MOVIES GANG: January 2010

Zombieland (2009)

If there's been a zombie apocalypse and you're road-tripping alone though the wasteland, you could do worse than run into Tallahassee (Woody Harrelson), a bourbon-swilling bad-boy butt-kicker with a really cool car. This is where the careful hero of Zombieland, a kid nicknamed Columbus (Jesse Eisenberg), finds himself early in the film, and you can hardly blame him for hitching a ride with this swaggering Alpha Male. Still, they have their hands full not only with gibbering zombies but also with two sisters (Emma Stone and Abigail Breslin) who will stop at nothing to reach a Disneyland-like amusement park in L.A. Although Zombieland gets off to a rocky start with Columbus's overly-cute narration (he's got a list of rules for surviving in the zombie world), it settles into an amusing comedy, regularly interrupted by bouts of blood-letting. The road-trip stuff is enough fun that when the movie does arrive at its version of Disneyland, the air goes out of it a little; sure, there's a giant zombie blowout, with entrails flying, but it's not quite the same. Director Ruben Fleischer keeps the gags coming, although the movie is often funnier in its odd little asides (both Eisenberg and Harrelson are expert at this) than in its official jokes. Comic high point: an interlude at the home of a very famous movie star, who plays himself--and we'll leave the spoiler unspoiled, in case anybody hasn't heard about this funny extended cameo.

Avatar

After 12 years of thinking about it (and waiting for movie technology to catch up with his visions), James Cameron followed up his unsinkable Titanic with Avatar, a sci-fi epic meant to trump all previous sci-fi epics. Set in the future on a distant planet, Avatar spins a simple little parable about greedy colonizers (that would be mankind) messing up the lush tribal world of Pandora. A paraplegic Marine named Jake (Sam Worthington) acts through a 9-foot-tall avatar that allows him to roam the planet and pass as one of the Na'vi, the blue-skinned, large-eyed native people who would very much like to live their peaceful lives without the interference of the visitors. Although he's supposed to be gathering intel for the badass general (Stephen Lang) who'd like to lay waste to the planet and its inhabitants, Jake naturally begins to take a liking to the Na'vi, especially the feisty Neytiri (Zoë Saldana, whose entire performance, recorded by Cameron's complicated motion-capture system, exists as a digitally rendered Na'vi). The movie uses state-of-the-art 3D technology to plunge the viewer deep into Cameron's crazy toy box of planetary ecosystems and high-tech machinery. Maybe it's the fact that Cameron seems torn between his two loves--awesome destructive gizmos and flower-power message mongering--that makes Avatar's pursuit of its point ultimately uncertain. That, and the fact that Cameron's dialogue continues to clunk badly. If you're won over by the movie's trippy new world, the characters will be forgivable as broad, useful archetypes rather than standard-issue stereotypes, and you might be able to overlook the unsurprising central plot. (The overextended "take that, Michael Bay" final battle sequences could tax even Cameron enthusiasts, however.) It doesn't measure up to the hype (what could?) yet Avatar frequently hits a giddy delirium all its own. The film itself is our Pandora, a sensation-saturated universe only the movies could create. --Robert Horton

X-Men Trilogy (X-Men/ X2 - X-Men United/ X-Men - The Last Stand) (2003)

X-Men Trilogy (X-Men/ X2 - X-Men United/ X-Men - The Last Stand) (2003)

X-Men: The Last Stand is the third installment in the popular superhero franchise, and it's an exciting one with a splash of fresh new characters. When a scientist named Warren Worthington II announces a "cure" for mutant powers, it raises an interesting philosophical question: is mutant power a disease that needs a cure, or is it a benefit that homo superior enjoys over "normal" human beings? No surprise that Magneto (Ian McKellen) and his Brotherhood of Evil Mutants resist the idea that they need to be cured, and declare war on the human race. But it's a little tougher for the X-Men, led by Professor X (Patrick Stewart), Cyclops (James Marsden), and Storm (Halle Berry). If you're Rogue (Anna Paquin), for example, your power means you can't even touch your boyfriend, Iceman (Shawn Ashmore). To compound matters, someone previously thought dead has returned, and might be either friend or foe.
With director Bryan Singer having moved on to Superman Returns, the franchise passes to the hands of Brett Ratner (Rush Hour), whose best work is done in the big action sequences such as a showdown between mutant armies. But it's difficult to manage the sheer volume of characters when adding longtime comic-book stalwarts such as Beast (Kelsey Grammer) and Angel (Ben Foster), and one character in particular deserved better than an off-screen dismissal. And fans of the original Dark Phoenix comic book story might be underwhelmed by the movie's resolution. X-Men: The Last Stand is presumably the last film in the series, but the ambiguous ending leaves possibilities open. Look for the two writers most responsible for making the X-Men who they were, Stan Lee and Chris Claremont, in early cameos. --David Horiuchi

Product Description

Audio: English: Dolby Digital 5.1 / Spanish & French: Dolby Surround
Language: Dubbed: English, French, & Spanish / Subtitled: English & French
Theatrical Aspect Ratio: Widescreen: 2.35:1

Disc 1:

X-Men: The Last Stand
Widescreen Feature
Director & Writer Commentary by Brett Ratner, Zack Penn,and Simon Kinberg
Deleted & Extended Scenes (with optional commentary by Brett Ratner)
3 Alternate Endings
2 Menu Sets: X-Men and Brotherhood
Inside Look- A Night a the Museum
The World of Marvel Trailers
US Component #2237392
Canadian Bilingual Component #2237393
Refer to PIS for details

