The third film based on C.S. Lewis's fantasy books, <em>The Voyage of the Dawn Treader</em> opens three years after the Pevensie children return from battling to restore peace to Narnia in <em>The Chronicles of Narnia: Prince Caspian</em>. Edmund (Skandar Keynes) and Lucy (Georgie Henley) are still staying with Eustace (Will Poulter), while Peter and Susan have gotten older and moved on to school and America, respectively. Still as surly and unbelieving as ever, Eustace continues to mock his cousins for their Narnian fantasies. But when water begins spilling into their room from a painting hanging on the wall, all three young people are swept onto the decks of the sailing ship known as the Dawn Treader, which is afloat in the waters of Narnia. <br /><br />This time, there are no wars to be fought in Narnia. But it soon becomes evident that the trio is destined to help King Caspian (Ben Barnes) solve the mystery of the disappearance of the seven lords of Telmar, and prevent the ongoing sacrifices of large groups of Narnian people to the evil green mist. So begins a quest through uncharted waters that will require each of the children to resist temptations like beauty and power, and to conquer the darkness within themselves in order to defeat the threat to Narnia's people. The battle promises to yield unexpected heroes, and through their journey, Edmund, Lucy, Eustace, and even King Caspian and Reepicheep (voiced by Simon Pegg) each grow and mature. Eventually, Aslan (voiced by Liam Neeson) will ask each adventurer to make an important choice that will forever influence his or her future. <em>The Voyage of the Dawn Treader</em> features plenty of high adventure, sword-fighting action, and personal peril, and while it fails to fully capitalise on the characters' motivations or to earn viewers' full emotional investment, it is still a solid addition to the <em>Narnia</em> film series. (Ages 7 and older) --Tami Horiuchi

Taylor Lautner explodes on-screen as a young man whose secret past is set to collide with a dangerous reality. After uncovering a deadly lie, Nathan (Lautner) is propelled on a lethal, no-holds-barred mission to learn the truth. Aided by a devoted family friend (Sigourney Weaver), Nathan's hunt for the facts pits him against ruthless assassins and questionable allies.

In his second movie <em>Source Code</em>--a looping, hall-of-mirrors story about a downed helicopter pilot who must revisit the same passage of time--Duncan Jones restores some of the virtues of traditional sci-fi, in which technology is just a framework for human drama and where the efficient sketching of smart ideas has as much impact as any amount of CGI. Such is the case with <em>Source Code</em>, in which Colter Stevens (Jake Gyllenhaal) is suspended in a digital limbo (the 'source code') by his military bosses, who force him to revisit the same eight minutes on board a Chicago-bound commuter train--right before it explodes. With each attempt to ID the bomber--a satisfying picture puzzle of close detail and shifting perspectives--Colter's growing fondness for the doomed commuters divides his loyalties, drawing him into a battle with the Fates themselves. With shades of <em>12 Monkeys</em>, <em>Avatar</em> and <em>Groundhog Day</em>, <em>Source Code</em> is also the up-tempo cousin of Jones' debut feature <em>Moon</em>, in which a lonely worker’s right to mortality is also violated by a futuristic organization who, in <em>Moon</em>'s case, would like to cut an ethical corner (and the cost of lunar labour). In the space of these two movies, Duncan Jones has proved he's auteur material and, like the recurring eight-minute sequence at its heart, <em>Source Code</em> feels like the explosion of an exciting new talent--right before it explodes. <em>--Leo Batchelor</em>

<strong style="font-family: Verdana; font-size: 13px; text-align: center;">Please note this is a region 2 DVD and will require a region 2 or region free DVD player in order to play.</strong>



