<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>







Recently diagnosed with Type III lung cancer, raising a son with cerebral palsy, and in need of a way to support his family, Walter uses his skills to transform himself from nebbish high-school chemistry teacher to neophyte crystal-meth cook in the blink of an eye. Things become problematic when, not long after Walter and his former student Jesse put together a lucrative cooking operation, the two of them of are assaulted by a pair of drug dealers who accuse Walter of being affiliated with the DEA. But that's just the beginning of his problems... This collection features the complete fourth series of the show.

• <strong>Actors</strong> Bryan Cranston, Aaron Paul, Anna Gunn, Dean Norris, Betsy Brandt, RJ Mitte, Bob Odenkirk, Jonathan Banks & Giancarlo Esposito
• <strong>Certificate</strong> 18 years and over
• <strong>Year</strong> 2011
• <strong>Screen</strong> 1.78:1
• <strong>Languages</strong> English - Dolby Digital (5.1)
• <strong>Additional</strong><strong>Languages</strong> German
• <strong>Subtitles</strong> English; German

Based on William Joyce's the <em>Guardians of Childhood</em> book series, <em>Rise of the Guardians</em> is a gorgeously animated film about Boogeyman Pitch Black's attempts to spread darkness and fear throughout the world and the guardians' attempts to foil him. Charged with the duty of watching over the children of the world, guardians Sandman, North, Tooth, and E. Aster Bunnymund are loved by children everywhere. When the Man in the Moon appoints Jack Frost to be the newest guardian, the other guardians doubt that Jack can be of much help against Pitch, especially considering that the children don't even believe in Jack Frost's existence. But when Pitch prevents Tooth from collecting the children's teeth, keeps E. Aster Bunnymund from hiding eggs on Easter, and turns the children's happy dreams into nightmares, the guardians realise that they're going to need all the help they can get. The children stop believing in the guardians one by one, and the question that remains is what can one fun-loving, somewhat immature boy with the power to freeze everything he touches possibly do to counteract the fear and darkness enveloping the world? The animation effects are excellent in this film--especially the images of frost and ice spreading across ponds and windowpanes. The characters are interestingly quirky, the action is constant and well paced, and the considerable voice talent includes Alec Baldwin, Chris Pine, Jude Law, Isla Fisher, and Hugh Jackman. A familiarity with the books aids deeper understanding of characters like North and Sandman, but viewers unfamiliar with the books will have no problem enjoying this film. (Ages 7 and older) --Tami Horiuchi

The complete first and second seasons of the HBO medieval fantasy drama based on the best-selling novel series 'A Song of Ice and Fire' by George R.R. Martin. The programme follows the battle between the Starks and the other noble families of the Seven Kingdoms of Westeros to gain control of the Iron Throne. The episodes comprise: 'Winter Is Coming', 'The Kingsroad', 'Lord Snow', 'Cripples, Bastards and Broken Things', 'The Wolf and the Lion', 'A Golden Crown', 'You Win Or You Die', 'The Pointy End', 'Baelor', 'Fire and Blood', 'The North Remembers', 'The Night Lands', 'What Is Dead May Never Die', 'Garden of Bones', 'The Ghost of Harrenhal', 'The Old Gods and the New', 'A Man Without Honor', 'The Prince of Winterfell', 'Blackwater' and 'Valar Morghulis'.

Of all the folks in long underwear to be tapped for superhero films, Thor would seem to be the most problematic to properly pull off. (Hypothetical Hollywood conversation:"A guy in a tricked-out, easily merchandisable metal suit? Great! An Asgardian God of Thunder who says stuff like <em>thee</em> and <em>thou</em>? Um, is Moon Knight available?") Thankfully, the resulting film does its source material rather proud, via a committed cast and an approach that doesn't shy away from the over-the-top superheroics. When you're dealing with a flying guy wielding a huge hammer, gritty realism can be overrated, really. Blending elements from the celebrated comic arcs by Walter Simonson and J. Michael Straczynski, the story follows the headstrong Thunder God (Chris Hemsworth) as he is banished to Earth and stripped of his powers by his father Odin (Anthony Hopkins) after inadvertently starting a war with a planet of ticked-off Frost Giants. As his traitorous brother Loki (the terrific Tom Hiddleston) schemes in the wings, Thor must redeem himself and save the universe, with the aid of a beautiful scientist (Natalie Portman). Although director Kenneth Branagh certainly doesn't skimp on the in-jokes and fan-pleasing continuity references (be prepared to stick around after the credits, Marvel fans), his film distinguishes itself by adopting a larger-than-life cosmic Shakespearean air that sets itself apart from both the cerebral, grounded style made fashionable by <em>The Dark Knight</em> and the loose-limbed Rat Packish vibe of the <em>Iron Man</em> series. Glorying in the absolute unreality of its premise, Branagh's film is a swooping, Jack Kirby-inspired saga that brings the big-budget grins on a consistent basis, as well as tying in with the superhero battle royale <em>The Avengers</em>. <em>--Andrew Wright</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