Disc 2:

X2
Widescreen Feature
Deleted Scenes
US Component #2110485
Canadian Bilingual Component #2110488
Refer to PIS for details

Disc 3:

X-Men
Widescreen Feature
US Component #2110095
Canadian Bilingual #2110098
Refer to PIS sheet for details

Episode Description:

Disc 1: X-Men: The Last Stand
Disc 2: X2
Disc 3: X-Men

Grey's Anatomy: The Complete Fifth Season

Season 5 is a pivotal one for the riveting Grey's Anatomy. The doctors on staff at Seattle Grace Hospital bloom and show new layers, the drama meets and exceeds that of previous seasons, and the show marks an important milestone--its 100th episode--with developments that, as with all the great Grey's episodes, brim with belly laughs and moving tears.

The season gets off to a slow start, with perhaps a bit more relationship angst than even diehard fans would prefer. Meredith (Ellen Pompeo) and Derek "McDreamy" (Patrick Dempsey) start out with the familiar push-pull of their love affair--but a resolution, at last, is in their future. Callie (the excellent, and newly glamorous, Sara Ramirez) wrestles with her sexual orientation. Cristina (Sandra Oh, never better) is still picking up the pieces from her ruined engagement to the departed Burke (Isaiah Washington). To help her, or maybe to throw her for another loop, the series introduces the gruff, macho military doc, Owen (one of TV's sexiest hunks, Kevin McKidd).
Yet series creator and still active writer Shonda Rhimes unveils story arcs about midway through the season which have the surgeons' operating room dramas intersecting with the characters' private lives--with waves of heartbreaking results. Fans may take issue with "Dead Denny" (Jeffrey Dean Morgan) and his endless visitations--complete with sex--with Izzie (Katherine Heigl)--but as the season builds, Izzie's mystery illness, and her deep love for Alex (Justin Chambers) are treated with delicacy and respect, and Denny's character both reacts and ultimately supports. There's a wedding--a fairy-tale one--celebrating the show's 100th episode, and the love of the characters, and the pain they've overcome to get there--are equal parts of the very human, very lovely, result. The season finale is among the show's best ever, with the fate of two beloved characters, George (T.R. Knight) and Izzie, left unknown and laden with sorrow.
The set's extras are a treat, including a rich 20-minute feature on the filming of the 100th episode. Oh exclaims of the gorgeous wedding cinematography, "I hope I'm lit like this for the rest of my life!" Fans will love hearing how scenes are edited, how characters are developed, and other juicy tidbits from Rhimes and her very talented crew. --A.T. Hurley

House, M.D.: Season Five

Product Description

Hugh Laurie returns to his Golden Globe®-winning and Primetime Emmy® Award-nominated role as Dr. Gregory House in House: Season Five! House pushes new boundaries in medicine while dealing with emotional chaos as personal and professional boundaries blur in all 24 episodes from the compelling fifth season. Featuring guest appearances by Primetime Emmy® Award winner Željko Ivanek (Damages), Mos Def (The Italian Job) and Carl Reiner (Ocean's Thirteen), House is the Primetime Emmy® Award-winning series that critics rave is “…a terrific show with an A-list cast and first-rate writing…” (Michael Starr, New York Post).

Product Details

Amazon Sales Rank: #41 in DVD
Brand: UNI DIST CORP. (MCA)
Released on: 2009-08-25
Rating: Unrated
Aspect ratio: 1.78:1
Formats: AC-3, Box set, Color, Dolby, DVD, Subtitled, Widescreen, NTSC
Original language: English
Subtitled in: English, Spanish
Number of discs: 5
Dimensions: 1.20 pounds
Running time: 1060 minutes

House begins its fifth season on a somber note. With his girlfriend, Amber, dead, Dr. James Wilson (Robert Sean Leonard) finds his friendship with the cantankerous Dr. Gregory House (Hugh Laurie) to be more strained than ever and temporarily leaves the hospital where they work. He eventually returns, which is a good thing, because Wilson is the closest thing House has to a moral compass. The writers of this drama do an admirable job of inserting elements of well-placed comedy into the often-intense vignettes. Otherwise, House wouldn't be such a likable character. In fact, without the humor, he can often be downright despicable, especially to those he supposedly likes the most. Viewers learn that his lack of bedside manner (in and out of the hospital) probably was passed down from his father (R. Lee Ermey, who makes a brief appearance).
All 24 episodes--which originally aired during the 2008-2009 television season--are included in this five-disc boxed set. A few of the episodes are tainted by a soap opera vibe, particularly the ones concentrating on the romance between Dr. Eric Foreman (Omar Epps) and Dr. Remy ""Thirteen"" Hadley (Olivia Wilde). Based on the first four seasons, Foreman's behavior seems way off. While love can change a man, it doesn't seem likely that Foreman would change this much--not even for someone as compelling as Thirteen. But House's boss, Dr. Lisa Cuddy (Lisa Edelstein), has a juicy story line involving her quest to have a family. The struggles she goes through to adopt a baby depict how challenging it can be for women--even those who excel at everything else--to have it all. But her story line also shows that she is more resilient than she gives herself credit for. For all its medical jargon and scenes set in the operating room, House really is about relationships more than anything else. That's why when another character tragically dies this season, viewers take the loss to heart. --Jae-Ha Kim

