Studio: New Line Home Video Release Date: 06/17/2008 Rating: R

Studio: Warner Home Video Release Date: 06/24/2008 Rating: Pg13

Includes all five Dirty Harry films: all special features on the Dirty Harry Special Edition and Deluxe Editions plus additional special features and contents specific to the Ultimate Collector's Edition. Bonus Feature-Length documentary Clint Eastwood: Out of the Shadows; a 40+ page hardcover book; Wallet w/metal badge and removable laminated I.D. card; Five 5?x 7? Reproduction Lobby Poster Cards plus an exclusive UCE card; Scorpio Portrait of a Killer Poster-Sized (19? x 27?) map of San Francisco detailing Harry?s hunt for the killer; Never-Before-Seen Production CorrespondenceFormat: BLU-RAY DISC Genre: ACTION/ADVENTURE/CRIME Rating: R UPC: 883929010790 Manufacturer No: 1000037212

A critically acclaimed film that won a total of eight 1970 Academy Awards (Including Best Picture) Patton is a riveting portrait of one of the 20th century's greatest military geniuses. One of it's Oscars went to George Patton the only Allied general truly feared by the Nazis. Charismatic and Flamboyant Patton designed his own uniforms sported ivory-handled six-shooters and believed he was a warrior in past lives. He outmanuevered Rommel in Africa and after D-Day led his troops in an unstoppable campaign across Europe. But he was rebellious as well in sight and poignancy his own volatile personailty was one enemy he could never defeat.System Requirements:Running Time: 170 minutesFormat: BLU-RAY DISC Genre: ACTION/ADVENTURE/CLASSICS Rating: PG UPC: 024543519782 Manufacturer No: 2251978

"I bought a car. Turned out to be an alien robot. Who knew?" deadpans Sam Witwicky, hero and human heart of Michael Bay's rollicking robot-smackdown fest, Transformers. Witwicky (the sweetly nerdy Shia LaBeouf, channeling a young John Cusack) is the perfect counterpoint to the nearly nonstop exhilarating action. The plot is simple: an alien civil war (the Autobots vs. the evil Decepticons) has spilled onto Earth, and young Sam is caught in the fray by his newly purchased souped-up Camaro. Which has a mind—and identity, as a noble-warrior robot named Bumblebee—of its own. The effects, especially the mind-blowing transformations of the robots into their earthly forms and back again, are stellar.

Fans of the earlier film and TV series will be thrilled at this cutting-edge incarnation, but this version should please all fans of high-adrenaline action. Director Bay gleefully salts the movie with homages to pop-culture touchstones like Raiders of the Lost Ark, King Kong, and the early technothriller WarGames. The actors, though clearly all supporting those kickass robots, are uniformly on-target, including the dashing Josh Duhamel as a U.S. Army sergeant fighting an enemy he never anticipated; Jon Voight, as a tough yet sympathetic Secretary of Defense in over his head; and John Turturro, whose special agent manages to be confidently unctuous, even stripped to his undies. But the film belongs to Bumblebee, Optimus Prime, and the dastardly Megatron—and the wicked stunts they collide in all over the globe. Long live Transformers! —A.T. Hurley

Unmistakably a shot at greatness, Paul Thomas Anderson's There Will Be Blood succeeds in wild, explosive ways. The film digs into nothing less than the sources of peculiarly American kinds of ambition, corruption, and industry—and makes exhilarating cinema from it all. Although inspired by Upton Sinclair's 1927 novel Oil!, Anderson has crafted his own take on the material, focusing on a black-eyed, self-made oilman named Daniel Plainview (Daniel Day-Lewis), whose voracious appetite for oil turns him into a California tycoon in the early years of the 20th century. The early reels are a mesmerizing look at the getting of oil from the ground, an intensely physical process that later broadens into Plainview's equally indomitable urge to control land and power. Curious, diverting episodes accumulate during Plainview's rise: a mighty derrick fire (a bravura opportunity that Anderson, with the aid of cinematographer Robert Elswit, does not fail to meet), a visit from a long-lost brother (Kevin J. O'Connor), the ongoing involvement of Plainview's poker-faced adoptive son (Dillon Freasier). As the film progresses, it gravitates toward Plainview's rivalry with the local representative of God, a preacher named Eli Sunday (brimstone-spitting Paul Dano); religion and capitalism are thus presented not so much as opposing forces but as two sides of the same coin. And the worm in the apple here is less man's greed than his vanity. Anderson's offbeat take on all this—exemplified by the astonishing musical score by Jonny Greenwood—occasionally threatens to break the film apart, but even when it founders, it excites. As for Daniel Day-Lewis, his performance is Olivier-like in its grand scope and its attention to details of behavior; Plainview speaks in the rum-rich voice of John Huston, and squints with the wariness of Walter Huston. It's a fearsome performance, and the engine behind the film's relentless power. —Robert Horton

