Oz - Complete Season 1-6 [DVD]

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Product Description All 56 episodes of the gritty, thought-provoking prison drama from HBO. Set in the Emerald City experimental wing of Oswald (Oz) Correctional Facility - the series takes a futuristic look at crime and punishment. Emerald City was set up with a pre-agreed amount of members of ten racial and social demographics (The Muslims, The Homeboys, The Aryans, The Bikers, The Italians, The Latinos, The Irish, The Gays, The Christians and The Others) to see whether they might be able to sort things out among themselves - or at least to witness their attempts. There's no shortage of shankin', cussin', fightin' and lovin', though - the prime ingredients in any prison drama. Season one episodes comprise: 'The Routine', 'Visits, Conjugal and Otherwise', 'God's Chillin'', 'Capital P', 'Straight Life', 'To Your Health', 'Plan B' and 'A Game of Checkers'. Season two episodes are: 'The Tip', 'Ancient Tribes', 'Great Men', 'Losing Your Appeal', 'Family Bizness', 'Strange Bedfellows', 'Animal Farm' and 'Escape from Oz'. Season three episodes comprise: 'The Truth and Nothing But...', 'Napoleon's Boney Parts', 'Legs', 'Unnatural Disasters', 'U.S. Male', 'Cruel and Unusual Punishments', 'Secret Identities' and 'Out o' Time'. Season four episodes are: 'A Cock and Balls Story', 'Obituaries', 'Bill of Wrongs', 'Works of Mercy', 'Gray Matter', 'A Word to the Wise', 'A Town Without Pity', 'You Bet Your Life', 'Medium Rare', 'Conversions', 'Revenge Is Sweet', 'Cuts Like a Knife', 'Blizzard of '01', 'Orpheus Descending', 'Even the Score' and 'Famous Last Words'. Season five episodes comprise: 'Visitation', 'Laws of Gravity', 'Dream a Little Dream of Me', 'Next Stop, Valhalla', 'Wheel of Fortune', 'Variety', 'Good Intentions' and 'Impotence'. Season six episodes are: 'Dead Man Talking', 'See No Evil, Hear No Evil, Smell No Evil', 'Sonata De Oz', 'A Failure to Communicate', '4giveness', 'A Day in the Death...', 'Junkyard Dawgs' and 'Exeunt Omnes'. .co.uk Review Season OneHBO's violent men-behind-bars drama is an addictive, testosterone-driven soap opera for guys. The eight episodes of the first season set the style for the show: a massive cast of a vivid characters on both sides of the bars, four or five stories unleashed at a breakneck pace and framed by angry, oddball introductions, and a soaring casualty rate. Created by Homicide producer Tom Fontana, this drama quickly earned its rightful reputation as the most brutal show on TV. It's simple chemistry: combine volatile ingredients in a confined space, shut tight, and shake. The yellow brick road of the Oswald Correctional Facility (affectionately known as "Oz" among the inmates) leads to "Emerald City," an antiseptic cellblock of cement and glass overseen by prison-reform advocate Tim McManus (Terry Kinney). The first episode introduces its two most compelling inmates: meek lawyer Beecher (Lee Terguson), who transforms from a vulnerable lamb to a fearless, drug-addicted wildcat, and Muslim activist Kareem Said (Eamonn Walker), a fiercely non-violent leader whose campaign for reform explodes in a season-climaxing riot. The stunning first-season cast also features Ernie Hudson (the warden), Rita Moreno (a worldly drug-counseling nun), and Edie Falco (who jumped from her role as a single-mother prison guard to mob wife in The Sopranos). It carries no rating, but the drug use, nudity, and brutal violence make this highly inappropriate for young viewers and unsuited to the squeamish. Oz pulls no punches in its portrayal of prison violence and predatory abuse. --Sean Axmaker Season TwoIf the title of HBO's brutal prison drama suggests a fairy tale, be warned that this Oz lies on the other side of the rainbow. This gritty portrait of men behind bars is a testosterone-driven soap opera packed with murder, suicide, sadism, and savage battles for dominance in the concrete jungle. Season 2 opens in the wake of a prison riot that shut down the experimental cell block known as "Emerald City" among the inmates, but it doesn't take long to build a whole new head of steam after prison reformer Tim McManus (Terry Kinney) reopens the unit. The drug wars pit the Italians against the blacks, the Aryan Brotherhood re-establish their campaign of intimidation, and Alvarez is pushed to desperate measures when he's ousted by the new Latino leader (Luiz Guzmán). Even more volatile than the physical brutality (this season offers up a bloody blinding and a crucifixion) is the soul-crushing psychodrama played out between vicious Aryan leader Schillinger (J.K. Simmons) and Beecher (Lee Tergeson), the meek lawyer transformed into a drug-addicted wild man by prison's predatory world and seduced by cold-blooded killer Chris Keller (Law