District 9

District 9 (Single-Disc Edition)

A provocative science fiction drama, District 9 boasts an original story that gets a little lost in blow-'em-up mayhem. Set in Johannesburg, South Africa, District 9 begins as a mock documentary about the imminent eviction of extraterrestrials from a pathetic shantytown (called District 9). The creatures, it turns out, have been on Earth for years, having arrived sickly and starving. Initially received by humans with compassion and care, the aliens are now mired in blighted conditions typical of long-term refugee camps unwanted by a hostile, host society. With the creatures' care contracted out to a for-profit corporation, the shantytown has become a violent slum. The aliens sift through massive piles of junk while their minders secretly research weapons technology that arrived on the visitors' spacecraft. Against this backdrop is a more personal story about a bureaucrat named Wikus (Sharlto Copley) who is accidentally exposed to a DNA-altering substance. As he begins metamorphosing into one of the creatures, Wikus goes on the run from scientists who want to harvest his evolving, new parts and aliens who see him as a threat. When he pairs up with an extraterrestrial secretly planning an escape from Earth, however, what should be a fascinating relationship story becomes a series of firefights and explosions. Nuance is lost to numbing violence, and the more interesting potential of the film is obscured. Yet, for a while District 9 is a powerful movie with a unique tale to tell. Seamless special effects alone are worth seeing: the (often brutal) exchanges between alien and human are breathtaking. --Tom Keogh

Terminator Salvation

Terminator Salvation (Director's Cut) [Blu-ray]

Terminator Salvation restores some of the balance of huge freakin' explosions and emotionally compelling plot to the Terminator series. Set entirely after the nuclear assault that left the computer system Skynet in control of the world, Terminator Salvation follows John Connor (Christian Bale) as he grapples with both murderous robots and his superiors in the resistance, who aren't sure they believe the prophecies that Connor is destined to save humanity. Into the midst of this struggle tumbles Marcus Wright (Sam Worthington, who would later star in James Cameron's Avatar); the last thing he remembers was being executed in prison decades before. Baffled, he falls into company with Kyle Reese (Anton Yelchin, Star Trek) and a mute little girl, who soon get captured--but Wright then meets and bonds with Blair Williams (Moon Bloodgood, Eight Below), a resistance fighter who remains loyal to the confused Wright even though Connor suspects he's not what he seems--or what he believes himself to be. Terminator Salvation isn't the astonishing synthesis of action and feeling that either The Terminator or T2 were; the plot threads are poorly woven and fray completely in the last third of the movie. Despite this, Terminator Salvation has at least two skillfully orchestrated action sequences that will get your heart racing, and Worthington’s beguiling mixture of toughness and vulnerability gives his relationship with Bloodgood a genuine pulse. It's imperfect, but compared with the hollow carcasses that most action movies (including Terminator 3) turn out to be, it's worth seeing. --Bret Fetzer

On the Blu-ray disc
The director's cut is a mere three minutes longer than the theatrical cut. Many of these additions are just a few seconds of extra violence (e.g., a knife thrust into a body then pulled out), but there are a few more-substantial sequences: A longer conversation in Resistance Command Headquarters; a brief topless scene by Moon Bloodgood when her Blair Williams character and Sam Worthington's Marcus return to her base (reminiscent of Kelly McGillis and Harrison Ford in Witness); an extended conversation between those two characters afterward (Blair: "You can focus on what you've lost or you can fight for what's left"); and a longer radio address by John Connor in which he mentions his mother. Even though it's not all that different, it should be the preferred way to watch the movie.

The big extra feature, Maximum Movie Mode, is only on disc 2's original theatrical cut. In front of two large TV screens, director McG introduces the movie then makes periodic appearances to discuss key concepts. Interspersed along the way are various pop-ups with the Terminator mythology timeline, picture-in-picture with cast and crew interviews and behind-the-scenes footage, and stills galleries. You can also, when prompted, exit out of the movie to watch any of 11 Focus Points, which are two- to three-minute featurettes. Conveniently, you can also access these from the main menu. Two other features are watchable separate from Maximum Movie Mode: "Reforging the Future" (19 minutes), discussing the new film's take on the Terminator legacy, and "The Moto-Terminator" (8:33), focusing on the motorcycle-like robots. --David Horiuchi

Star Trek

Star Trek (Single-Disc Edition)

J.J. Abrams' 2009 feature film was billed as "not your father's Star Trek," but your father will probably love it anyway. And what's not to love? It has enough action, emotional impact, humor, and sheer fun for any moviegoer, and Trekkers will enjoy plenty of insider references and a cast that seems ideally suited to portray the characters we know they'll become later. Both a prequel and a reboot, Star Trek introduces us to James T. Kirk (Chris Pine of The Princess Diaries 2), a sharp but aimless young man who's prodded by a Starfleet captain, Christopher Pike (Bruce Greenwood), to enlist and make a difference. At the Academy, Kirk runs afoul of a Vulcan commander named Spock (Zachary Quinto of Heroes), but their conflict has to take a back seat when Starfleet, including its new ship, the Enterprise, has to answer an emergency call from Vulcan. What follows is a stirring tale of genocide and revenge launched by a Romulan (Eric Bana) with a particular interest in Spock, and we get to see the familiar crew come together, including McCoy (Karl Urban), Uhura (Zoe Saldana), Sulu (John Cho), Chekhov (Anton Yelchin), and Scottie (Simon Pegg).
The action and visuals make for a spectacular Big-Screen Movie, though the plot by Abrams and his writers, Roberto Orci and Alex Kurtzman (who worked together on Transformers and with Abrams on Alias and Mission Impossible III), and his producers (fellow Losties Damon Lindeloff and Bryan Burk) can be a bit of a mind-bender (no surprise there for Lost fans). Hardcore fans with a bone to pick may find faults, but resistance is futile when you can watch Kirk take on the Kobayashi Maru scenario or hear McCoy bark, "Damnit, man, I'm a doctor, not a physicist!" An appearance by Leonard Nimoy and hearing the late Majel Barrett Roddenberry as the voice of the computer simply sweeten the pot. Now comes the hard part: waiting for some sequels to this terrific prequel. --David Horiuchi

