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 )

You don’t have to be familiar with Formula One--or the tragic destiny of Ayrton Senna--to enjoy this visceral encounter with one of racing’s finest talents. Spanning a decade of Formula One from 1984, Senna picks through archive footage to show a world where traditional driving skills are under threat from the unsporting forces of big business and technical engineering. A gifted newcomer, Senna goes from anonymity at the back of a rain-soaked debut at Monaco to three-time world champion--earning him legendary status in Brazil and igniting the hopes of a struggling population along the way. Between races director Asif Kapadia ( The Warrior, Far North ) shows us an isolated figure: unskilled at the politics of Formula One and speaking to journalists about ‘pure driving' as a metaphor for life. On the track, his fierce will to win--fuelled by a bitter rivalry with team-mate Alain Prost--pushes him to the limits of racing brinkmanship, and the scenes of Senna dueling in the wet, weaving down the straight or accelerating towards the disappearing space of a corner rank among the greatest moments of any sports documentary. --Leo Batchelor

They all laughed at college nerd Mark Zuckerberg, whose idea for a social-networking site made him a billionaire. And they all laughed at the idea of a Facebook movie--except writer Aaron Sorkin and director David Fincher, merely two of the more extravagantly talented filmmakers around. Sorkin and Fincher's breathless picture, <em>The Social Network</em>, is a fast and witty creation myth about how Facebook grew from Zuckerberg's insecure geek-at-Harvard days into a phenomenon with 500 million users. Sorkin frames the movie around two lawsuits aimed at the lofty but brilliant Zuckerberg (deftly played by <em>Adventureland</em>'s Jesse Eisenberg): a claim that he stole the idea from Ivy League classmates, and a suit by his original, now slighted, business partner (Andrew Garfield). The movie follows a familiar rise-and-fall pattern, with temptation in the form of a sunny California Beelzebub (an expert Justin Timberlake as former Napster founder Sean Parker) and an increasingly tangled legal mess. Emphasizing the legal morass gives Sorkin and Fincher a chance to explore how unsocial this social-networking business can be, although the irony seems a little facile. More damagingly, the film steers away from the prickly figure of Zuckerberg in the latter stages--and yet Zuckerberg presents the most intriguing personality in the movie, even if the movie takes pains to make us understand his shortcomings. Fincher's command of pacing and his eye for the clean spaces of Aughts-era America are bracing, and he can't resist the technical trickery involved in turning actor Armie Hammer into privileged Harvard twins (Hammer is letter-perfect). Even with its flaws, <em>The Social Network</em> is a galloping piece of entertainment, a smart ride with smart people… who sometimes do dumb things. <em>--Robert Horton</em>

Rightly one of Disney's most celebrated animated classics, Lady and the Tramp is the story of a romance between two dogs from different walks of life. On the one hand, there's Lady, a golden cocker spaniel used to a very good life. And then she meets a mongrel, who goes by the name of Tramp. Clearly from the wrong side of town, Tramp and Lady nonetheless strike up a friendship, and when fate plays its hand, the two set off on their travels together, which doesn't quite go quite as either expected.

Made in an age where Disney animation was on tip-top form, there's so much to enjoy here it's hard to know where to start. The exquisite animation and carefully woven script though both provide an excellent grounding for the film, which is then considerably enhanced by a wonderful musical score. Add in that scene, often parodied, as the two share a romantic meal in an Italian restaurant, and a pair of characters that you can't help but root for, and you have an unmissable classic for the whole family to enjoy.

