Thor (Two-Disc Blu-ray/DVD Combo + Digital Copy)
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Thor (Two-Disc Blu-ray/DVD Combo + Digital Copy) Review,Overviews,Features
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The epic adventure Thor spans the Marvel universe from present-day Earth to the cosmic realm of Asgard. At the center of the story is The Mighty Thor, a powerful but arrogant warrior whose reckless actions reignite an ancient war. As a result, Thor is banished to Earth where he is forced to live among humans. When the most dangerous villain of his world sends its darkest forces to invade Earth, Thor learns what it takes to be a true hero. and then update cheapest prices immediately. Limited time Only!
Transformers: Dark of the Moon (Two-Disc Blu-ray/DVD Combo + Digital Copy) and then update cheapest prices immediately. Limited time Only!
The wait is over. For the first time ever, experience the majesty of Disney’s epic animated masterpiece as it roars off the screen and into your living room on Blu-ray and Blu-ray 3D. With a spectacular digital picture, spine-tingling high definition sound and immersive bonus features—you will feel the love for this critically acclaimed and universally beloved classic like never before.
The Deathly Hallows: Part 2 is the film all Harry Potter fans have waited 10 years to see, and the good news is that it's worth the hype--visually stunning, action packed, faithful to the book, and mature not just in its themes and emotion but in the acting by its cast, some of whom had spent half their lives making Harry Potter movies. Part 2 cuts right to the chase: Voldemort (Ralph Fiennes) has stolen the Elder Wand, one of the three objects required to give someone power over death (a.k.a. the Deathly Hallows), with the intent to hunt and kill Harry. Meanwhile, Harry's quest to destroy the rest of the Horcruxes (each containing a bit of Voldemort's soul) leads him first to a thrilling (and hilarious--love that Polyjuice Potion!) trip to Gringotts Bank, then back to Hogwarts, where a spectacular battle pitting the young students and professors (a showcase of the British thesps who have stolen every scene of the series: Maggie Smith's McGonagall, Jim Broadbent's Slughorn, David Thewlis's Lupin) against a dark army of Dementors, ogres, and Bellatrix Lestrange (Helena Bonham Carter, with far less crazy eyes to make this round). As predicted all throughout the saga, Harry also has his final showdown with Voldemort--neither can live while the other survives--though the physics of that predicament might need a set of crib notes to explain. But while each installment has become progressively grimmer, this finale is the most balanced between light and dark (the dark is quite dark--several familiar characters die, with one significant death particularly grisly); the humor is sprinkled in at the most welcome times, thanks to the deft adaptation by Steve Kloves (who scribed all but one of the films from J.K. Rowling's books) and direction by four-time Potter director David Yates. The climactic kiss between Ron (Rupert Grint) and Hermione (Emma Watson), capping off a decade of romantic tension, is perfectly tuned to their idiosyncratic relationship, and Daniel Radcliffe has, over the last decade, certainly proven he was the right kid for the job all along. As Prof. Snape, the most perfect of casting choices in the best-cast franchise of all time, Alan Rickman breaks your heart. Only the epilogue (and the lack of chemistry between Harry and love Ginny Weasley, barely present here) stand a little shaky, but no matter: the most lucrative franchise in movie history to date has just reached its conclusion, and it's done so without losing its soul. --Ellen A. Kim