Harry Potter and the Half-Blood Prince

Harry Potter and the Half-Blood Prince (Widescreen Edition)

The sixth installment of the Harry Potter series begins right where The Order of the Phoenix left off. The wizarding world is rocked by the news that "He Who Must Not Be Named" has truly returned, and the audience finally knows that Harry is "the Chosen One"--the only wizard who can defeat Lord Voldemort in the end. Dark forces loom around every corner, and now regularly attempt to penetrate the protected walls of Hogwarts School. This is no longer the fun and fascinating world of magic from the first few books—it's dark, dangerous, and scary.

Harry (Daniel Radcliffe) suspects Draco Malfoy (Tom Felton) to be a new Death Eater recruit on a special mission for the Dark Lord. In the meantime, Professor Dumbledore (Michael Gambon) seems to have finally removed the shroud of secrecy from Harry about the dark path that lies ahead, and instead provides private lessons to get him prepared. It's in these intriguing scenes that the dark past of Tom Riddle (a.k.a. Voldemort) is finally revealed. The actors cast as the different young versions of Riddle (Hero Fiennes-Tiffin and Frank Dillane) do an eerily fantastic job of portraying the villain as a child. While the previous movies' many new characters could be slightly overwhelming, only one new key character is introduced this time: Professor Horace Slughorn (with a spot-on performance by Jim Broadbent). Within his mind he holds a key secret in the battle to defeat the Dark Lord, and Harry is tasked by Dumbledore to uncover a memory about Voldemort's darkest weapon--the Horcrux. Despite the long list of distractions, Harry, Ron (Rupert Grint), and Hermione (Emma Watson) still try to focus on being teenagers, and audiences will enjoy the budding awkward romances. All of the actors have developed nicely, giving their most convincing performances to date.
More dramatic and significant things go down in this movie than any of its predecessors, and the stakes are higher than ever. The creators have been tasked with a practically impossible challenge, as fans of the beloved J.K. Rowling book series desperately want the movies to capture the magic of the books as closely as possible. Alas, the point at which one accepts that these two mediums are very different is the point at which one can truly enjoy these brilliant adaptations. Harry Potter and the Half-Blood Prince is no exception: it may be the best film yet. For those who have not read the book, nail-biting entertainment is guaranteed. For those who have, the movie does it justice. The key dramatic scenes, including the cave and the shocking twist in the final chapter, are executed very well. It does a perfect job of setting up the two-part grand finale that is to follow. --Jordan Thompson

The Office - Season Five

The Office - Season Five

Season Five is not just another day at The Office, delivering break-ups, corporate shake-ups, and a game-changing finale that, as with Jim (John Krasinski), should leave you ecstatic and speechless. The writers continue their masterful handling of the Jim and Pam (Jenna Fischer) romance, taking care of some unfinished business from last season's finale in the season opener with a glorious rain-swept gas station proposal. Their initial separation--while she attends art school in New York--avoids the usual sitcom mechanics ("We are not that couple," Jim states as he aborts a panicked trip to see her). The course of true love is no smoother for The Office's other soul mates, Michael Scott (Steve Carrell) and "major dork" Holly Flax (an Emmy-worthy Amy Ryan), the new HR rep. Meanwhile, Angela (Angela Kinsey) and Dwight (Rainn Wilson) are having office trysts under the nose of her fiancé, Andy (Hangover star Ed Helms, having a breakout season in a career year). On the corporate front, Michael shockingly quits after butting heads with no-nonsense new boss Charles Miner (Idris Elba). In a brilliant stroke, Jim immediately gets on Charles's bad side, much to Dwight's delight. The formation of The Michael Scott Paper Company is a highlight of the season, as Michael and his dream team, Pam and Ryan (B.J. Novak), improbably put a major dent in Dunder Mifflin's sales (but at what cost?). For everyone who wonders how the blundering and tactless Michael keeps his job, it is instructive to get a glimpse of his sales acumen in the episodes "Heavy Competition," in which Michael poaches one of Dwight's clients, and "Broke," in which he negotiates a buyout of his struggling company. The Office's own dream team got dreamier with the addition of Ellie Kemper as "Erin," the adorable and naïve new receptionist. The Office still makes for cringe-worthy discomfort television (see a reunited Michael and Holly's excruciating skit at the "Company Picnic" in the season finale), but some of the best episodes are the ones in which the Scranton branch bonds in the face of adversity. A season benchmark is the episode in which the former Michael Scott Paper Company office space is transformed into "Café Disco" and all squabbles and resentments are forgotten on the dance floor. This season is representative of why The Office is one of television's most DVR'd series. Each episode offers priceless bits of background comic business and charming character grace notes that lend themselves to repeated viewing. Among them: Andy's drunken late night phone call to Angela in "Company Trip"; Pam demonstrating her volleyball prowess in "Company Picnic"; Kelly (Mindy Kaling) setting up one of the series' very best "that's what she saids" in "Customer Survey"; and Andy and Kelly's "dance off" in "Café Disco." As Dwight notes in "Heavy Competition," "There's a lot going on" in The Office, and in that chaos, this series soars. --Donald Liebenson

