The extended editions of Peter Jackson's The Lord of the Rings present the greatest trilogy in film history in the most ambitious sets in DVD history. In bringing J. R. R. Tolkien's nearly unfilmable work to the screen, Jackson benefited from extraordinary special effects, evocative New Zealand locales, and an exceptionally well-chosen cast, but most of all from his own adaptation with co-writers Fran Walsh and Philippa Boyens, preserving Tolkien's vision and often his very words, but also making logical changes to accommodate the medium of film. While purists complained about these changes and about characters and scenes left out of the films, the almost two additional hours of material in the extended editions (about 11 hours total) help appease them by delving more deeply into Tolkien's music, the characters, and loose ends that enrich the story, such as an explanation of the Faramir-Denethor relationship, and the appearance of the Mouth of Sauron at the gates of Mordor. In addition, the extended editions offer more bridge material between the films, further confirming that the trilogy is really one long film presented in three pieces (which is why it's the greatest trilogy ever-there's no weak link). The scene of Galadriel's gifts to the Fellowship added to the first film proves significant over the course of the story, while the new Faramir scene at the end of the second film helps set up the third and the new Saruman scene at the beginning of the third film helps conclude the plot of the second. To top it all off, the extended editions offer four discs per film: two for the longer movie, plus four commentary tracks and stupendous DTS 6. 1 ES sound; and two for the bonus material, which covers just about everything from script creation to special effects. [+]

Of all the movies made about or glancingly involving the 19th-century outlaw Jesse Woodson James, The Assassination of Jesse James by the Coward Robert Ford is the most reflective, most ambitious, most intricately fascinating, and indisputably most beautiful. Based on the novel of the same name by Ron Hansen, it picks up James late in his career, a few hours before his final train robbery, then covers the slow catastrophe of the gang's breakup over the next seven months even as the boss himself settles into an approximation of genteel retirement. But in another sense all of the movie is later than that. The very title assumes the audience's familiarity with James as a figure out of history and legend, and our awareness that he was-will be-murdered in his parlor one quiet afternoon by a back-shooting crony. The film-only the second to be made by New Zealand-born writer-director Andrew Dominik-reminds us that Dominik's debut film, Chopper, was the cunningly off-kilter portrait of another real-life criminal psychopath who became a kind of rock star to his society. The Jesse James of this telling is no Robin Hood robbing the rich to give to the poor, and that train robbery we witness is punctuated by acts of gratuitous brutality, not gallantry. Nineteen-year-old Bob Ford (Casey Affleck) seeks to join the James gang out of hero worship stoked by the dime novels he secretes under his bed, but his glam hero (Brad Pitt) is a monster who takes private glee in infecting his accomplices with his own paranoia, then murdering them for it. In the careful orchestration of James's final moments, there's even a hint that he takes satisfaction in his own demise. Affleck and Pitt (who co-produced with Ridley Scott, among others) are mesmerising in the title roles, but the movie is enriched by an exceptional supporting cast: Sam Shepard as Jesse's older, more stable brother Frank; Sam Rockwell as Bob Ford's own brother Charlie, whose post-assassination descent into madness is astonishing to behold; Paul Schneider, Garret Dillahunt, and Jeremy Renner as three variously doomed gang members; and Mary-Louise Parker, who as Jesse's wife Zee has few lines yet manages with looks and body language to invoke a well nigh-novelistic back-story for herself. There are also electrifying cameos by James Carville, doing solid actorly work as the governor of Missouri; Ted Levine, as a lawman of antic spirit; and Nick Cave, composer of the film's score (with Warren Ellis) and screenwriter of the Aussie western The Proposition, suddenly towering over a late scene to perform the folk song that set the terms for the book and movie's title. [+]

There's a steady pattern forming to seasons of Lost, where the narrative by turns manages to enthral and frustrate with equal measure. And the show's makers are clearly wise to this, as while elements of the third season revert to type, there's a clear and genuine effort to energise a programme that continues to stretch its simple premise as far as it can. So while Lost still compromises of a group of plane crash survivors marooned on a mysterious island, there's plenty else being thrown into the pot. Season three finds new characters, greater exposition of the mysterious `others', the obligatory background character work, and a pronounced fracturing of relations between many of the survivors. It too also manages to hint at some answers to the many conundrums that it continues to pose, not least a concluding episode that itself should keep fan debates fuelled until well into the next series. And, chief among its accomplishments, Lost still manages to keep us interested, and leaves plenty in the tank for the future as well. In short, there's little danger you'll be short-changed by Lost season three thanks to its ideas, its nerve, and the continued clues it teasingly leaves along the way. As fascinating as it always was. -Jon Foster.

