Driss (Omar Sy), a Senegalese man living in a Paris slum, applies for a job as caretaker to a wealthy quadriplegic, but all he wants is to get his paper stamped so he can get benefits. Despite his lack of qualifications, he lands the job because of his attitude: Philippe (François Cluzet), the quadriplegic, wants a caretaker who will look at him without pity. As Driss reluctantly learns to move, feed, and clean Philippe, the two men discover a blunt but vital humour that not only bridges the cultural and class divide between them, but gives Philippe a renewed joy in life. It's easy to see what made <em>Untouchable</em> such a massive success in France; the movie has the sweet sincerity and uplifting conclusion that make for a classic feel-good experience. The chemistry between the two leads is undeniable, and Sy--who won the French equivalent of the Oscar for his role--is a dynamic and charismatic performer, while Cluzet's understated performance conveys Philippe's frustrations. The movie doesn't dig too deeply into the struggles of life as a quadriplegic or the struggles of life among the inner-city poor, so when <em>Untouchable</em> ends it's not likely to leave a lasting impression, but that doesn't get in the way of its immediate charm and warmth. --Bret Fetzer

Anyone who's watched <em>Family Guy</em> knows that its creator Seth MacFarlane has a lot of hang-ups. As outrageous as many of them are in their animated TV show forum, they get a real rundown in <em>Ted</em>, MacFarlane's multi-hyphenate debut in feature films. As the director, producer, cowriter, and voice artist behind the title character, MacFarlane riffs on pop culture, drug culture, religion, sex, bodily functions, and all things '80s with the kind of abandon that borders on offensive to pretty much anyone--if only it all weren't so spot-on funny. <br /><br />Ted is an utterly believable CGI teddy bear who comes to life in the arms of a friendless 8-year-old boy named John, who quickly grows up to be Mark Wahlberg. John has made a wish that the pudgy plush be a friend for forever, a deal that they both hold on to with genuine poignancy as the years roll by. Ted grows right along with John in voice, manner, attitude, and bad habits until they're both unmotivated layabouts who would rather do nothing more than swill beer, smoke dope, and watch the absurdly iconic '80s movie <em>Flash Gordon</em> over and over again to the exclusion of most everything else in life. <br /><br />John has managed to pick up a girlfriend named Lori (Mila Kunis), who somehow tolerates the pair of them--at least for a little while. Eventually she's annoyed enough with John for not putting away his childish things, thoughts, and behaviours that she demands Ted move out and let them move on as adults. Among all the conceits that <em>Ted</em> embraces is the fact that this fully anthropomorphized stuffed bear started life as a global celebrity sensation before everyone forgot about him. Now he's just a blue-collar Boston nobody who sucks on a bong, chases women, and makes dirty jokes at every opportunity while nobody pays attention. This could have been a generic lowbrow buddy movie in the Judd Apatow mold, which might have been a little funny with a human slob in the Ted role. But MacFarlane brings to the remarkably expressive CGI creation an astonishing and often shocking dynamic with his voice characterization and the consistently clever situations, which whiz by in a structure that's pretty similar to an episode of <em>Family Guy</em>. There are frequent non sequitur digressions and offhanded one-liners that MacFarlane could never get away with on TV. But in the raunchy, anything-goes world of <em>Ted</em> it's all fair game. <br /><br />In addition to farts, drugs, bodily functions, and all manner of sexual vulgarity, it's the slams or homages to the 1980s that are the butt of many of the best zingers or recurring jokes. There are several cameo appearances that may make for delighted double takes. And Sam Jones, the star of the ill-fated <em>Flash Gordon</em>, plays a version of himself that makes a running gag all the more ingenious and demonstrates how far MacFarlane will go to bring comedy down to his level of hilarity. Mark Wahlberg should be commended for being game enough to participate and absolutely shows the comedy chops to make his scenes with Ted come alive. Technically the movie is a wonder as the two-foot Ted blends into the real world with complete believability even as he spouts some of the most outrageous dialogue this side of <em>The Hangover</em>. <em>Ted</em> may be an acquired taste for those who have a dislike for MacFarlane's comic sensibility--and there are a lot of people who do. But as a laughable lowbrow adventure that delivers virtually nonstop unexpected laughs with a little heart to back it up, <em>Ted</em> is a surprising comic novelty that may even win over some of the most vituperative MacFarlane haters. <em>--Ted Fry</em>

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When Dave Allen passed away in March 2005, we lost a true comedy great. Sitting cross-legged on a high stool, whiskey in one hand, cigarette in the other, Dave Allen's exasperated commentaries on the absurdities of modern life struck a chord with millions of fans in Britain, Ireland and Australia for over four decades. He was a compelling storyteller -- able to spin shaggy dog stories out of the almost any subject, including the missing tip of his fourth finger of his left hand, for which he provided various unlikely explanations. But his gentle, laconic wit could also give way to ferocious attacks on the media, the state and, most famously, the Catholic Church. He was a unique talent -- a comic who could make his audiences laugh, cry, and be shocked, all in one. Here he is with his personal choice of sketches, gags and monologues.