Band of Brothers

An impressively rigorous, unsentimental, and harrowing look at combat during World War II, Band of Brothers follows a company of airborne infantry--Easy Company--from boot camp through the end of the war. The brutality of training takes the audience by increments to the even greater brutality of the war; Easy Company took part in some of the most difficult battles, including the D-Day invasion of Normandy, the failed invasion of Holland, and the Battle of the Bulge, as well as the liberation of a concentration camp and the capture of Hitler's Eagle's Nest. But what makes these episodes work is not their historical sweep but their emphasis on riveting details (such as the rattle of a plane as the paratroopers wait to leap, or a flower in the buttonhole of a German soldier) and procedures (from military tactics to the workings of bureaucratic hierarchies). The scope of this miniseries (10 episodes, plus an actual documentary filled with interviews with surviving veterans) allows not only a thoroughness impossible in a two-hour movie, but also captures the wide range of responses to the stress and trauma of war--fear, cynicism, cruelty, compassion, and all-encompassing confusion. The result is a realism that makes both simplistic judgments and jingoistic enthusiasm impossible; the things these soldiers had to do are both terrible and understandable, and the psychological price they paid is made clear. The writing, directing, and acting are superb throughout. The cast is largely unknown, emphasizing the team of actors as a whole unit, much like the regiment; Damian Lewis and Ron Livingston play the central roles of two officers with grit and intelligence. Band of Brothers turns a vast historical event into a series of potent personal experiences; it's a deeply engrossing and affecting accomplishment. --Bret Fetzer

The Dark Knight

The Dark Knight (+ BD Live) [Blu-ray]

The Dark Knight arrives with tremendous hype (best superhero movie ever? posthumous Oscar for Heath Ledger?), and incredibly, it lives up to all of it. But calling it the best superhero movie ever seems like faint praise, since part of what makes the movie great--in addition to pitch-perfect casting, outstanding writing, and a compelling vision--is that it bypasses the normal fantasy element of the superhero genre and makes it all terrifyingly real. Harvey Dent (Aaron Eckhart) is Gotham City's new district attorney, charged with cleaning up the crime rings that have paralyzed the city. He enters an uneasy alliance with the young police lieutenant, Jim Gordon (Gary Oldman), and Batman (Christian Bale), the caped vigilante who seems to trust only Gordon--and whom only Gordon seems to trust. They make progress until a psychotic and deadly new player enters the game: the Joker (Heath Ledger), who offers the crime bosses a solution--kill the Batman. Further complicating matters is that Dent is now dating Rachel Dawes (Maggie Gyllenhaal, after Katie Holmes turned down the chance to reprise her role), the longtime love of Batman's alter ego, Bruce Wayne.
In his last completed role before his tragic death, Ledger is fantastic as the Joker, a volcanic, truly frightening force of evil. And he sets the tone of the movie: the world is a dark, dangerous place where there are no easy choices. Eckhart and Oldman also shine, but as good as Bale is, his character turns out rather bland in comparison (not uncommon for heroes facing more colorful villains). Director-cowriter Christopher Nolan (Memento) follows his critically acclaimed Batman Begins with an even better sequel that sets itself apart from notable superhero movies like Spider-Man 2 and Iron Man because of its sheer emotional impact and striking sense of realism--there are no suspension-of-disbelief superpowers here. At 152 minutes, it's a shade too long, and it's much too intense for kids. But for most movie fans--and not just superhero fans--The Dark Knight is a film for the ages. --David Horiuchi
On the Blu-ray disc
The Dark Knight on Blu-ray is a great home-theater showoff disc. The detail and colors are tremendous in both dark and bright scenes (the Gotham General scene is a great example of the latter), and the punishing Dolby TrueHD soundtrack makes the house rattle. (After giving us only Dolby 5.1 in a number of big Blu-ray releases this fall, Warner came through with Dolby TrueHD on this one.) One of the most interesting elements of The Dark Knight was how certain scenes were shot in IMAX, and if you saw the movie in an IMAX theater the film's aspect ratio would suddenly change from standard 2.40:1 to a thrilling 1.43:1 that filled the screen six stories high. For the Blu-ray disc, director Christopher Nolan has somewhat re-created this experience by shifting his film from 2.40:1 aspect ratio (through most of the film) to 1.78:1 in the IMAX scenes. While the effect isn't as dramatic as it was in theaters, it's still an eye-catching experience to be watching the film on a widescreen TV with black bars at the top and bottom, then seeing the 1.78:1 scenes completely fill the screen. The main bonus feature on disc 1 is "Gotham Uncovered: The Creation of a Scene," which is 81 minutes of behind-the-scenes footage about the IMAX scenes, the Bat suit, Gotham Central, and others. You can watch the film and access these featurettes when the icon pops up, or you can simply watch them from the main menu. A welcome and unusual feature is that in addition to English, French, and Spanish audio and subtitles, there's an audio-described option that allows the sight-impaired to experience the film as well.
Disc 2 has two 45-minute documentaries on Bat-gadgets and on the psychology of Batman, both in high definition. They combine movie clips, talking heads, and comic-book panels, but aren't the kind of thing one needs to watch twice. More engaging are six eight-minute segments of Gotham Central, a faux-news program that gives some background to events in the movie, plus a variety of trailers, poster art, and more. The BD-Live component on disc 1 is more interesting than on some earlier Blu-ray discs, which could be simply a matter of the content starting to catch up with the technology. There are three new picture-in-picture commentaries, by Jerry Robinson (creator of the Joker), DC Comics president Paul Levitz, and Senator Patrick Leahy (D-Vt.--he's a Batman fan who's made some movie and TV cameos), plus you can record your own commentary and upload it for others to watch. There are also three new featurettes ("Sound of the Batpod," "Harvey Dent's Theme," and "Hans Zimmer and James Newton Howard") and two motion comics ("Mad Love," featuring Harley Quinn, and "The Shadow of Ra's Al Ghul"). No longer available is the digital copy of the film (compatible with iTunes and Windows Media, standard definition, download code expires 12/9/09). --David Horiuchi
Product description
The follow-up to Batman Begins, The Dark Knight reunites director Christopher Nolan and star Christian Bale, who reprises the role of Batman/Bruce Wayne in his continuing war on crime. With the help of Lt. Jim Gordon and District Attorney Harvey Dent, Batman sets out to destroy organized crime in Gotham for good. The triumvirate proves effective, but soon find themselves prey to a rising criminal mastermind known as The Joker, who thrusts Gotham into anarchy and forces Batman closer to crossing the fine line between hero and vigilante. Heath Ledger stars as archvillain The Joker, and Aaron Eckhart plays Dent. Maggie Gyllenhaal joins the cast as Rachel Dawes. Returning from Batman Begins are Gary Oldman as Gordon, Michael Caine as Alfred and Morgan Freeman as Lucius Fox.
Stills from The Dark Knight (click for larger image)