and Order: SVU's Christopher Meloni). Some the stories get lost in the thrilling runaway pacing, but at its best Oz's searing stories of men penned in and pushing back goes straight for the jugular and invariably draws blood. In addition to HBO's four-minute promotional short is an interesting featurette in which the creators and select actors discuss the show. --Sean Axmaker Season ThreeA volatile men-in-prison soap opera, fueled by testosterone and lubricated by blood, HBO's Oz is addictive viewing. The third season of the most violent show on cable TV, set in a cage of concrete and steel and glass, opens with echoes of violence past. Miguel Alvarez (Kirk Acevedo) is in solitary confinement for brutally blinding a guard, one-time drug lord Simon Adebissi (Adewale Akinnuoye-Agbaje) mourns for his murdered father, and Tobias Beecher (Lee Tergesen) nurses bones broken by Aryan Brotherhood leader Schillinger (J.K. Simmons) and a heart broken by the betrayal of Keller (Law and Order: SVU's Christopher Meloni). Their stories of vengeance, redemption, and forgiveness anchor this season. The show races through each episode with a driving pace that only intensifies the ferocity. But for all the show's physical brutality, the most affecting violence is emotional, from the strange and savage love affair between Beecher and Keller to the escalating war of terror between Beecher and Schillinger. On a lighter note, this season marks the debut of both Miss Sally and new prison CO Sean Murphy (Robert Clohessy), whose understated strength is too often overlooked in the face of the show's more explosive personalities. Season 3 ends pitched on a powder keg, with the fuse in the hands of the show's most ferocious, unpredictable character. It's the kind of promise that will have you slavering for season 4. The three-disc set features all eight episodes along with a season 2 recap, episode recaps and previews, commentary on the episode "Unnatural Disasters" by writer-creator Tom Fontana and episode director Chazz Palmintieri, and 22 minutes of deleted scenes. --Sean Axmaker Season FourThe heightened reality of Oz remains consistently engrossing in the fourth season of HBO's volatile prison drama. All 16 episodes were written or cowritten by series creator Tom Fontana, and are bookended by the wisely sardonic observations of paraplegic prisoner Augustus Hill (Harold Perrineau), whose terse, philosophical ruminations about life in "Oz" give the series its literate edge. The 2000-2001 season finds Oz in the wake of racial warfare; tensions remain high among the factions that make the "Em City" cell block a hotbed of seething animosity among the skinhead Aryans led by Shillinger (J.K. Simmons); Muslim splinter groups led by Kareem Said (Eamonn Walker), the fearsome Adebisi (Adewale Akinnuoye-Agbaje) and Supreme Allah (Lord Jamar); and the resident Mafia, Latinos, and lowlifes who make up Em City's embroiled population of newcomers, hard-timers, and death-row inmates. Unit Administrator McManus (Terry Kinney) sets up a centrally located penalty cage for anyone who causes outbreaks of violence (which are shockingly frequent and frequently lethal), but loses his job in a mid-season plot development that spins Oz into a maelstrom of internal politics and brutal retaliation. Through it all, Fontana and his collaborators (including guest director Steve Buscemi) maintain impressive focus on dozens of finely drawn characters. Laced with homosexual tension, jealousies, religious fervor, and threats of betrayal, the season's most compelling conflicts involve impulsive killer Ryan O'Reily (played with cagey menace by Dean Winters) and his brain-damaged half-brother Cyril (Scott William Winters); and the manipulative Keller (Christopher Meloni) and his prison lover Toby Beecher (Lee Tergesen), a lawyer and convicted murderer whose survival seems perpetually uncertain. Tenuous order is barely maintained by warden Glynn (Ernie Hudson) and Catholic counselor "Sister Pete" (Rita Moreno), but the bulk of Oz's fourth season is devoted to chaos, as shifting loyalties keep all prisoners (and all viewers) in a state of anxious anticipation. The criminal histories of many inmates are shown in flashback, and one death-row scenario (involving guest star Kathryn Erbe) reaches its inevitable conclusion. By the time episode 16 ends with a blazing inferno, you'll be wondering about the fate of Rev. Cloutier (Luke Perry) and anxious for the tumultuous events of season 5. --Jeff Shannon Season FiveRaw, uncompromising, and brutal, the fifth season of Oz represents a turning point for the series, tying up loose ends and preparing for the closure of season 6. As with all previous seasons of HBO's hard-edged prison series, the outbreaks of violence, racial tensions, emotional