22 Special Edition James Bond DVDs available packaged as one collection.<br /><br /> Titles comprise:<br /><br /> 1. Dr. No (1962) - Sean Connery<br /> 2. From Russia With Love (1963) - Sean Connery<br /> 3. Goldfinger (1964) - Sean Connery<br /> 4. Thunderball (1965) - Sean Connery<br /> 5. You Only Live Twice (1967) - Sean Connery<br /> 6. On Her Majesty's Secret Service (1969) - George Lazenby<br /> 7. Diamonds Are Forever (1971) - Sean Connery<br /> 8. Live And Let Die (1973) - Roger Moore<br /> 9. The Man With The Golden Gun (1974) - Roger Moore<br /> 10. The Spy Who Loved Me (1977) - Roger Moore<br /> 11. Moonraker (1979) - Roger Moore<br /> 12. For Your Eyes Only (1981) - Roger Moore<br /> 13. Octopussy (1983) - Roger Moore<br /> 14. A View To A Kill (1985) - Roger Moore<br /> 15. The Living Daylights (1987) - Timothy Dalton<br /> 16. Licence To Kill (1989) - Timothy Dalton<br /> 17. Goldeneye (1995) - Pierce Brosnan<br /> 18. Tomorrow Never Dies (1997) - Pierce Brosnan<br /> 19. The World Is Not Enough (1999) - Pierce Brosnan<br /> 20. Die Another Day (2002) - Pierce Brosnan<br /> 21. Casino Royale (2006) - Daniel Craig<br /> 22. Quantum of Solace (2008) - Daniel Craig

Spy flick meets romantic comedy in this surprisingly entertaining film about two CIA agents who find themselves in competition for the affections of the same beautiful woman. Agents FDR (Chris Pine) and Tuck (Tom Hardy) are accustomed to using whatever means necessary to complete a mission--and that mentality has a tendency to bleed over into their personal lives. The two agents are also close friends, so when they discover they're both dating Lauren (Reese Witherspoon), they enter into a gentleman's agreement that stipulates they not interfere with one other, allow Lauren to choose the best man for her, and walk away from Lauren if seeing her begins to affect the men's friendship. The agreement quickly degenerates into a contest of epic proportions thanks to the men's competitive natures and the arsenal of government resources at their disposal. Oblivious to the rivalry and the high-tech circus going on around her, Lauren desperately tries to figure out which of the two men is right for her. Her married friend Trish (Chelsea Handler) offers plenty of advice, assuring Lauren that just because she's dating two guys at the same time,"You're not going to hell, but if you are, I'll be there to pick you up." What makes this film so good is its perfect blend of high-action spy caper, laugh-aloud humour, and romance--all skillfully delivered by a talented cast. --Tami Horiuchi

Screenwriter William Goldman's novel The Princess Bride earned its own loyal audience on the strength of its narrative voice and its gently satirical, hyperbolic spin on swashbuckled adventure that seemed almost purely literary. For all its derring-do and vivid over-the-top characters, the book's joy was dictated as much by the deadpan tone of its narrator and a winking acknowledgement of the clichés being sent up. Miraculously, director Rob Reiner and Goldman himself managed to visualize this romantic fable while keeping that external voice largely intact: using a storytelling framework, avuncular Grandpa (Peter Falk) gradually seduces his sceptical grandson (Fred Savage) into the absurd, irresistible melodrama of the title story. And what a story: a lowly stable boy, Westley (Cary Elwes), pledges his love to the beautiful Buttercup (Robin Wright), only to be abducted and reportedly killed by pirates while Buttercup is betrothed to the evil Prince Humperdinck. Even as Buttercup herself is kidnapped by a giant, a scheming criminal mastermind, and a master Spanish swordsman, a mysterious masked pirate (could it be Westley?) follows in pursuit. As they sail toward the Cliffs of Insanity... The wild and woolly arcs of the story, the sudden twists of fate, and, above all, the cartoon-scaled characters all work because of Goldman's very funny script, Reiner's confident direction, and a terrific cast. Elwes and Wright, both sporting their best English accents, juggle romantic fervor and physical slapstick effortlessly, while supporting roles boast Mandy Patinkin (the swordsman Inigo Montoya), Wallace Shawn (the incredulous schemer Vizzini), and Christopher Guest (evil Count Rugen) with brief but funny cameos from Billy Crystal, Carol Kane, and Peter Cook. --Sam Sutherland

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Captain America leads the fight for freedom in the action-packed blockbuster starring Chris Evans as the ultimate weapon against evil! When a terrifying force threatens everyone across the globe, the world's greatest soldier wages war on the evil HYDRA organization, led by the villainous Red Skull (Hugo Weaving, The Matrix).