True Blood: The Complete First Season

True Blood: The Complete First Season (HBO Series)

Alan Ball’s True Blood series works well for television, as it has enough sensationalism to tantalize and enough story girth to make the viewer care about the characters. That one can finally invest emotion into monsters, including an undead Civil War victim, a transformer who can shapeshift into various animals, and a female mind reader, speaks volumes about America’s willingness to accept fantasy. Of course, television has always produced good fantasy shows (I Dream of Jeannie), but True Blood’s Southern Goth brand of fun horror is more macabre and more perverse, not to mention gorier, than most shows of its kind to date. Adapted from Charlaine Harris’ Sookie Stackhouse novels, True Blood thrills because of its equal blend in each episode of erotica, humor, tragedy, mystery, and fantasy.

Set in a rural, swampy Louisiana parrish, the show centers around Sookie Stackhouse (Anna Paquin) and her clan, sweet grandmother Adele (Lois Smith) and air-headed brother Jason (Ryan Kwanten). Illicit love is spawned early on, when Sookie saves vampire Bill Compton (Stephen Moyer) from having his blood stolen in the parking lot of Merlotte’s diner, owned by Sam Merlotte (Sam Trammell) who completes what will form a complex love triangle. As tensions between Sookie’s suitors loosen or tighten, many side plots, such as her African American best friend Tara’s (Rutina Wesley) struggle with an alcoholic, Bible-thumping mother and her brother’s dangerous crush on drug addicted hippie, Amy Burley (Lizzy Caplan), keep one wondering who will succeed in this podunk place. The main tension throughout, however, is a race war waged between vampires and humans. As murders of “fang bangers” occur (human girls who let vampires bite them) and dumb policeman Andy Bellefleur (Chris Bauer) fails to find clues, one sees the metaphorical implications of vampirism and feels deeper resonance with what can be a downright trashy show. Gossip galore, especially about what kinds of babies interbreeding will produce, is rampant. One of the funniest characters is Tara’s flamboyant cousin, Lafayette (Nelsan Ellis), who deals drugs, works as a fry cook, and services the local white politicians, while making sure he’s always up in everyone’s business.

What makes True Blood smarter than pure soap opera is the parallels it draws between its monster mash and actual, familiar societal problems. Sookie and her friends watch the news, where Evangelicals bash vampires and prohibit mixed marriage, and everyone is addicted to V, a.k.a vampire blood, that effects like psychedelic heroin. Even its gore reflects a mix of serious and silly, as vampires explode into red, sticky goop. Though it may not be attempting to qualify for the best vampire footage ever shot, True Blood is as addictive as that substance the town’s youth obsesses over, which is a metaphor in itself. --Trinie Dalton

The Proposal

The Proposal (Single Disc Widescreen)