C. S. Lewis's classic novel The Lion, the Witch, and the Wardrobe makes an ambitious and long-awaited leap to the screen in this modern adaptation. It's a CGI-created world laden with all the special effects and visual wizardry modern filmmaking technology can conjure, which is fine so long as the film stays true to the story that Lewis wrote. And while this film is not a literal translation-it really wants to be so much more than just a kids' movie-for the most part it is faithful enough to the story, and whatever faults it has are happily faults of overreaching, and not of holding back. The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe tells the story of the four Pevensie children, Lucy, Peter, Edmund, and Susan, and their adventures in the mystical world of Narnia. Sent to the British countryside for their own safety during the blitz of World War II, they discover an entryway into a mystical world through an old wardrobe. Narnia is inhabited by mythical, anthropomorphic creatures suffering under the hundred-year rule of the cruel White Witch (Tilda Swinton, in a standout role). The arrival of the children gives the creatures of Narnia hope for liberation, and all are dragged into the inevitable conflict between evil (the Witch) and good (Aslan the Lion, the Messiah figure, regally voiced by Liam Neeson). Director (and co-screenwriter) Andrew Adamson, a veteran of the Shrek franchise, knows his way around a fantasy-based adventure story, and he wisely keeps the story moving when it could easily become bogged down and tiresome. [+]

Batman Begins discards the previous four films in the series and recasts the Caped Crusader as a fearsome avenging angel. That's good news, because the series, which had gotten off to a rousing start under Tim Burton, had gradually dissolved into self-parody by 1997's Batman & Robin. As the title implies, Batman Begins tells the story anew, when Bruce Wayne (Christian Bale) flees Western civilization following the murder of his parents. He is taken in by a mysterious instructor named Ducard (Liam Neeson in another mentor role) and urged to become a ninja in the League of Shadows, but he instead returns to his native Gotham City resolved to end the mob rule that is strangling it. But are there forces even more sinister at hand? Co-written by the team of David S. Goyer (a veteran comic book writer) and director Christopher Nolan (Memento), Batman Begins is a welcome return to the grim and gritty version of the Dark Knight, owing a great debt to the graphic novels that preceded it. It doesn't have the razzle dazzle, or the mass appeal, of Spider-Man 2 (though the Batmobile is cool), and retelling the origin means it starts slowly, like most "first" superhero movies. But it's certainly the best Bat-film since Burton's original, and one of the best superhero movies of its time. Bale cuts a good figure as Batman, intense and dangerous but with some of the lightheartedness Michael Keaton brought to the character. Michael Caine provides much of the film's humor as the family butler, Alfred, and as the love interest, Katie Holmes (Dawson's Creek) is surprisingly believable in her first adult role. [+]

There's no getting around it: there was simply no better summer blockbuster in 2007 than the astonishing The Bourne Ultimatum. It's a film that defies expectations in many ways. Firstly, it's a third entry in a trilogy that by some distance in the best in an already-compelling franchise. Secondly, whenThe Bourne Ultimatum kickstarts with a ferocious energy and pace, you sit there and rightly expect it not to keep the momentum going. But it does. And does it astonishingly well. Just witness the breathless sequence through Waterloo Station, convince yourself that the film has peaked then, then go and watch them top it later on in the movie. The film itself has many trump cards, not least its leading man. Matt Damon fits the character of reluctant lead Jason Bourne perfectly, but the trick is to give him some excellent supporting players to work against. Thus, The Bourne Ultimatum also stars the excellent pair of David Straitharn and a returning Joan Allen, along with Albert Finney, Paddy Considine and Julia Stiles too. [+]