<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>



Even though his cancer's in remission, chemistry teacher-turned-meth maker Walter White (Cranston) still can't catch a break. His wife (Anna Gunn) has filed for divorce, his DEA agent brother-in-law (Dean Norris) is out to bust him and a Mexican cartel just wants him dead. But with his family's future still at stake Walt cooks up a deal that will make him a fortune, a scheme with a terrible price. Executive produced by Vince Gilligan and Mark Johnson.

• <strong>Actors</strong> Bryan Cranston, Anna Gunn, Aaron Paul, Dean Norris, Betsy Brandt, RJ Mitte, Bob Odenkirk, Giancarlo Esposito, Jonathan Banks, Steven Michael Quezada, Charles Baker, Krysten Ritter, Matt L. Jones & Christopher Cousins
• <strong>Certificate</strong> 15 years and over
• <strong>Year</strong> 2010
• <strong>Screen</strong> 1.78:1 Anamorphic
• <strong>Languages</strong> English - Dolby Digital (5.1)
• <strong>Additional</strong><strong>Languages</strong> French
• <strong>Duration</strong> 9 hours and 49 minutes (approx)

Coming at a time when the action genre was dominated by shaky-cam <em>Bourne</em> editing shenanigans, 2008's <em>Taken</em> registered as a pleasantly streamlined surprise: a straight-ahead thriller where the clean, clear style both matched and accentuated Liam Neeson's ruthless-blunt-object force. Strangely, the sequel feels much more in line with producer Luc (<em>The Transporter, Colombiana</em>) Besson's other franchises--noisy, chaotically slammed together, and in dazed thrall to its own flash. (If there's an opportunity for a swooping helicopter shot or a fruit-cart collision, this sucker's going to go for two.) However, even if it can't match the impact of its predecessor, the sight of Neeson in righteous revenge mode still carries some considerably addictive juice. Set several years after the events of the first installment, the story finds Neeson's black-ops professional losing ground with his beloved daughter (Maggie Grace), while forming a tentative rapprochement with his ex-wife (the always welcome Famke Janssen). During a working vacation in Istanbul, their family ties are sorely testing by the appearance of an army of villains with a particular score to settle. Director Olivier Megaton (<em>Transporter 3</em>) digresses wildly from previous director Pierre Morel's no-nonsense approach, choosing instead to revel in over-the-top implausibilities; some pleasantly goofy (two words: grenade cartography), and others just sort of baffling (the reprisal of the first film's famous phone call comes in the middle of a fight scene, while a bunch of armed goons stand around obligingly). Still, even if the narrative rarely makes sense, Neeson keeps things from wandering too far off track, via sheer movie star presence. Craggier and somehow taller than ever, he makes for an ideal Family Man of Action: intriguingly self-contained, tender in repose, and absolutely ferocious when provoked. When he gets going, prepare to feel a little sorry for the bad guys. --Andrew Wright