bleakness, and full-frontal male nudity ensure that Oz is decidedly not for the weak of heart. Simmering animosity between the Aryans, Muslims, Sicilians, and Latinos continues unabated; these eight episodes include numerous shankings and slashings, a severed arm, strangulation, a stabbing with a crucifix, and the death (among others) of one of the series' most prominent characters. As Schillinger (J.K. Simmons) and his skinheaded Aryans exploit a naive pair of new inmates, tensions mount between the weak-willed Omar (Michael Wright, in a standout performance) and his prone-to-rage Muslim mentor Kareem Said (Eamonn Walker, also excellent); Ryan O'Reily (Dean Winters) continues to protect his volatile brother Cyril (Scott William Winters) and reunites with his mother (Betty Lynn Buckley) who's in Oz doing community service; McManus (Terry Kinney) locks horns with his ex-wife over prison policy; Alvarez (Kirk Acevado) seeks partial redemption by training a guide-dog for the guard he blinded; and Keller (Christopher Meloni) returns to the "Em City" cellblock, to the relief of his bisexual lover Beecher (Lee Tergesen) who attends "interaction" sessions with Sister Pete (Rita Moreno) to encourage tenuous peace among inmates. With subplots involving guest stars Luke Perry, Peter Criss (from Kiss), Malachy McCourt, and others, the fifth season of Oz is weak at times, but series creator and primary writer Tom Fontana keeps a lot of characters in steady play, covering impressive dramatic territory after the relatively generous allotment of 16 episodes in Season 4. The series is clearly winding down here (the semi-musical episode "Variety" is a curious attempt to broaden the show's creative horizons, and works surprisingly well), and the outbreaks of violence now have a rather predictable and oppressive frequency. Anyone looking for "feel good" entertainment should stay away, but Fontana and the uniformly excellent cast maintain admirable depth of character and incident, including a tragic loss (in "Visitation") that resonates throughout the season. --Jeff Shannon Season SixThe sixth and final season of HBO's prison drama Oz--which aired in 2003--is brutal, passionate, and gritty. Compellingly addictive with taut storylines and superb acting, each of the eight episodes on this 3-disc set nicely paves the way for the series finale, which wraps the show up in a satisfying (and surprising) manner. Often told through the eyes (and voice) of deceased prisoner Augustus Hill (Harold Perrineau, Lost), Oz isn't an easy show to watch. Inmates are routinely raped, tortured, and killed--not out of need, but out of boredom and cruelty. And in a corrupt system where too few bureaucrats actually care about these men's lives, few are willing to do anything about it. Those that do give a damn--Sister Peter Marie (Rita Moreno, West Side Story), Father Mukada (B.D. Wong, Law & Order: Special Victims Unit), Dr. Nathan (Lauren Velez), Warden Glynn (Ernie Hudson), McManus (Terry Kinney)--face an uphill battle. One of the strongest storylines is the ongoing romance between murderer Keller (Christopher Meloni, Law & Order: SVU and Beecher (Lee Tergesen), who's hoping to be paroled. Series creator Tom Fontana doesn't allow their arc to be diluted by any idealistic expectations. The viewer is acutely aware that Beecher is an easy target for annihilation whether or not he is released from prison. The viewer is never quite as certain of Keller's motives--whether they're borne of love and affection, or a selfish need to satisfy his own primal urges. Like Beecher, Alvarez (Kirk Acevedo) is trying to keep his own nose clean in the hopes that he'll be eligible for parole three years down the line. It's easy to understand the almost suffocating feeling he lives every day, knowing that three years may as well be a lifetime when you're behind bars and the target of both your former gang and the Aryan brothers, led by Schillinger (J.K. Simmons, Law & Order: SVU, the Spider-Man films). And Ryan (Dean Winters) desperately tries to save his mentally retarded brother Cyril (played by Dean's real-life sibling Scott William Winters) from being executed. There are a few subplots that don't ring true, such as the quasi romance between a librarian (Patti LuPone) and one of the prisoners, and an elderly inmate's (Joey Grey) implausible death wish. And for all the constraints the majority of convicts face, some appear to have almost free run of the prison. Still, Fontana has created a vivid, dark world where the occasional acts of humanity are as important as the non-stop chaos that is Oz. While it certainly helps to have seen the previous five seasons of the series to enjoy this season, it's not mandatory. These last eight episodes work fine as a stand-alone piece of drama. --Jae-Ha Kim