United Kingdom released, PAL/Region 2 DVD: LANGUAGES: Danish ( Dolby Digital Stereo ), English ( Subtitles ), WIDESCREEN (1.78:1), SPECIAL FEATURES: Anamorphic Widescreen, Box Set, Interactive Menu, Multi-DVD Set, Scene Access, SYNOPSIS: The Killing is an innovative thriller in 20 episodes from Danish Radio TV Drama. In the course of 20 gripping days we follow the leads and observe the consequences of a heinous crime that seem to ramify throughout Copenhagen. As the investigation unfolds, Copenhagen opens up like a Chinese box, full of secrets and power struggles. It all starts when head of investigations in the homicide department has her last day at work before embarking on a new chapter in her life. An all but normal family at Vesterbro are minding their everyday life and contemplate moving, when the parents are suddenly thrown into their worst imaginable nightmare. At the same time a top politician is involved in a ruthless but promising election campaign. They all become part of the same story as the police follow the leads. A homicide case takes its beginning and so does the hunt for the perpetrator. In the course of 20 intense days in November their lives change forever. The crime and the hunt for the perpetrator bind very different people together in the same fateful story. As the investigation intensifies, the consequences are wide-ranging and with wide-spread effect; from the hidden agenda of the high school students via the closed environment in immigrant circles and the bureaucracy at town hall, to the many more or less visibly involved people in the ruthless election campaign. SCREENED/AWARDED AT: Emmy Awards, ...The Killing - Complete Season 1 - 5-DVD Box Set ( Forbrydelsen (Forbrytelsen) ) ( The Killing - Complete Season One )

It takes a while, but the saga of one of the more fascinating characters put on the page or the screen in recent years comes to a satisfying conclusion with <em>The Girl Who Kicked the Hornet's Nest</em>, the last installment of the late Swedish author Stieg Larsson's so-called Millennium Trilogy. That character is Lisbeth Salander, the computer-hacking, Goth-loving, dark angel of revenge, played by Noomi Rapace with the same black stare and taciturn charisma that were so riveting in the first two films (<em>The Girl with the Dragon Tattoo</em> and <em>The Girl Who Played with Fire</em>, both also released in 2010). When we last saw her, Lisbeth was trying to kill her father, a Russian defector and abusive monster; in the process, the girl was seriously wounded by her half-brother, a hulking freak with a strange condition that renders him impervious to physical pain. As the new film opens, all three are still alive, and she's being taken to a hospital to recover while waiting to stand trial for attempted murder. Meanwhile, her champion and erstwhile lover, journalist Mikael Blomkvist (Michael Nyqvist), sets about uncovering the full extent of the conspiracy responsible for (among other crimes) Lisbeth's being sent to an asylum at age 12 while her father was protected by evil forces within the government. This investigation, which puts not only Lisbeth but also Blomkvist and his colleagues in considerable danger, leads to"the Section," a thoroughly repellent bunch of aging liars, killers, thieves, and perverts with a great many secrets they'd like to keep (the oily Dr. Peter Teleborian, who was responsible for Lisbeth's"treatment" as a child, emerges as the most vile antagonist since the guardian who brutally assaulted her in the first film). Although much of the exhaustive detail about these and other matters has been eliminated by director Daniel Alfredson (who also helmed <em>The Girl Who Played with Fire</em>) and screenwriters Jonas Frykberg and Ulf Ryberg for the purpose of adapting the novel to the screen, <em>The Girl Who Kicked the Hornet's Nest</em> is still quite long (148 minutes), and less kinetic and violent than the earlier films; there are some exciting sequences, but Lisbeth, previously an unlikely but magnetic action heroine, is seen mostly on a hospital bed or in a courtroom, and much of the film is spent on procedural matters. Still, the fact that the loose ends are wrapped up in fairly conventional fashion doesn't make the conclusion any less satisfying. In fact, the only real letdown comes from knowing that we won't get to see Noomi Rapace play Lisbeth Salander again. <em>--Sam Graham</em>

The Norwegian comedy-fantasy <em>Troll Hunter</em>, a surprise art-house hit across the globe, posits an intriguing question--what if monsters of folklore and popular culture existed, but were kept hidden by the government?--and delivers the results in a clever, faux-documentary format that underscores both the special effects and the satire. Controversial comedian Otto Jespersen is the title character, a world-weary, working-class stiff assigned by a bureaucratic agency to track and eliminate dangerous trolls from the Scandinavian countryside. The lack of respect and notoriety afforded by his job convinces Jespersen to allow a naive collegiate film crew to follow him on his hunts, which nicely balance quirky humour with genuine moments of suspense and some impressive CGI special effects for the trolls. Genre fans' appreciation for the"shaky-cam" subgenre (<em>The Blair Witch Project, [REC], Cloverfield</em>) will undoubtedly affect how they feel about <em>Troll Hunter</em>--the film's light comedy will certainly be lost on those unwilling to either believe or tolerate the idea of another film comprised of"found footage." But more forgiving viewers will be thankful for the rather seamless incorporation of the CGI trolls, all imaginatively rendered as part fairy-tale image and part biological specimen, into live-action scenes, as well as the dryly humourous satire of government"special projects." Pacing is also occasionally an issue--though beautiful, the Norwegian landscape receives far too much coverage--but for the patient, <em>Troll Hunter</em> is a unique and clever experience. --Paul Gaita