To anyone who has ever yearned to see woolly mammoths in full stampede across the Alps, 10,000 BC can be heartily recommended. There's also a flock of "terror birds" (lethal ostriches on steroids) in a steaming jungle only a splice away from the heroes' snow-dusted alpine habitat. And lo, somewhere in the vastness of the North African desert lies a city whose slave inhabitants alternately teem like the crowds in Quo Vadis during the burning of Rome and trudge in hieratically menacing formations like the workers in Metropolis. That's pretty much it for the cool stuff. Setting movies in prehistoric times is dicey. Apart from the "Dawn of Man" sequence in 2001: A Space Odyssey, only Quest for Fire makes the grade, and its creators had the good sense to limit the dialogue to grunts and moans. 10,000 BC boasts a quasi-biblical narrator (Omar Sharif) and characters who speak in formed, albeit uninteresting, sentences (including a New Age-y "I understand your pain"). But let no one say the storytelling isn't primitive. The narrator speaks of "the legend of the child with the blue eyes" and bingo, here's the kid now. When, grown up to be Camilla Belle, she's carried off by "four-legged demons" (guys on horseback to you). [+]

As with George Lucas's other movie franchise, there's a vein of mysticism running through the Indiana Jones Trilogy. Watching all three back-to-back it's possible to unravel the chronology and chart the spiritual journey of our hero: the idealistic Young Indy ("It belongs in a museum", implores River Phoenix in the opening escapade of The Last Crusade) grows up to become a cynical fortune-hunter seen trading archaeological treasures with Chinese gangsters at club "Obi-Wan" in The Temple of Doom. From there we follow his path to redemption via three mystical religious objects: respectively Hindu (the Shankara stones in Temple of Doom), Jewish (the Ark of the Covenant in Raiders Of The Lost Ark), and Christian (the Holy Grail itself in Last Crusade). But that's just the subtext. Along the way, this knight-errant archaeologist undertakes improbable adventures (featuring spiders, snakes, rats, insects and Nazis galore), rescues damsels in distress (even when they really don't want to be rescued, such as Kate Capshaw in Temple of Doom), and still finds time to bond with his dad (Sean Connery, in one of cinema's great cameo roles as Dr Jones Sr. ). Steven Spielberg revels in Lucas's recreation of 1930s cliff-hanger serials, infusing every scene with kinetic energy and infectious enthusiasm and creating any number of iconic sequences that have become touchstones of cinematic history. Director and producer are more than ably assisted by regular composer John Williams, whose swashbuckling Korngold-inspired "Raiders" theme casts Harrison Ford as a modern-day Errol Flynn. This trilogy plays like a self-contained whole that leaves nothing wanting: from the witty dialogue and breathtaking action choreography to the near-perfect casting, this is popular movie-making at its very peak. -Mark Walker.

The most successful invigoration of a cinematic franchise since Batman Begins, Casino Royale offers a new Bond identity. Based on the Ian Fleming novel that introduced Agent 007 into a Cold War world, Casino Royale is the most brutal and viscerally exciting James Bond film since Sean Connery left Her Majesty's Secret Service. Meet the new Bond; not the same as the old Bond. Daniel Craig gives a galvanising performance as the freshly minted double-0 agent. Suave, yes, but also a "blunt instrument," reckless and possessed with an ego that compromises his judgment during his first mission to root out the mastermind behind an operation that funds international terrorists. In classic Bond film tradition, his global itinerary takes him to far-flung locales, including Uganda, Madagascar, the Bahamas (that's more like it) and Montenegro, where he is pitted against his nemesis in a poker game, with hundreds of millions in the pot. The stakes get even higher when Bond lets down his armour by falling in love with Vesper (Eva Green), the ravishing banker's representative fronting him the money. For longtime fans of the franchise, Casino Royale offers some retro kicks. Bond wins his iconic Aston Martin at the gaming table, and when a bartender asks if he wants his martini "shaken or stirred," he disdainfully replies, "Do I look like I give a damn?". There's no Moneypenny or "Q," but Dame Judi Dench is back as the exasperated M who, one senses, admires Bond's "bloody cheek. [+]

Pirates of the Caribbean: At World's End is a rollicking voyage in the same spirit of the two earlier Pirates films, yet far darker in spots (and nearly three hours to boot). The action, largely revolving around a pirate alliance against the ruthless East India Trading Company, doesn't disappoint, though the violence is probably too harsh for young children. Through it all, the plucky cast (Keira Knightley, Orlando Bloom, Geoffrey Rush) are buffeted by battle, maelstroms, betrayal, treachery, a ferocious Caribbean weather goddess, and that gnarly voyage back from the world's end-but with their wit intact. As always, Johnny Depp's Jack Sparrow tosses off great lines; he chastises "a woman scorned, like which hell hath no fury than!" He insults an opponent with a string of epithets, ending in "yeasty codpiece. " In the previous The Curse of the Black Pearl, Sparrow was killed-sent to Davy Jones' Locker. In the opening scenes, the viewer sees that death has not been kind to Sparrow-but that's not to say he hasn't found endless ways to amuse himself, cavorting with dozens of hallucinated versions of himself on the deck of the Black Pearl. But Sparrow is needed in this world, so a daring rescue brings him back. Keith Richards' much ballyhooed appearance as Jack's dad is little more than a cameo, though he does play a wistful guitar. But the action, as always, is more than satisfying, held together by Depp, who, outsmarting the far-better-armed British yet again, causes a bewigged commander to muse: "Do you think he plans it all out, or just makes it up as he goes along?" As far as fans are concerned, it matters not. -A. [+]