Rom-com favorite Sandra Bullock and the affably charming Ryan Reynolds’s superb chemistry turn The Proposal from otherwise standard romantic-comedy fare to one that is entertaining and sure to garner laughs. Margaret (Sandra Bullock) is a workaholic, tyrannical book editor (reminiscent of The Devil Wears Prada) who suddenly finds her career in jeopardy as she faces deportation back to Canada. Her solution is to simply fake an engagement to her unsuspecting assistant Andrew (Ryan Reynolds), who in turn blackmails her for a promotion. However, when Margaret is forced to head to Alaska with Andrew to visit his family in an effort to make their story believable to the deportation officers, they soon realize that their plan may not be so simple after all. The supporting cast of Dad (Craig T. Nelson), Mom (Mary Steenburgen), and kooky Grandma (Betty White, still a scene-stealer at 87) is great casting that makes for many amusing scenes. Bottom line: witty Reynolds and Bullock are perfect sparring partners for each other and not half bad to look at either. --Lisanne Chastain

Stills from The Proposal (Click for larger image)

The Complete Fifth Season

Lost: The Complete Fifth Season

Since Lost made its debut as a cult phenomenon in 2004, certain things seemed inconceivable. In its fourth year, some of those things, like a rescue, came to pass. The season ended with Locke (Terry O'Quinn) attempting to persuade the Oceanic Six to return, but he dies before that can happen--or so it appears--and where Jack (Matthew Fox) used to lead, Ben (Emmy nominee Michael Emerson) now takes the reins and convinces the survivors to fulfill Locke's wish.

As producers Damon Lindelof and Carlton Cuse state in their commentary on the fifth-season premiere, "We're doing time travel this year," and the pile-up of flashbacks and flash-forwards will make even the most dedicated fan dizzy. Ben, Jack, Hurley (Jorge Garcia), Sayid (Naveen Andrews), Sun (Yunjin Kim), and Kate (Evangeline Lilly) arrive to find that Sawyer (Josh Holloway) and Juliet (Elizabeth Mitchell) have been part of the Dharma Initiative for three years. The writers also clarify the roles that Richard (Nestor Carbonell) and Daniel (Jeremy Davies) play in the island's master plan, setting the stage for the prophecies of Daniel's mother, Eloise Hawking (Fionnula Flanagan), to play a bigger part in the sixth and final season.

Dozens of other players flit in and out, some never to return. A few, such as Jin (Daniel Dae Kim), live again in the past. Lost could've wrapped things up in five years, as The Wire did, but the show continues to excite and surprise. As Lindelof and Cuse admit in the commentary, there's a "fine line between confusion and mystery," adding, "it makes more sense if you're drunk." Other extras include deleted scenes, featurettes, a "lost" episode of Mysteries of the Universe, and commentary from writers Edward Kitsis and Adam Horowitz on "He's Our You," a reference to Sayid, who tries to change the future by changing the past. --Kathleen C. Fennessy

Inglourious Basterds

Inglourious Basterds (Single-Disc Edition)

Although Quentin Tarantino has cherished Enzo G. Castellari's 1978 "macaroni" war flick The Inglorious Bastards for most of his film-geek life, his own Inglourious Basterds is no remake. Instead, as hinted by the Tarantino-esque misspelling, this is a lunatic fantasia of WWII, a brazen re-imagining of both history and the behind-enemy-lines war film subgenre. There's a Dirty Not-Quite-Dozen of mostly Jewish commandos, led by a Tennessee good ol' boy named Aldo Raine (Brad Pitt) who reckons each warrior owes him one hundred Nazi scalps--and he means that literally. Even as Raine's band strikes terror into the Nazi occupiers of France, a diabolically smart and self-assured German officer named Landa (Christoph Waltz) is busy validating his own legend as "The Jew Hunter." Along the way, he wipes out the rural family of a grave young girl (Melanie Laurent) who will reappear years later in Paris, dreaming of vengeance on an epic scale.

Now, this isn't one more big-screen comic book. As the masterly opening sequence reaffirms, Tarantino is a true filmmaker, with a deep respect for the integrity of screen space and the tension that can accumulate in contemplating two men seated at a table having a polite conversation. IB reunites QT with cinematographer Robert Richardson (who shot Kill Bill), and the colors and textures they serve up can be riveting, from the eerie red-hot glow of a tabletop in Adolf Hitler's den, to the creamy swirl of a Parisian pastry in which Landa parks his cigarette. The action has been divided, Pulp Fiction-like, into five chapters, each featuring at least one spellbinding set-piece. It's testimony to the integrity we mentioned that Tarantino can lock in the ferocious suspense of a scene for minutes on end, then explode the situation almost faster than the eye and ear can register, and then take the rest of the sequence to a new, wholly unanticipated level within seconds.

Again, be warned: This is not your "Greatest Generation," Saving Private Ryan WWII. The sadism of Raine and his boys can be as unsavory as the Nazi variety; Tarantino's latest cinematic protégé, Eli (director of Hostel) Roth, is aptly cast as a self-styled "golem" fond of pulping Nazis with a baseball bat. But get past that, and the sometimes disconcerting shifts to another location and another set of characters, and the movie should gather you up like a growing floodtide. Tarantino told the Cannes Film Festival audience that he wanted to show "Adolf Hitler defeated by cinema." Cinema wins. --Richard T. Jameson

Julie & Julia

Julie & Julia is a film that should be relished with gusto--accompanied by the freshest and best ingredients, pounds of butter, and bottles of the very best wine. It lovingly celebrates the life of one of American food's most influential and beloved figureheads: Julia Child--played here with zest, humor, and a sweet, subtle respect by Meryl Streep, whose performance is spectacular.