Author A.A. Milne's beloved bear, Winnie the Pooh, joins forces with his friends from the Hundred Acre Wood to help two of their own in Disney's hand-drawn charmer. Though he describes himself as a "bear of very little brain," Pooh (Jim Cummings) proves he's all heart when sad-sack Eeyore's tail goes missing and a terrible creature called the "Backson" abducts Christopher Robin (Jack Boulter), their human protector (the schoolboy actually leaves a note saying he will be "back soon"). Granted, our hero spends the entire journey dreaming about glorious pots of "hunny," but when push comes to shove, he prioritizes his pals over his tummy, which rumbles and expands as his hunger pangs increase. Wisely, co-directors Don Hall and Stephen J. Anderson avoid the distraction of instantly recognizable actors in favor of animation veterans, like Tom Kenny (SpongeBob SquarePants), who voices the resourceful Rabbit. While Sebastian Cabot narrated the Winnie featurettes of yore, comedian John Cleese, who sometimes speaks directly to Pooh, ably steps into his shoes, and talk-show host Craig Ferguson also makes a mark as the know-it-all Owl. At 68 minutes, not including short film "The Ballad of Nessie," this John Lasseter-produced feature should captivate most young viewers, even those accustomed to faster-paced, computer-animated features, like Lasseter's directorial efforts for Pixar. Musician M. Ward and singer/actress Zooey Deschanel of the band She & Him add to the old-fashioned charm with their retro-sounding songs. And be sure to stay through the closing credits for the funny surprise at the end. --Kathleen C. Fennessy
Over the top? Ridiculous? Yes, indeed. But Horrible Bosses is actually a truly hilarious movie that wings along on the strength of its leading actors and their amazing chemistry--and on its great high-concept premise. Three friends, Nick (Jason Bateman), Kurt (Jason Sudeikis), and Dale (Charlie Day), commiserate about their three respective Horrible Bosses. And yes, each is the worst kind of HR nightmare. Nick's boss is Dave (Kevin Spacey, terrific), a control-freak megalomaniac. Kurt's is Bobby (an almost unrecognizable Colin Farrell), a skeevy cokehead. And Dale's is Julia (Jennifer Aniston, having so much fun it's contagious), a sexual harasser who never misses an opportunity to prey (or swear). Suddenly, there's a Hitchcockian twist: What if each of the miserable workers could make one of the others' worst nightmares go away? But Horrible Bosses is no Strangers on a Train. Instead, it's a rollicking romp of bad-intentions-gone-even-worse, with the chemistry of all of the actors keeping things moving along crisply. The supporting cast is also great, including Donald Sutherland and Jamie Foxx, a tough hood whom the trio has the very bad sense to get "hit tips" from. Spacey hasn't been in his element like this in years, and it's great to see him back in top form. Farrell should be appreciated as a comic genius after this performance (splendidly directed, it should be pointed out, by veteran TV sitcom director Seth Gordon). And Horrible Bosses gives Aniston a meaty role she was born to play--assertive, moral-less, vengeful, petty. And all of it hilarious. For anyone who's ever had a bad boss, and even fleetingly played with the dark notion that's played here for laughs, Horrible Bosses is the best kind of revenge--served with laughs. --A.T. Hurley
Talk about "transforming." Michael Bay tested the patience of even the most devoted Transformers fan with the second installment of the franchise, Transformers: Revenge of the Fallen, but the hyperactive director bounces back in energetic form with number three, Transformers: Dark of the Moon. From the long opening sequence (a zany alternate-history reading of the NASA moon program, complete with cameos by John F. Kennedy and Richard Nixon) through the predictably extended action climax, Bay is actually on his best behavior. Sure, his taste is as vulgar as ever (is introducing your leading lady via a lingering butt shot part of the director's personal signature?), but the story line is streamlined and the action is coherent: the constant chop-chop of the fighting sequences in Revenge is gone, replaced by a long-take approach that actually shows us who's fighting who. Plus, it's hard to resist a tilting skyscraper that allows the protagonists to slide down its glassy exterior. I know, right? 