<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>







Based on the best-selling novel by Stephen Chbosky, The Perks Of Being A Wallflower is a modern classic that captures the dizzying highs and crushing lows of growing up. Starring Logan Lerman, Emma Watson and Ezra Miller, The Perks Of Being A Wallflower is a moving tale of love, loss, fear and hope-and the unforgettable friends that help us through life.

• <strong>Actors</strong> Emma Watson, Logan Lerman, Ezra Miller, Dylan McDermott, Kate Walsh, Patrick de Ledebur, Johnny Simmons, Brian Balzerini, Tom Kruszewski, Nina Dobrev, Nicholas Braun, Julia Garner, Tom Savini, Emily Marie Callaway & Paul Rudd
• <strong>Director</strong> Stephen Chbosky
• <strong>Certificate</strong> 12 years and over
• <strong>Year</strong> 2012
• <strong>Screen</strong> 1.78:1 Anamorphic
• <strong>Languages</strong> English
• <strong>Subtitles</strong> English

The future America is an irradiated waste land. On its East Coast, running from Boston to Washington DC, lies Mega City One--a vast, violent metropolis where criminals rule the chaotic streets. The only force of order lies with the urban cops called �Judges� who possess the combined powers of judge, jury and instant executioner. Known and feared throughout the city, Dredd (Karl Urban, The Lord of the Rings, Star Trek) is the ultimate Judge, challenged with ridding the city of its latest scourge--a dangerous drug epidemic that has users of �Slo-Mo� experiencing reality at a fraction of its normal speed. During a routine day on the job, Dredd is assigned to train and evaluate Cassandra Anderson (Olivia Thirlby, Juno), a rookie with powerful psychic abilities thanks to a genetic mutation. A heinous crime calls them to a neighbourhood where fellow Judges rarely dare to venture--a 200 story vertical slum controlled by prostitute turned drug lord Ma-Ma (Lena Headey, Game of Thrones, 300) and her ruthless clan. When they capture one of the clan�s inner circle, Ma-Ma overtakes the compound�s control centre and wages a dirty, vicious war against the Judges that proves she will stop at nothing to protect her empire. With the body count climbing and no way out, Dredd and Anderson must confront the odds and engage in the relentless battle for their survival.

When you consider that old-fashioned tearjerkers are an endangered species in Hollywood, a movie like The Notebook can be embraced without apology. Yes, it's syrupy sweet and clogged with clichés, and one can only marvel at the irony of Nick Cassavetes directing a weeper that his late father John--whose own films were devoid of saccharine sentiment--would have sneered at. Still, this touchingly impassioned and great-looking adaptation of the popular Nicholas Sparks novel has much to recommend, including appealing young costars (Ryan Gosling and Rachel McAdams) and appealing old costars (James Garner and Gena Rowlands, the director's mother) playing the same loving couple in (respectively) early 1940s and present-day North Carolina. He was poor, she was rich, and you can guess the rest; decades later, he's unabashedly devoted, and she's drifting into the memory-loss of senile dementia. How their love endured is the story preserved in the titular notebook that he reads to her in their twilight years. The movie's open to ridicule, but as a delicate tearjerker it works just fine. Message in a Bottle and A Walk to Remember were also based on Sparks novels, suggesting a triple-feature that hopeless romantics will cherish. --Jeff Shannon

This release includes the entire first and second series of Miranda Hart's very own hilarious BBC sitcom. Written by and starring Hart as a hapless joke shop owner, prone to falling over and socially humiliating herself. Helping Miranda muddle through life are her good friends Stevie (Sarah Hadland) and Gary (Tom Ellis), all under the disapproving eye of her mother Penny (Patricia Hodge). The popular series harks back to the golden days of TV comedy, with Hart often 'breaking the forth wall' to comment on the ever amusing farcical events.