Julie & Julia is based on the book by Julie Powell, a frustrated New York bureaucrat who wants to be a writer. "But you're not a writer until someone publishes you," she moans. So she gives herself a challenge: to cook her way through Julia Child's Mastering the Art of French Cooking in one year, and to blog about it. As Powell (played with chirpy determination by Amy Adams), begins to find her groove as a cook, and her voice as a writer, the project takes on a life of its own--and in the end it does provide the struggling young woman with her life's purpose, to her very pleasant surprise. But mostly, Julie & Julia is a valentine to Child, to Child's amazing love affair with her dashing husband, Paul (Stanley Tucci, as divine as any soufflé in the film), and to her outlook on embracing life, and ordering seconds. Streep throws herself into the Child role with real affection for her character, and while certain of Child's idiosyncrasies--including her warbly voice and unflappable haphazardness in the kitchen--are retained, it's Child's character and vision which form Streep's portrayal, and which make the film so involving and rewarding.

Nora Ephron directs with deftness and a light touch, though she seems at times to be encouraging some of Meg Ryan's onscreen tics in Adams (the self-conscious head tilt, for one). But mostly she simply allows Streep to channel Child and her love of food, her husband, and 1950s Paris. And that is a recipe for something truly sublime. --A.T. Hurley

buy NoW

Inglourious Basterds

Although Quentin Tarantino has cherished Enzo G. Castellari's 1978 "macaroni" war flick The Inglorious Bastards for most of his film-geek life, his own Inglourious Basterds is no remake. Instead, as hinted by the Tarantino-esque misspelling, this is a lunatic fantasia of WWII, a brazen re-imagining of both history and the behind-enemy-lines war film subgenre. There's a Dirty Not-Quite-Dozen of mostly Jewish commandos, led by a Tennessee good ol' boy named Aldo Raine (Brad Pitt) who reckons each warrior owes him one hundred Nazi scalps--and he means that literally. Even as Raine's band strikes terror into the Nazi occupiers of France, a diabolically smart and self-assured German officer named Landa (Christoph Waltz) is busy validating his own legend as "The Jew Hunter." Along the way, he wipes out the rural family of a grave young girl (Melanie Laurent) who will reappear years later in Paris, dreaming of vengeance on an epic scale.
Now, this isn't one more big-screen comic book. As the masterly opening sequence reaffirms, Tarantino is a true filmmaker, with a deep respect for the integrity of screen space and the tension that can accumulate in contemplating two men seated at a table having a polite conversation. IB reunites QT with cinematographer Robert Richardson (who shot Kill Bill), and the colors and textures they serve up can be riveting, from the eerie red-hot glow of a tabletop in Adolf Hitler's den, to the creamy swirl of a Parisian pastry in which Landa parks his cigarette. The action has been divided, Pulp Fiction-like, into five chapters, each featuring at least one spellbinding set-piece. It's testimony to the integrity we mentioned that Tarantino can lock in the ferocious suspense of a scene for minutes on end, then explode the situation almost faster than the eye and ear can register, and then take the rest of the sequence to a new, wholly unanticipated level within seconds.

Again, be warned: This is not your "Greatest Generation," Saving Private Ryan WWII. The sadism of Raine and his boys can be as unsavory as the Nazi variety; Tarantino's latest cinematic protégé, Eli (director of Hostel) Roth, is aptly cast as a self-styled "golem" fond of pulping Nazis with a baseball bat. But get past that, and the sometimes disconcerting shifts to another location and another set of characters, and the movie should gather you up like a growing floodtide. Tarantino told the Cannes Film Festival audience that he wanted to show "Adolf Hitler defeated by cinema." Cinema wins. --Richard T. Jameson

Up

At a time when too many animated films consist of anthropomorphized animals cracking sitcom one-liners and flatulence jokes, the warmth, originality, humor, and unflagging imagination of Up feel as welcome as rain in a desert. Carl Fredericksen (voice by Ed Asner) ranks among the most unlikely heroes in recent animation history. A 78- year-old curmudgeon, he enjoyed his modest life as a balloon seller because he shared it with his adventurous wife Ellie (Ellie Docter). But she died, leaving him with memories and the awareness that they never made their dream journey to Paradise Falls in South America. When well-meaning officials consign Carl to Shady Oaks Retirement Home, he rigs thousands of helium balloons to his house and floats to South America. The journey's scarcely begun when he discovers a stowaway: Russell (Jordan Nagai), a chubby, maladroit Wilderness Explorer Scout who's out to earn his Elderly Assistance Badge. In the tropical jungle, Carl and Russell find more than they bargained for: Charles Muntz (Christopher Plummer), a crazed explorer whose newsreels once inspired Carl and Ellie; Kevin, an exotic bird with a weakness for chocolate; and Dug (Bob Peterson), an endearingly dim golden retriever fitted with a voice box. More importantly, the travelers discover they need each other: Russell needs a (grand)father figure; Carl needs someone to enliven his life without Ellie. Together, they learn that sharing ice-cream cones and counting the passing cars can be more meaningful than feats of daring-do and distant horizons. Pete Docter (Monsters, Inc. ) and Bob Peterson direct the film with consummate skill and taste, allowing the poignant moments to unfold without dialogue to Michael Giacchnio's vibrant score. Building on their work in The Incredibles and Ratatouille, the Pixar crew offers nuanced animation of the stylized characters. Even by Pixar's elevated standards, Up is an exceptional film that will appeal of audiences of all ages. Rated PG for some peril and action. --Charles Solomon

Stills from Up (Click for larger image)