertly juggling these potentially disjunctive elements into a superb ensemble piece that achieves a stylized pace without lapsing into transparent self-indulgence. Mendes has shrewdly insured his success with a solid crew of stage veterans, yet he's also made an inspired discovery in Bentley, whose Ricky Fitts becomes a fulcrum for both plot and theme. Cinematographer Conrad Hall's sumptuous visual design further elevates the film, infusing the beige interiors of the Burnhams' lives with vivid bursts of deep crimson, the c! olor of roses--and of blood. --Sam Sutherland

Gladiator
A big-budget summer epic with money to burn and a scale worthy of its golden Hollywood predecessors, Ridley Scott's Gladiator is a rousing, grisly, action-packed epic that takes moviemaking back to the Roman Empire via computer-generated visual effects. While not as fluid as the computer work done for, say, Titanic, it's an impressive achievement that will leave you marveling at the glory that was Rome, when you're not marveling at the glory that is Russell Crowe. Starring as the heroic general Maximus, Crowe firmly cements his star status both in terms of screen presence and acting chops, carrying the film on his decidedly non-computer-generated shoulders as he goes from brave general to wounded fugitive to stoic slave to gladiator hero. Gladiator's plot is a whirlwind of faux-Shakespearean machinations of death, betrayal, power plays, and secret identities (with lots of faux-Shakespearean dialogue ladled on to keep the proceedings appropriately "classical"), ! but it's all briskly shot, edited, and paced with a contemporary sensibility. Even the action scenes, somewhat muted but graphic in terms of implied violence and liberal bloodletting, are shot with a veracity that brings to mind--believe it or not--Saving Private Ryan, even if everyone is wearing a toga. As Crowe's nemesis, the evil emperor Commodus, Joaquin Phoenix chews scenery with authority, whether he's damning Maximus's popularity with the Roman mobs or lusting after his sister Lucilla (beautiful but distant Connie Nielsen); Oliver Reed, in his last role, hits the perfect notes of camp and gravitas as the slave owner who rescues Maximus from death and turns him into a coliseum star. Director Scott's visual flair is abundantly in evidence, with breathtaking shots and beautiful (albeit digital) landscapes, but it's Crowe's star power that will keep you in thrall--he's a true gladiator, worthy of his legendary status. Hail the conquering hero! --Mark Englehart

Terms of Endearment
Larry McMurtry's novel becomes a somewhat lumpy film as directed by James L. Brooks (As Good As It Gets). Nevertheless, it is entirely winning, with Shirley MacLaine and Debra Winger playing a combative mother and daughter who see each other through various ups and downs in love and loss, and most especially through a terminal illness endured by Winger's character. Jack Nicholson deservedly won an Oscar for his supporting role as a free-spirited astronaut who backs away from a romance with MacLaine and then returns in the clutch. As he always does, Brooks keeps things from getting too soapy with his intense concentration on the soulful evolution of his characters. --Tom Keogh

The Godfather
Generally acknowledged as a bona fide classic, this Francis Ford Coppola film is one of those rare experiences that feels perfectly right from beginning to end--almost as if everyone involved had been born to participate in it. Based on Mario Puzo's bestselling novel about a Mafia dynasty, Coppola's Godfather extracted and enhanced the most universal themes of immigrant experience in America: the plotting-out of hopes and dreams for one's successors, the raising of children to carry on the good work, etc. In the midst of generational strife during the Vietnam years, the film somehow struck a chord with a nation fascinated by the metamorphosis of a rebellious son (Al Pacino) into the keeper of his father's dream. Marlon Brando played against Puzo's own conception of patriarch Vito Corleone, and time has certainly proven the actor correct. The rest of the cast, particularly James Caan, John Cazale, and Robert Duvall as the rest of Vito's male brood--all coping with how ! to take the mantle of responsibility from their father--is seamless and wonderful. --Tom Keogh

Titanic
When the theatrical release of James Cameron's Titanic was delayed from July to December of 1997, media pundits speculated that Cameron's $200-million disaster epic would cause the director's downfall, signal the end of the blockbuster era, and sink Paramount Pictures as quickly as the ill-fated luxury liner had sunk on that fateful night of April 14, 1912. Titanic would surpass the $1-billion mark in global box-office receipts, win 11 Academy Awards including Best Picture and Director, launch the best-selling movie soundtrack of all time, and make a global superstar of Leonardo DiCaprio. A bona fide pop-cultural phenomenon, the film has all the ingredients of a blockbuster (romance, passion, luxury, grand scale, a snidely villain, and an epic, life-threatening crisis), but Cameron's alchemy of these ingredients proved more popular than anyone could have predicted. His stroke of genius was to combine absolute authenticity with a pair of fictional lovers whose tragic f! ate would draw viewers into the heart-wrenching reality of the Titanic disaster. As starving artist Jack Dawson and soon-to-be-married socialite Rose DeWitt Bukater, DiCaprio and Kate Winslet won the hearts of viewers around the world, and their brief, but never forgotten, love affair provides the humanity that Cameron needed to turn Titanic into a moving emotional experience. Although some of the computer-generated visual effects look artificial, others--such as the climactic splitting of the ship's sinking hull--are state-of-the-art marvels of cinematic ingenuity. It's an event film and a monument to Cameron's risk-taking audacity, blending the tragic irony of the Titanic disaster with just enough narrative invention to give the historical event its fullest and most timeless dramatic impact. --Jeff Shannon