If you’re looking for an unpredictable small screen thriller to sink your teeth into, then you sometimes have to look beyond the television output of the UK and the US. To France, in this case, as three series of the highly acclaimed TV show Spiral have been brought together in this single box set. And, along with The Killing , it’s an international television treat that’s aching to be discovered.

The show goes under the name of Engrenages in its native France, and it’s a police drama series starring Caroline Proust and Gregory Fitoussi. Known as Spiral when it was broadcast in the UK, what’s drawn people to the show has been how intelligently it treats its viewers. You’re not spoon fed everything here, as instead, the writers offer you enough, but aren’t afraid to let you do some of the work. The conventional Hollywood approach to such subject matter is absolutely nowhere to be seen.

It’s gripping drama, made all the better by it being set in another country, and thus dealing with a different way of accomplishing things. For an English viewer, that certainly helps make Spiral interesting. But it’s the sheer quality of the three series you get here, and the willingness to stray from convention, that make this boxset worth the money. It’s gritty, unpredictable drama, and with further series ordered in France, it’s great to hear that there’s more of it to come. -- Jon Foster

With its use of special effects to express the main character's internal emotions, Jean-Pierre Jeunet's Amelie could have been mistaken for a French version of Ally McBeal ; however, unlike Ally--"woe is me for I cannot find a man"--McBeal, Amelie is not distressed by the lack of men in her life, in fact the whole idea of sex seems to amuse her no end. Basic pleasures such as cracking the top of a Crème Brule offer her all the sensual satisfaction she needs and her existence in the"Paris of Dreams" is the stuff of fairy tales. Indeed, this cinematic treat must have worked wonders for the Paris tourist board: Jeunet's beautiful interpretation of Parisian life is depicted in all the vibrant colours you would expect from the director of Delicatessen .

On the DVD: Amelie has received an additional disc for this special edition release. Disc 1 is the same as the original single-disc release, with a choice of DTS or Dolby 5.1 sound and an 16.9 anamorphic widescreen picture with optional director's commentary. The second disc contains the new special features and, just like original disc, a lot of thought has gone into the access menu with its lavish graphics offering the choice of entering the Café, the Canal or the Station. Yet the most exciting extra in name--"Audrey Tautou's funny face"--is simply a series of out-takes which does little more than allow you to warm to Tautou as a person. The home movie includes the transformation of Tautou into Amelie and the creation of the"photo-booth album". There are also interesting interviews with Jeunet and the cast and crew, and a nice little section themed around the gnome and his travels. Along with this is a storyboard-to-screen exposition, behind-the-scenes pictures, scene tests, teasers and trailers. All in all a decent enough package, but hardly warranting the special edition label. It's hard not to wonder why Momentum didn't offer this set two months earlier. -- Nikki Disney

United Kingdom released, PAL/Region 2 DVD: LANGUAGES: Arabic ( Dolby Digital Stereo ), French ( Dolby Digital 5.1 ), English ( Subtitles ), WIDESCREEN (1.85:1), SPECIAL FEATURES: Anamorphic Widescreen, Cast/Crew Interview(s), Interactive Menu, Scene Access, Trailer(s), SYNOPSIS: When history is a secret, when family is a lie ... what price would you pay for the truth? Twins Jeanne and Simon are left two envelopes in their mother's will, asking them to find a brother they never knew existed, and father they believed to be dead. Journeying from Canada to Lebanon to unravel this mystery, they begin to uncover the terrifying secrets of their mother's tumultuous and brutal past, the twists and turns of their discoveries moving them ever closer to a gut-wrenching and inevitable truth that will define their very existence. Powerful, raw and gripping, this Oscar-nominated and multi award-winning thriller is one of the most ambitious and momentous films of the year. SCREENED/AWARDED AT: David Donatello Awards, Oscar Academy Awards, ...Incendies

