Shadowy streets, tough guys and dangerous women take center stage in an all-new collection of five classic film noir thrillers available now on DVD for the first time ever from Turner Classic Movies (TCM) and Sony Pictures Home Entertainment (SPHE). Presented in collaboration with The Film Foundation, the multi-disc Film Noir Classics III collection is the third volume of film noir titles from Columbia Pictures. The set includes Nina Foch and George Macready in My Name is Julia Ross (1945), Mickey Rooney and Dianne Foster in Drive a Crooked Road (1955), Broderick Crawford in The Mob (1951), Ginger Rogers and Edward G. Robinson in Tight Spot (1955) and Dan Duryea and Jayne Mansfield in The Burglar (1957), with introductions by Martin Scorsese, founder and chair of the non-profit preservation group, The Film Foundation.

Another round of MGM must-see fan favorites comes to Blu-ray January 24, 2012 from Twentieth Century Fox Home Entertainment. Six classics make this month's new-to-Blu-ray releases some of the most exciting yet. These include Annie Hall, Manhattan, Notorious, Rebecca, Spellbound and The Apartment.

Skeptics have no business nosing about the world of magic. The same rules apply for movies about magic. Flicks have a hard enough time convincing audiences to accept alien invaders and boy wizards, so chucking in prestidigitation is asking for the moon. That is, unless you refuse to allow sleight of hand to have its way with the story, in which case you'd resemble 1982's The Escape Artist. There's a fair amount of trickery to be had in this somewhat rare find, but never does it drown out the film's real intentions. Starring Griffin O'Neal, Raul Julia, Terri Garr and Desi Arnaz, The Escape Artist is a unique coming-of-age tale, one that may star a youngster but isn't necessarily a kids-only affair.

Buster Keaton is considered one the greatest comedians of the silent film eras. He could do and say more with the movement of an eyeball, than some could accomplish using all of their facilities. He'd made 82 films before signing on with MGM and turning out The Cameraman, what some say is his best film. There's a wonderful scene in that film where Keaton makes googoo eyes over his camera with Marceline Day. There's no dialogue needed to understand the sexual chemistry going on between the characters.