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• Commentary by Director Joe Johnston, Director of Photography Shelly Johnson and Editor Jeffrey Ford
• Marvel One-Shot: A funny thing happened on the way to Thor's Hammer
• Featurettes: Outfitting a hero, Howling Commandos, Heightened technology, The transformation, Behind the skull, Captain America's origin, The assembly begins
• Deleted scenes
• Theatrical trailers
• Sega game trailer
• The Avengers animated trailer

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• <strong>Actors</strong>

Chris Evans, Hugo Weaving, Samuel L. Jackson, Richard Armitage, Tommy Lee Jones, Stanley Tucci, Hayley Atwell, Sebastian Stan, Dominic Cooper & Toby Jones

• <strong>Director</strong>

Joe Johnston

• <strong>Certificate</strong>

12 years and over

• <strong>Year</strong>

2011

• <strong>Screen</strong>

16:9 Anamorphic

• <strong>Languages</strong>

English - DTS-HD Master Audio (7.1)

• <strong>Additional Languages</strong>

French ; German ; Italian ; Castilian Spanish

• <strong>Subtitles</strong>

English for the hearing impaired ; French ; German ; Danish ; Italian ; Swedish ; Norwegian ; Castilian Spanish ; Finnish ; Dutch

• <strong>Duration</strong>

2 hours and 3 minutes (approx)

Sometime in the not-too-distant future, boxing has been outlawed and replaced by fighting matches with robots. Big robots. Hulking, rock 'em, sock 'em mechanical robots. But if those machines are cutting edge, <em>Real Steel</em> sticks to an old-fashioned style of storytelling, with a tale of a down-and-out fight manager (Hugh Jackman) looking for a good 'bot to get back in the game, and get back out of debt. Hearts are further tugged by the arrival of this guy's 11-year-old son (Dakota Goyo), who hasn't seen his dad in many years but now needs tending. There's something endearing about the way nobody ever pauses to remark on the fact that they are in the presence of giant remote-controlled prizefighting robots; it's taken for granted in this cockeyed universe. Loosely inspired by a Richard Matheson-penned episode of <em>The Twilight Zone</em>, Shawn Levy's film is lavishly mounted and fairly ridiculous--although in this case, the human interactions are more preposterous and formulaic than the fun robot action. Jackman plays to his roguish strengths, Evangeline Lilly (<em>Lost</em>) gets the perfunctory love interest role, and the villains are uncomplicatedly hissable, from Jackman's good ol' boy rival (Kevin Durand) to the heavily accented owners (Olga Fonda, Karl Yune) of the most fearsome of robots, the undefeated Zeus. If you can imagine <em>Rocky</em> restaged with a pile of spare parts, you might be the audience for <em>Real Steel</em>. <em>--Robert Horton</em>

Rightly attracting major awards attention, The Hurt Locker is a supreme, tense and gripping piece of drama. And it grabs your attention from the stunning opening scene, which perfectly gets across the dangers faced by the specialist bomb disposal squad that we spend the rest of the film following.

Chief among them is Jeremy Renner’s Sergeant William James, who is the focal point for much of The Hurt Locker . The film spends some time digging into his head and why he does what he does, and his approach doesn’t always leave him eye-to-eye with the rest of his squad. Renner, in surely a star-making performance, delivers a rounded, three-dimensional portrayal of a man you could easily write off as a maverick, and the film is significantly enriched as a result.

But then with director Kathryn Bigelow behind the camera delivering her best film to date, The Hurt Locker excels still further. Her gritty, haunting visuals look superb in high definition too, evoking the down-to-earth shooting style Bigelow employs, and making the most of the assorted set-pieces she puts on film. It’s the sound that really gets you too, cleverly eating up the full breadth of a good surround-sound set-up, and carefully teasing you more and more into the film.

Not that you’re likely to need much persuading. The Hurt Locker is a terrific war movie, and a very human one. It’s also packaged on a quality Blu-ray that matches up strong presentation with interesting extra feature. It comes very highly recommended. -- Jon Foster