Lady and the Tramp successfully weaves together moments of comedy, adventure and music really quite seamlessly. And yet, at its heart, this is a tender, extremely well told love story, that rightly sits as one of the finest animated movies the Disney empire have created. Great stuff.-- Simon Brew

'Mrs. Brown's Boys - The Original Series' includes:- Mrs. Brown's Boys: Part 1- Mrs. Brown's Boys 2: The Last Wedding- Mrs. Brown's Boys 3: Believe It Or Not- Good Mourning Mrs. Brown: Part 4- Mrs. Brown's Boys 5: Triple Trouble!- How Now Mrs. Brown: Part 6- Mrs. Brown's Boys 7: The Seven Year ItchIncluding previously unseen footage of our eh, steamed leader on the scoops, there....Tracks:Week 1Week 2Week 3The Final FurlongExtras:The Best Irish Backs with Andy ReidMichael Ryan reporting from PretoriaTerry Venebles reporting from Wayne Rooneys fridgeFrank & RockeyCapello - Never walk againGAA Tours (one Arm)Paul Williams -"Hey that's my car"Apres Match Commercial BreakThe Best Irish Midfield with Andy ReidFrank and the England chancesTerry Reporting about GermanyB Panel out takesFrank on France v's UruguayThe Best Irish Team"Upfront" with Andy ReidThe Real Panel

It’s hard to see just where the Alien Anthology Blu-ray boxset could have been improved. Nominally a collection of the four main films in the franchise, what’s actually been bundled together here is one of the finest DVD or Blu-ray boxsets to date, boasting a series of features that genuinely go into a lot of depth about the movies themselves.

And what movies they are. Alien and Aliens are both exceptional pieces of cinema, and rightly regarded as classics in their own right. Alien 3 , meanwhile, has to be classed as an interesting and muddled failure, yet it’s still got a lot to like about it. Alien: Resurrection ? It’s perhaps the least ambitious of the four films, but in the early stages at least, it’s still with merit.

Each of the films is presently strongly, surprising given the variable DVD versions of each we’ve seen to date. But it’s the mammoth package of extras that set a template for pretty much every other Blu-ray boxset on the market. Spread across six discs, you not only get two cuts of each film, but you get extra features that are as impressive as they comprehensive. Presented brilliantly, it’s an unmissable box set, and you get at least two all-time classics as part of it. -- Jon Foster

<strong>Please note this is a region B Blu-ray and will require a region B or region free Blu-ray player in order to play.</strong>



<strong>Please note this is a region 2 DVD and will require a region 2 or region free DVD player in order to play.</strong>



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<strong>Tinker, Tailor, Soldier, Spy</strong> finds George Smiley (Gary Oldman), a recently retired MI6 agent, doing his best to adjust to a life outside the secret service. However, when a disgraced agent reappears with information concerning a mole at the heart of the service, Smiley is drawn back into the murky field of espionage. Tasked with investigating which of his trusted former colleagues has chosen to betray him and their country, Smiley narrows his search to four suspects - all experienced, skilled and successful agents - but past histories, rivalries and friendships make it far from easy to pinpoint the man who is eating away at the heart of the British establishment.<br /><br /> An acting masterclass from the crème de la crème of British film (Colin Firth, The King's Speech; Tom Hardy, Inception; Mark Strong, Kick Ass; Benedict Cumberbatch, Sherlock Holmes) and inspired direction from Let The Right One In's Tomas Alfredson make this gripping and tense adaptation of John le Carré's classic spy novel essential viewing.

Paris is a city that lends itself to daydreaming, to walking the streets and imagining all sorts of magic, a quality that Woody Allen understands perfectly. <em>Midnight in Paris</em> is Allen's charming reverie about just that quality, with a screenwriter hero named Gil (Owen Wilson) who strolls the lanes of Paris with his head in the clouds and walks right into his own best fantasy. Gil is there with his materialistic fiancée (Rachel McAdams) and her unpleasant parents, taking a break from his financially rewarding but spiritually unfulfilling Hollywood career--and he can't stop thinking that all he wants to do is quit the movies, move to Paris, and write that novel he's been meaning to finish. You know, be like his heroes in the bohemian Paris of the 1920s. Sure enough, a midnight encounter draws him into the jazzy world of Scott and Zelda Fitzgerald, Picasso and Dali, and an intense Ernest Hemingway, who promises to bring Gil's manuscript to Gertrude Stein for review. Gil wakes up every morning back in the real world, but returning to his enchanted Paris proves fairly easy. In the execution of this marvelous fantasia, Allen pursues the idea that people of every generation have always romanticized a previous age as golden (this is in fact explained to us by Michael Sheen's pedantic art expert), but he also honors Gil's need to find out certain truths for himself. The movie's on the side of gentle fantasy, and it has some literary/cinematic in-jokes that call back to the kind of goofy humor Allen created in <em>Love and Death</em>.The film is guilty of the slackness that Allen's latter-day directing has sometimes shown, and the underwritten roles for McAdams and Marion Cotillard are better acted than written. But the city glows with Allen's romantic sense of it, and Owen Wilson has just the right nice-guy melancholy to put the idea over. A worthy entry in the Cinema of the Daydream. <em>--Robert Horton</em>