Forrest Gump
The Academy Award winner for Best Picture, Best Director Robert Zemeckis, and Best Actor Tom Hanks, this unlikely story of a slow-witted but good-hearted man somehow at the center of the pivotal events of the 20th century is a funny and heartwarming epic. Hanks plays the title character, a shy Southern boy in love with his childhood best friend (Robin Wright) who finds that his ability to run fast takes him places. As an All-Star football player he meets John F. Kennedy; as a soldier in Vietnam he's a war hero; and as a world champion Ping-Pong player he's hailed by Richard Nixon. Becoming a successful shrimp-boat captain, he still yearns for the love of his life, who takes a quite different and much sadder path in life. The visual effects incorporating Hanks into existing newsreel footage is both funny and impressive, but the heart of the film lies in its sweet love story and in the triumphant performance of Hanks as an unassuming soul who savors the most from his life and times. --Robert Lane

Product Description

This giftset includes 7 movies that have all won an oscar for Best Picture. The boxset includes American Beauty, Braveheart, Forrest Gump, Gladiator, The Godfather, Titanic, and Terms of Endearment.

Customer Reviews

Most Helpful Customer Reviews

2 of 2 people found the following review helpful:

5.0 out of 5 stars Outstanding, June 16, 2007

By	G. Burrell - See all my reviews (REAL NAME)

This package of Best Pictures is definitely a great buy. You can not beat the price for this package of first rate movies that any two would easily cost. Not to be missed.

6 of 8 people found the following review helpful:

4.0 out of 5 stars Buy it Used, if possible., March 6, 2007

By	Michael A. Anderson - See all my reviews (REAL NAME)

A great buy for 20 bucks used! Bare boned releases with few extras except Forrest Gump, which is the 2 disc version. All of the films are 16 X 9 enhanced for widescreen EXCEPT Titanic! Very annoying!!

2 of 3 people found the following review helpful:

5.0 out of 5 stars Collection of modern best picture winners that actually made money, February 1, 2007

By	calvinnme "Texan refugee" (Fredericksburg, Va) - See all my reviews (TOP 10 REVIEWER)

Amazon Verified Purchase

It's rare these days for the Oscar winner for Best Picture to be something that actually drew a sizable audience. This is a pretty good collection of seven more modern movies that did just that.

"The Godfather", the oldest of the bunch (1972), holds up the best over time. In cinematography, casting, acting, and plot it is simply perfect. "Terms of Endearment" (1983) is a different kind of mother/daughter story than you usually see on screen - the kind where the mother holds the daughter in only "medium esteem". "Forrest Gump" (1994) just defies categorization. Forrest is a zen-like character with limited intelligence who manages to stumble into every major world event of his lifetime and come out on top. Even though it was adapted from a popular novel, on film it could have as easily bombed as it could have been the blockbuster it became. "Braveheart" (1995) is a great film about man's desire for freedom trumping everything else, even his desire to live.

1997's "Titanic" made the most money and won many Academy awards that year, but personally, I feel as time passes, it will probably be considered one of the cheesier films to win the Academy's highest honor. Director James Cameron's message of rich equals shallow and bored, poor equals fulfilled and happy just seems more and more simplistic and, quite frankly, sappy as I grow more accustomed to the film's tremendous special effects. 1999's "American Beauty", about the last year of life of a man in a dysfunctional family seemed OK when I first saw it, but you really have to have seen Alan Ball's series "Six Feet Under" to really get it. Ball writes the best dysfunctional characters since David Lynch. I thought "Gladiator" (2000) was indeed a great picture, and although Russell Crowe's Maximus comes to life to the point where some people actually believe he is a historical figure from the Roman Empire, I still think Tom Hanks was unfairly passed over for Best Actor in his tremendous performance in "Castaway".

These films don't really have any one theme in common, other than being a collection of seven of the better modern films to win the Academy's highest honors that also achieved blockbuster status. It really is a good value and I highly recommend it. All films included are the widescreen editions, but there are no extras worth mentioning except for the two-disc edition of Forrest Gump.