The Norwegian comedy-fantasy <em>Troll Hunter</em>, a surprise art-house hit across the globe, posits an intriguing question--what if monsters of folklore and popular culture existed, but were kept hidden by the government?--and delivers the results in a clever, faux-documentary format that underscores both the special effects and the satire. Controversial comedian Otto Jespersen is the title character, a world-weary, working-class stiff assigned by a bureaucratic agency to track and eliminate dangerous trolls from the Scandinavian countryside. The lack of respect and notoriety afforded by his job convinces Jespersen to allow a naive collegiate film crew to follow him on his hunts, which nicely balance quirky humour with genuine moments of suspense and some impressive CGI special effects for the trolls. Genre fans' appreciation for the"shaky-cam" subgenre (<em>The Blair Witch Project, [REC], Cloverfield</em>) will undoubtedly affect how they feel about <em>Troll Hunter</em>--the film's light comedy will certainly be lost on those unwilling to either believe or tolerate the idea of another film comprised of"found footage." But more forgiving viewers will be thankful for the rather seamless incorporation of the CGI trolls, all imaginatively rendered as part fairy-tale image and part biological specimen, into live-action scenes, as well as the dryly humourous satire of government"special projects." Pacing is also occasionally an issue--though beautiful, the Norwegian landscape receives far too much coverage--but for the patient, <em>Troll Hunter</em> is a unique and clever experience. --Paul Gaita

In the former East Germany, no-one was above suspicion. Like George Orwell's vision of the future come to life, art and people and relationships were monitored obsessively; The Lives Of Others captures not only the paranoia and danger inherent in such a world, but also expresses hope that even in the most desperate situations, people can make a difference.

The story of The Lives Of Others unfolds mostly through the eyes of a secret service agent who's been given the task of spying on an artistic couple who've attracted the attention of the Minister of Culture. Little by little, he's drawn into their lives even as we're drawn into his; and as he loses his faith in the government, he must decide whether or not to try to hide the transgressions of those he's watching. As the physical danger and emotional cost mounts, it's impossible not to become utterly engrossed; intelligent and well-written, The Lives Of Others is also deeply moving.

It's rare to find a film that really deserves its rave reviews, and considering The Lives Of Others won a Best Foreign Language Film Oscar, it's got a lot to live up to. Happily, it's more than just up to scratch--it's absolutely brilliant. -- Sarah Dobbs

Inspired by the Brothers Grimm, Jorge Luis Borges, and Guillermo del Toro's own unlimited imagination, Pan's Labyrinth is a fairytale for adults. Ofelia (Ivana Baquero) may only be 12, but the worlds she inhabits, both above and below ground, are dark as anything del Toro has conjured. Set in rural Spain, circa 1944, Ofelia and her widowed mother, Carmen (Ariadna Gil, Belle Epoque ), have just moved into an abandoned mill with Carmen's new husband, Captain Vidal (Sergi López, With a Friend like Harry ). Carmen is pregnant with his son. Other than her sickly mother and kindly housekeeper Mercedes (Maribel Verdú, Y Tu Mamá También ), the dreamy Ofelia is on her own. Vidal, an exceedingly cruel man, couldn't be bothered. He has informers to torture. Ofelia soon finds that an entire universe exists below the mill. Her guide is the persuasive Faun (Doug Jones, Mimic ). As her mother grows weaker, Ofelia spends more and more time in the satyr's labyrinth. He offers to help her out of her predicament if she'll complete three treacherous tasks. Ofelia is willing to try, but does this alternate reality really exist or is it all in her head? Del Toro leaves that up to the viewer to decide in a beautiful, yet brutal twin to The Devil's Backbone , which was also haunted by the ghost of Franco. Though it lacks the humour of Hellboy , Pan's Labyrinth represents Guillermo Del Toro at the top of his considerable game. --Kathleen C. Fennessy

The highest grossing film in Japanese box-office history, Hayao Miyazaki's Spirited Away ( Sen To Chihiro Kamikakushi ) is a dazzling film that reasserts the power of drawn animation to create fantasy worlds. Like Dorothy in The Wizard of Oz and Lewis Carroll's Alice, Chihiro plunges into an alternate reality. On the way to their new home, the petulant adolescent and her parents find what they think is a deserted amusement park. Her parents stuff themselves until they turn into pigs, and Chihiro discovers they're trapped in a resort for traditional Japanese gods and spirits. An oddly familiar boy named Haku instructs Chihiro to request a job from Yubaba, the greedy witch who rules the spa. As she works, Chihiro's untapped qualities keep her from being corrupted by the greed that pervades Yubaba's mini-empire. In a series of fantastic adventures, she purges a river god suffering from human pollution, rescues the mysterious No-Face, and befriends Yubaba's kindly twin, Zeniba. The resolve, bravery and love Chihiro discovers within herself enable her to aid Haku and save her parents. The result is a moving and magical journey, told with consummate skill by one of the masters of contemporary animation. -- Charles Solomon