Just when you were starting to sober up after <em>The Hangover</em>… along comes <em>The Hangover Part II</em>--a deft dose of hair of the dog that will keep fans of the original screaming with laughter once again. Director Todd Phillips brings back his great cast--Bradley Cooper, Zach Galifianakis, Justin Bartha, and Ed Helms for another splendid exercise in debauchery--and its painful aftermath. And perhaps surprisingly, <em>The Hangover Part II</em> keeps the laugh levels high. While the element of surprise is not here in the sequel, writer Craig Mazin, Scot Armstrong, and Phillips have upped the shock factor, resulting in humor that's sometimes not exactly politically correct, but is fall-down funny anyway. In <em>The Hangover Part II</em>, Stu (Helms) is marrying a Thai-American woman (Jamie Chung), and the entire wedding party is flying to Thailand for the ceremony. Quicker than you can say"bachelor brunch," the boys are off on some kind of mystery adventure that results in some pretty serious, and pretty hilarious repercussions. (There's an unfortunate tattoo incident, one not easily covered up; there's an unexplained monkey--in a Rolling Stones shirt--now added to the entourage; and one of the group is missing.) The setup is familiar, but the ensemble of actors is so confident, their chemistry so easy, that the viewer enjoys their long, strange trip with bust-out-loud laughs. And you can't ask for much more in a buddy comedy. --<em>A.T. Hurley</em>

Rowan Atkinson reprises his role as the slightly hapless, but still remarkably effective secret agent Johnny English in <em>Johnny English Reborn</em>. Atkinson's deadpan slapstick delivery is in fine form in this sequel to 2003's <em>Johnny English</em>. The sequel actually delivers as an excellent action film, with outstanding cinematography showcasing scenes as diverse as Hong Kong and Tibet, as well as a comedy along the lines of <em>Get Smart</em>. <em>Johnny English Reborn</em> opens in the mountains of Tibet, where a disgraced English has been living in a monastery, learning focus, attentiveness, and martial arts of the avoidance rather than of the über-attack variety. He is suddenly called back into action to serve Her Majesty in the spy agency MI-7, to help take down an international ring of assassins. English is reluctant at first, but then jumps at the chance to avenge the mistakes he made years earlier, and to deploy his new arsenal of skills. <em>Johnny English</em> is a very crisply directed, well-written, and even unpredictable comedy-action spoof, and it just might make fans out of Rowan Atkinson doubters. The timing of the gags is really well done, and Atkinson seems game for just about anything. He is also surrounded by a splendid supporting cast. Gillian Anderson plays the severe new head of MI-7, Pamela, with crisp assurance. Rosamund Pike is the comely Kate, a potential love interest for Agent English. And Daniel Kaluuya plays newbie Agent Tucker, who is assigned to accompany English, and who brings skills (and baggage) of his own. Director Oliver Parker, known mostly for his remakes of classics like <em>Othello</em> and <em>The Importance of Being Earnest</em>, brings a sure vision and entertaining pace to <em>Johnny English Reborn</em>. There's some crude humor, mostly in the form of blows to various groins, but there's no bad language or over-the-top grossness, so <em>Johnny English Reborn</em> is suitable for older kids and teens. --<em>A.T. Hurley</em>