Less engrossing than its 2004 predecessor National Treasure, Jon Turteltaub's busy sequel National Treasure 2: Book of Secrets is nevertheless a colourful and witty adventure, another race against overwhelming odds for the answer to a historical riddle. Ben Gates (Nicolas Cage), the treasure hunter who feverishly sought, in the first film, the whereabouts of a war chest hidden by America's forefathers, is now charged with protecting family honour. When a rival (Ed Harris) offers alleged proof that Gates' ancestor, Thomas Gates, was not a Civil War-era hero but a participant in the assassination of Abraham Lincoln, Ben and his father (Jon Voight) and crew (Justin Bartha, Diane Kruger) hopscotch through Paris, London, Washington DC, and South Dakota to gather evidence refuting the claim. The film is most fun when the hunt, as in National Treasure, squeezes Ben into such impossible situations as examining twin desks in the queen's chambers in Buckingham Palace and the White House's Oval Office, or kidnapping an American president (Bruce Greenwood) for a few minutes of frank talk. Helen Mirren, the previous year's Oscar winner for Best Actress, wisely joins the cast of a likely hit film as Ben's archaeologist mother, long-estranged from Voight's character but as feisty as the rest of the family. Returning director Turteltaub takes excellent advantage of his colorful backdrops in European capitals and the always-eerie Mount Rushmore, and oversees some wildly imaginative sets for this dramedy's feverish third act in an audacious and completely unexpected, legendary setting. If National Treasure 2: Book of Secrets doesn't feel quite as crisp and unique as its predecessor, it is still ingenious and wry enough to laugh a bit at itself. -Tom Keogh.

An adaptation of the Neil Gaiman novel of the same name, Stardust brings a strong cast together for an enjoyable family feast, with plenty to enjoy. Stardust mixes in romance and adventure, all in a fantasy movie guise, as it follows Tristan on his quest to retrieve a fallen star for the beautiful Victoria. Only it soon becomes clear that there's a lot more going on as Tristan makes his journey (not least a companion more diverting than the aforementioned Victoria). Michelle Pfeiffer, for instance, returns to high profile movie making (after quite a break) in the role of the evil witch, while there's space too for Robert De Niro's pirate and an odd cameo from Ricky Gervais. Seemingly one of a wealth of family films that made it out of the blocks off the success of the Lord of the Rings trilogy, Stardust doesn't quite hit those heights, but it has quite a sporting go. It's an uneven tale, albeit one told with enough passion and enthusiasm to encourage you to cut it some slack. And when it gets to the end of the last reel, it's hard to feel shortchanged by what you've just seen. For while Stardust has problems, it also has laughs, adventure, action and a whole lot in its corner to recommend it. And it is worth your time and attention. -Jon Foster.

It was always going to be a challenge to move a show whose premise effectively fitted comfortably inside a single series to a third season. And so perhaps inevitably, Prison Break moves the action back to the slammer, this time in Panama. It proves to be a wise choice, as, while plausibility has long since been thrown out of the window, it's a more natural setting for the show. Prison Break still follows brothers Lincoln and Michael Burrows, but this time there's a far tougher prison that needs to be broken out of. It's a little less claustrophobic than the last one, but more dangerous. And along with the usual terrific supporting cast of characters, the tension, twists and violence that underpin the show are all very much present and correct. Powering Prison Break forwards, of course, is the pin-up star Wentworth Miller, who owns his role as Michael, and grounds many of the show's extremities. And while it's a shorter season than the first two, this third run still manages to cram in some strong entertainment. Perhaps season three isn't Prison Break's finest hour, and perhaps the concept has diluted somewhat since the show first began. But this is still really good, assured entertainment, that knows what it wants to do and simply gets on with it. [+]