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). Critics and audiences alike salute Captain America: The First Avenger as “pure excitement, pure action, and pure fun!” – Bryan Erdy CBS-TV
There are male viewers who will enjoy The Help, but Mississippi native Tate Taylor aims his adaptation squarely at the female readers who made Kathryn Stockett's novel a bestseller. If the multi-character narrative revolves around race relations in the Kennedy-era South, the perspective belongs to the women. Veteran maid Aibileen (Doubt's Viola Davis in an Oscar-worthy performance) provides the heartfelt narration that brackets the story. A widow devastated by the death of her son, she takes pride in the 17 children she has helped to raise, but she's hardly fulfilled. That changes when Skeeter (Easy A's Emma Stone) returns home after college. Unlike her peers, Skeeter wants to work, so she gets a job as a newspaper columnist. But she really longs to write about Jackson's domestics, so she meets with Aibileen in secret--after much cajoling and the promise of anonymity. When Aibileen's smart-mouthed friend Minny (breakout star Octavia Spencer) breaches her uptight employer's protocol, Hilly (Bryce Dallas Howard) gives her the boot, and she ends up in the employ of local outcast Celia (Jessica Chastain, hilarious and heartbreaking), who can't catch a break due to her dirt-poor origins. After the murder of Medgar Evers, even more maids, Minny among them, bring their stories to Skeeter, leading to a book that scandalizes the town--in a good way. Not since Steel Magnolias has Hollywood produced a Southern woman's picture more likely to produce buckets of tears (and almost as many laughs). --Kathleen C. Fennessy
The delightful Kristen Wiig, who's shone in dozens of supporting roles and on Saturday Night Live, hits a bull's-eye with her first lead role in Bridesmaids. Annie (Wiig) isn't doing so well; her bakery failed and she keeps sleeping with a good-looking louse (Jon Hamm, Mad Men), but she's always had her best friend Lillian (Maya Rudolph, Away We Go) to buoy her up… until Lillian gets engaged. Annie becomes maid of honor, but another friend of Lillian's--the rich and lovely Helen (Rose Byrne, Get Him to the Greek)--wants to take over that position. Misadventures with bad Brazilian food, dress fittings, an unfortunate flight to Vegas, and a sympathetic traffic cop (Chris O'Dowd from British TV comedy The IT Crowd) follow, with increasingly hilarious results. Bridesmaids successfully balances raunchy comedy and character portrait. The embarrassing and socially catastrophic stuff, which in too many movies balloons into absurdity, is here kept in check just enough to allow Annie and the other characters to be multidimensional people--without the movie losing its comic capacity for cringe. (Actress Melissa McCarthy, of Mike & Molly, works miracles with a character than in most hands would be pure cartoon.) Wiig's enormous appeal keeps Annie sympathetic, even as she becomes more and more of a train wreck. Bridesmaids is both smart and dumb, raunchy and earnest, and altogether enjoyable. --Bret Fetzer
As far as superheroes go, Green Lantern may lack the clean, iconic lines of his more respectable DC counterparts Superman and Batman, but the very wonkiness of the premise (earthling joins elite force of space cops) lends itself to a pulpy, operatic, not-entirely-serious approach. (One of his teammates is a talking carrot, after all.) Capitalizing on a charming performance by Ryan Reynolds, the feature-film adaptation is a big, messy movie that, at its best, generates a feeling of aw-shucks wonder. Much like Thor, it isn't afraid to loosen up on the inner turmoil of its hero and go macro. Based on comic writer Geoff Johns's retrofitting of the title character, the story follows Hal Jordan (Reynolds), an impulsive test pilot whose encounter with a dying alien leaves him with an energy ring capable of weaponizing his imagination. While struggling to master his will-based powers, he must deal with threats both earthbound (a hilariously nebbishy Peter Saarsgard, who may be the first supervillain to rock a hoodie) and galactic. Martin Campbell, a director who specializes in more down-to-earth heroics (Casino Royale,The Mask of Zorro), brings a pleasing matter-of-fact baseline to the proceedings, an approach that makes the increasingly outlandish effects truly feel special when they occur. Green Lantern has its debits, certainly--the lack of a memorable theme, a second act that hems and haws before getting to the action, the standard origin story shoehorning in too many secondary plots--but its final scenes succeed on a Gigantor, cosmic level where most superhero movies fear to tread. The bigger it goes, the more goofily enjoyable it gets. --Andrew Wright
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 thee and thou? 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 The Dark Knight and the loose-limbed Rat Packish vibe of the Iron Man 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 The Avengers. --Andrew Wright