HOOP DREAMS

1994, PG-13

Rarely has a film said so much. Not just a documentary on basketball, Hoop Dreams looks at what it is to be a black family living in urban America. Director Steve James and cinematographer Peter Gilbert spent more than five years following Arthur Agee and William Gates, a pair of gifted athletes who intend to make basketball their ticket out of Chicago's rough and tumble South Side. The film opens with the then 14-year-old upstarts being recruited and eventually landed by Saint Joseph's High School, a largely white Catholic prep school in suburban Chicago. What follows are enough twists and turns to fuel an epic novel. Of the many on- and off-court dramas, what stays with us is the way each family fights to better their lives against an unforgiving and clearly flawed system. The two commentary tracks -- one featuring Agee and Gates, the other James, Gilbert and producer Frederick Marx -- are fascinating, not only for the discussion of what's happening on screen but also for the dissection of the documentary form itself. More than a decade after its initial release, Hoop Dreams remains a vital, deeply illuminating document of the American experience. (Jason Gargano) Grade: A+

MOOG

MOOG (PLEXIFILM)

2004, Not Rated

Director Hans Fjellestad's engaging and good-natured documentary about music instrument-maker Robert Moog tracks the invention of his namesake artificial music machine from his interest in the Theremin, an instrument where sound is made by passing one's hands through an electric field. The happy ending to Moog's story is his creation of the Minimoog synthesizer in 1970 and its success with Rock musicians and avant-garde composers. The 70-minute film flows quickly, covering all the details of his half-century of music innovation and creation of his first line of electronic synthesizers, the Moog Modular. There are 47 minutes of DVD extras to complement the story. Moog speaks eloquently to an organic connection he has with his electronic instruments, and several musicians testify to its significance. More importantly, they showcase the mesmerizing music that comes from Moog's instruments. Fjellestad raises a compelling question in the film: By attaching piano keyboard to the machine, Moog prevented his instrument from becoming something more unique, perhaps a Theremin of its time instead of a state-of-the-art keyboard. (Steve Ramos) Grade: B

ROBINSON IN SPACE

ROBINSON IN SPACE (FACETS)

1997, Not Rated

With his fascinating landscape film Robinson in Space, architect-turned-filmmaker Patrick Keiller tweaks the boundaries of documentary moviemaking by paying homage to the early films of the 1900s. While the Lumière Brothers' films were one minute long, Robinson in Space is feature length. But content is what connects these distant forms. Essayist Tom Gunning refers to films like Robinson in Space as a "cinema of attractions." But Keiller calls it an "actuality," a travelogue about real life versus anything resembling narrative. Set in 1992 England, cities and rural landscapes, speeding trains and slow-moving boats make up the non-fiction film. Unlike his previous documentary, London, Keiller fills Robinson in Space with various voyages to diverse corners of England. Like Thom Anderson's recent avant-garde documentary Los Angeles Plays Itself, a film about the city's role in Hollywood movies, Robinson in Space bundles aesthetics and social politics into one mesmerizing package. (SR) Grade: B

SCRUBS: THE COMPLETE FIRST SEASON 2001

SCRUBS: THE COMPLETE FIRST SEASON

2001, Not Rated

Released in a vacuum, Scrubs should have been a monster hit when first broadcast in 2001. But coming on the heals of so many dire medical dramas, it never really found a huge audience. That's a damn shame. Two parts witty sitcom, one part touching medical drama, Scrubs basically defied categorization. This first season box set features all 24 episodes, including the solid pilot and a handful of extras that are hit or miss. The commentaries are a little weak, but some of the behind-the-curtain footage and interviews are interesting for true fans. Still, the body of work is the reason to check out this set. Zach Braff as everyman-intern Dr. J.D. Dorian gets more comfortable with each episode in shouldering more than just punch lines. Donald Faison is as charismatic a supporting player as there is on television right now. And character actor John C. McGinley proves to be the find of the century with his star-turn as Dr. Cox. Their performances and some top-notch writing add up to a great first season, one worthy of a rewind. (Rodger Pille) Grade: B+