Batman Thanks to the ambitious vision of director Tim Burton, the blockbuster hit of 1989 delivers the goods despite an occasionally spotty script, giving the caped crusader a thorough overhaul in keeping with the crime fighter's evolution in DC Comics. Michael Keaton strikes just the right mood as the brooding "Dark Knight" of Gotham City; Kim Basinger plays Gotham's intrepid reporter Vicki Vale; and Jack Nicholson goes wild as the maniacal and scene-stealing Joker, who plots a takeover of the city with his lethal Smilex gas. Triumphant Oscar-winning production design by the late Anton Furst turns Batman into a visual feast, and Burton brilliantly establishes a darkly mythic approach to Batman's legacy. Danny Elfman's now-classic score propels the action with bold, muscular verve. -Jeff Shannon Batman Returns The first Batman sequel takes a wicked turn with the villainous exploits of the freakish and mean-spirited Penguin (Danny DeVito), whose criminal collaboration with evil tycoon Max Shreck (Christopher Walken) threatens to drain Gotham City of its energy supply. As if that weren't enough, Batman (Michael Keaton) has his hands full with the vengeful Catwoman (Michelle Pfeiffer), who turns out to be a lot more dangerous than a kitten with a whip. As with the first Batman feature, director Tim Burton brings his distinct visual style to the frantic action, but this time there's a darker malevolence lurking beneath all that extraordinary production design. -Jeff Shannon Batman Forever When Tim Burton and Michael Keaton announced that they'd had enough of the Batman franchise, director Joel Schumacher stepped in (with Burton as coproducer) to make this action-packed extravaganza starring Val Kilmer as the caped crusader. Batman is up against two of Gotham City's most colorful criminals, the Riddler (a role tailor-made for funnyman Jim Carrey) and the diabolical Two-Face (Tommy Lee Jones), who join forces to conquer Gotham's population with a brain-draining device. Nicole Kidman plays the seductive psychologist who wants to know what makes Batman tick. [+]

In retrospect, Batman Begins is perhaps even more of a towering achievement than we first realised. Arriving eight years after the franchise-killing Batman & Robin, it managed to not only shine fresh light on the Batman franchise, but also emerge as a template for what a top notch comic book movie should be. Much of the credit, of course, should go to the pairing of Christian Bale and director Christopher Nolan. Bale steps where the likes of Michael Keaton, Adam West and George Clooney have stepped before, and yet his Batman is darker and more complex than any of them. Behind the camera is perhaps Batman Begins' secret weapon, as Nolan-previously responsible for Memento among others-rewards the gamble to give him the job in the first place. His film is packed full of memorable characters, and he draws together a staggering cast, yet none of them are shortchanged. From Rutger Hauer's brief cameo as head of Wayne Enterprises through to Morgan Freeman, Gary Oldman, Cillian Murphy, Tom Wilkinson and Liam Neeson, it's the finest cast in a film of this ilk since the first Superman. The film's belated Blu-ray debut has, fortunately, been worth the wait, with the reference-quality 1080p image simply sparkling on any screen that can handle the resolution. Backed up with a thumping surround sound mix, this is superb work, and it's fitting that it should be used on a film of this quality. Now? We just need The Dark Knight to join it in high definition. [+]

A mainstream Hollywood actor who seems committed to igniting science fiction features, Will Smith chalked up another sizeable hit in the shape of I Am Legend, the latest cinematic adaptation of Richard Matheson's book of the same name. This time, Smith plays Robert Neville, the last man on an Earth emptied by a deadly virus that he continues to try and find a working vaccine for. With just his dog for company, and the fear of the vampires that haunt the night never far away, I Am Legend quickly establishes itself as a taut, highly watchable blockbuster, with plenty of reasons to gnaw at your nail. Where I Am Legend really scores is in the excellent first half. The scenes of a deserted New York are quite staggering, and it's also to Smith's immense credit that he holds the attention even though for the most part he's the only person on the screen. It's a quite wonderful opening hour that the film enjoys, and one that easily stands repeat viewings alone. The back half of I Am Legend is, almost inevitably, not quite the match of what's gone before, as the threats of the night don't, when you finally see them, live up to expectations. Nonetheless, for Smith's performance, and the sheer quality of the build up, I Am Legend can stand side-by-side with the last take on the story, the Charlton Heston-starrer The Last Man On Earth. Take either home, and you're in for a rollicking good night in front of the telly. -Jon Foster.