Few directors can meld high-tech whiz-bang with solid narrative values like Robert Zemeckis, a filmmaker whose best work (<em>Who Framed Roger Rabbit, </em>the<em> Back to the Future</em> trilogy,<em> Cast Away</em>) stands tall among the blockbusters. Although there have been times when Zemeckis's insistence on pushing the special effects envelope can end up overshadowing the story being told (as in his animated version of <em>A Christmas Carol</em>), his innate gifts persist: when he's in the groove, he can show you something you've never seen before, as well as a reason to care about it. <em>Flight</em>, the director's first wholly live-action film in over a decade, serves as a reminder of just how good he can be, featuring both an exquisitely terrifying crash sequence and a fearless central performance from Denzel Washington. John Gatins's script serves as a bizarro inversion of the Sully Sullenberger tale: when a routine flight over Atlanta goes terrifyingly wrong, the aircraft's pilot (Washington) saves his passengers with a near-miraculous display of skill. As the investigation into the disaster begins, however, it becomes apparent that its hero's impromptu bravery hides a multitude of bad habits. Washington does a brilliant job as a man who is all too aware of his feet of clay, subverting his innate nobility to shattering effect. (As in the earlier <em>Training Day</em>, when he goes to the dark side, the shock ripples the screen.) The strength of his central performance is only amplified by some outstanding supporting work from Kelly Reilly (as a recovering heroin addict), Don Cheadle, Bruce Greenwood, and a scene-stealing John Goodman, who gets a few lines crass enough to remind you that yes, Zemeckis is the same person who once made the low-taste classic <em>Used Cars</em>. Impressive as the cast is, though, it's unlikely that things would work nearly as well without the director's grasp of the material, which shifts between horror, black comedy, and uplifting pathos without missing a beat. In his hands, this potential sap story makes for a smart, worldly addiction saga that blessedly refuses to stay within the usual melodramatic lines. Just don't ever, ever expect to see it as the in-flight entertainment. --Andrew Wright

From the moment Jamie Foxx throws off a filthy, tattered blanket to reveal a richly muscled back crisscrossed with long scars, it's obvious that<em> Django Unchained</em> will be both true to its exploitation roots but also clear-eyed about the misery that's being exploited. <br /><br />Django (Foxx), a slave set free in the years before the Civil War, joins with a German dentist-turned-bounty hunter (the marvelous Christoph Waltz, Inglourious Basterds), who has promised to help Django rescue his wife (Kerry Washington), who's still enslaved to a gleeful and grandiose plantation owner (Leonardo DiCaprio, plainly relishing the opportunity to play an out-and-out villain). What follows is a wild and woolly ride, crammed with all the pleasures one expects from a revenge fantasy written and directed by Quentin Tarantino. <br /><br />Plot-wise, some things happen a little too easily (for example, Django instantly becomes a master gunslinger), but the moral perspective is not glib. For all its lurid violence and jazzy dialogue, this is a still-rare movie that paints slavery for what it was: a brutal, dehumanizing practice that allowed a privileged few to profit from the suffering of many, a practice guaranteed by the gun and the whip. Think of it as the antidote to Gone with the Wind. Tarantino is more heartfelt in <em>Django Unchained</em> than in any of his previous movies--without sacrificing any of the pell-mell action, tension, and delicious language that made Reservoir Dogs, Kill Bill, and Pulp Fiction so very enjoyable. --<em>Bret Fetzer</em>

At a time when pop culture-savvy assassins run a dime a dozen, <em>In Bruges</em>, the first film from Irish playwright Martin McDonagh, registered as a brilliant anomaly: a literate, mordantly funny hit man movie that didn't lean on the standard Tarantinoisms. (If the director had a cinematic inspiration, it was more likely Stephen Frears's masterful 1984 film <em>The Hit</em>.) <em>Seven Psychopaths</em>, McDonagh's follow-up, strikes a much broader vein, melding parody, self-referential humour, and clever meta-fiction into one big splattery ball. Buckle up, basically. Colin Farrell plays an Irish screenwriter named, er, Martin who is terminally stuck on his latest script, an ultraviolent affair named"Seven Psychopaths." (We mentioned that this is meta, right?) Desperate for an ending, he turns to his lowlife friend (Sam Rockwell) for inspiration. As his new writing partner's suggestions get increasingly detailed, Martin realises that the insanity is no longer constrained to the page. Tom Waits shows up at one point, because this is the kind of movie that this is. It takes a strong director to hold together this amount of whirling chaos, and McDonagh proves himself up to the task (mostly), with the game work from his leads abetted by vivid supporting turns from Kevin Corrigan, Woody Harrelson, and Harry Dean Stanton, whose brief appearance cries out for a spinoff all of his own. McDonagh's true ace in the hole, though, is Christopher Walken, who is simply astounding as an aging dognapper with one lulu of a backstory. Walken's ability to go way over the top has been well documented, but here he underplays, a decision that ultimately stabilises the film's hurtling, streaky bursts of inspiration. No matter how goofy the movie around him gets, he's always one step beyond. --Andrew Wright