<em>The Twilight Saga: Breaking Dawn - Part 1</em> delivers strongly for the rabid fan base who have catapulted the young adult novel series and subsequent movie adaptations to the worldwide phenomenon that it's become, but it alienates a broader audience with a lack of any real action. Similar to the tone of <em>Harry Potter and the Deathly Hallows: Part 1</em>, the first film of the two-part <em>Twilight</em> conclusion is heavy on romance, love, and turmoil but light on fight scenes and gruesome battles. The movie doesn't waste any time getting to the goods and opens with Bella and Edward's much-hyped wedding scene. It works--the vows are efficient and first-time franchise director Bill Condon (<em>Dreamgirls</em>) moves the party along quickly and amusingly with a well-edited toast scene and some surprisingly moving moments between Bella and her father, cast standout Billy Burke. The honeymoon plays as a slightly awkward soft-focus made-for-TV movie, with a lot of long moments spent staring in the mirror and some love scenes that feel at once overly intimate and completely passionless. It's a relief when Bella retches on a bite of chicken she's cooked herself and quickly concludes she's pregnant with a potentially demonic baby. From bliss to horror, the Cullens return to Forks, where Bella spends the second half of the movie wasting away and Edward and Jacob are aligned in their anger and frustration over her decision. Throw in some over-the-top scenes with Jacob and his pack--including a strange showdown where the wolves communicate in their canine form by having a passionate nonverbal fight in their minds (a plot point that works much better in print, it's portrayed in the film via aggressive voice-over)--and the film overshoots intensity and goes straight to silly. The birth scene is horrific, but not as gruesome as in the book, and by the end, Bella has of course survived, though is much altered. The final scene features a delightfully campy Michael Sheen as Volturi leader Aro and makes it clear that the action and fun in <em>Breaking Dawn - Part 1</em> is ready to start. Fans will just have to wait until <em>Part 2</em> to get it. --Kira Canny

<em>Harry Potter and the Deathly Hallows, Part I</em> is a brooding, slower-paced film than its predecessors, the result of being just one half of the final story (the last book in the series was split into two movies, released in theaters eight months apart). Because the penultimate film is all buildup before the final showdown between the teen wizard and the evil Voldemort (which does not occur until <em>The Deathly Hallows, Part II</em>), <em>Part I</em> is a road-trip movie, a heist film, a lot of exposition, and more weight on its three young leads, who up until now were sufficiently supported by a revolving door of British thesps throughout the series. Now that all the action takes place outside Hogwarts--no more Potions classes, Gryffindor scarves, or Quidditch matches--Daniel Radcliffe (Harry), Emma Watson (Hermione), and Rupert Grint (Ron) shoulder the film almost entirely on their own. After a near-fatal ambush by Voldemort's Death Eaters, the three embark on a quest to find and destroy the remaining five horcruxes (objects that store pieces of Voldemort's soul). Fortunately, as the story gets more grave--and parents should be warned, there are some scenes too frightening or adult for young children--so does the intensity. David Yates, who directed the Harry Potter films <em>Order of the Phoenix</em> and <em>The Half-Blood Prince</em>, drags the second half a little, but right along with some of the slower moments are some touching surprises (Harry leading Hermione in a dance, the return of Dobby in a totally non-annoying way). <em>Deathly Hallows, Part I</em> will be the most confusing for those not familiar with the Potter lore, particularly in the shorthand way characters and terminology weave in and out. For the rest of us, though, watching these characters over the last decade and saying farewell to a few faces makes it all bittersweet that the end is near (indeed, an early scene in which Hermione casts a spell that makes her Muggle parents forget her existence, in case she doesn't return, is particularly emotional). Despite its challenges, <em>Deathly Hallows, Part I</em> succeeds in what it's most meant to do: whet your appetite for the grand conclusion to the Harry Potter series. --<em>Ellen A. Kim</em>