After years of rumors, it turns out that Tim Burton was the perfect visionary to film Sweeney Todd: The Demon Barber of Fleet Street, Stephen Sondheim's Broadway masterpiece, and the result is a macabre and moving musical movie as enthralling as anything Burton has ever done. The show's mix of gothic horror, Grand Guignol, very dark humor, and witty and beautiful music never was the stuff of traditional musical comedy, but it's a powerful work, and perhaps the richest of the late 20th century. In the movie, Burton's frequent collaborator, Johnny Depp, plays Todd, a wronged man whose lust for revenge drives him to murder (an 19th-century legend who has been traced to a real-life barber). Helena Bonham Carter, another Burton mainstay, is Mrs. Lovett, the barber's partner-in-unspeakable-crime. It's no surprise that Depp is an excellent choice to convey Todd's brooding intensity and volcanic rage, but he can also sing a score that is so challenging it has often played in opera houses (though not with the same style as the Broadway original, Len Cariou, and he occasionally lapses into pop style). Bonham Carter is small of voice and lacks the humor of the original Broadway Lovett, Angela Lansbury, but she sings on pitch, in rhythm, and in character at the same time, which is no small feat for a Sondheim show. Aficionados will regret the loss of certain musical passages——"The Ballad of Sweeney Todd" is just an instrumental overture and the chorus is gone altogether, among others—but the reassuring presence of orchestrator Jonathan Tunick and conductor Paul Gemignani ensures that the music feels right and sounds great. And the film's depiction of a Victorian London hellhole—with cinematography by Dariusz Wolski and costumes by Colleen Atwood—also looks and feels right.

The excellent cast is filled out by Alan Rickman as the villainous Judge Turpin, Timothy Spall as his seedy Beadle, Sacha Baron Cohen (Borat) as a rival barber, Jamie Campbell Bower as the young lover Anthony, Jayne Wisener as his object of affection, and Ed Sanders as the young Toby. For fans of Tim Burton and Johnny Depp who don't think they like musicals, Sweeney Todd should be a revelation (though not for the squeamish, as the gore is intense and completely appropriate). For fans of Broadway and Sondheim, it's hard to imagine getting a better adaptation than this. The fact that there's no newly composed Oscar-bait song sung by a Josh Groban-type over the end credits only makes it better. —David Horiuchi

Disc 1: **Widescreen Feature Film **Commentary by Director David Ayer **Commentary by Forest Whitaker and Keanu Reeves **15 Deleted Scenes **10 Alternate Tracks **5 Vignettes **4 Behind The Scenes **Street Rules: Rolling with David Ayer and Jaime Fitz Simons **La Bete Noir: Writing Street Kings **Street Cred **Under Surveillance: Inside the World of Street Kings **HBO First Look- City of Fallen Angels: Making Street Kings

Disc 2: Digital Copy

Will Ferrell stars in Semi-Pro an outrageous comedy set in 1976 against the backdrop of the maverick ABA - a fast-paced wild and crazy basketball league that rivaled the NBA and made a name for itself with innovations like the three-point shot and slam dunk contest. Ferrell plays Jackie Moon a one-hit wonder who used the profits from the success of his chart-topping song "Love Me Sexy" to achieve his dream of owning a basketball team. But Moon's franchise the Flint Michigan Tropics is the worst team in the league and in danger of folding when the ABA announces its plans to merge with the NBA. If they want to survive Jackie and the Tropics must now do the seemingly impossible - win.Format: BLU-RAY DISC Genre: COMEDY/PARODY & SPOOF UPC: 794043121166 Manufacturer No: 1000038647

Whether you consider plants a source of terror or not will ultimately determine how you feel about the grisly horror movie The Ruins, but director Carter Smith and his cast and crew certainly give their all in bringing the chills of Scott Smith's novel to the big screen. Jena Malone (Saved) and Shawn Ashmore (the X-Men franchise) are the name actors in a pair of American couples down Mexico way who are ambushed by hostile Mayans and forced to the top of an ancient temple, where a monstrous and diabolically clever entity awaits them. Director Smith and his talented crew (which includes cinematographer Darius Khondji of Se7en fame and composer Graeme Revell) create a visually impressive spookshow but can't quite deliver genuine suspense (gore, however, is handled capably), and Scott Smith's script boils away much of the character development and mounting terror in his book, which also strands the likeable cast. The movie's monster, so alarming and imaginative in the original novel, is likely to provoke as many laughs as screams from filmgoers, especially when it reveals its unique talent. — Paul Gaita

The next chapter finds Rambo recruited by missionaries to protect them during a humanitarian aid effort on behalf of the persecuted Karen people of Burma. After the missionaries are taken prisoner by Burmese soldiers Rambo gets a second impossible job: rescue the missionaries in the midst of a civil war.System Requirements:Running Time: 93 minutesFormat: BLU-RAY DISC Genre: ACTION/ADVENTURE/HEROES Rating: R UPC: 031398232995 Manufacturer No: 23299

Night Watch is that rare film that—like The Matrix—is not only visually dazzling but creates an intriguing, seductive, and thrilling alternative world. A young man named Anton, after dabbling in black magic to bring back the wife who left him, discovers that the world is populated by fantastical Others (vampires, shape-shifters, witches, and more) who have chosen sides—Light or Dark—in an epic battle. A truce has been declared; both sides watch the other to ensure the truce is maintained. But a prophecy has predicted that a powerful Other will tilt the balance, and Anton—who is himself an Other—finds himself crucial to the prophecy's fulfillment. There's no question that Night Watch has weaknesses. Numerous plot holes get glossed over by pell-mell pacing, the visual conception of the apocalyptic battle between Light and Dark is curiously pedestrian (a bunch of knights fighting a bunch of guys in fur with swords—what happened to their various powers?), and more—but, much like similar problems with The Matrix, it doesn't matter.

The alternative world Night Watch presents is so rich with possibilities that it takes on a life of its own, both as an imaginative universe and as a vivid metaphor for the moral complexities of our own lives—for example, though the forces of Light claim to be good, their often brutal actions call their virtue into question, and the forces of Dark make some compelling moral arguments on the topic. The movie is so overstuffed with ideas that many don't get fleshed out, but that only contributes to the sense of vitality and unexplored dimensions. Even the subtitles are used creatively. The impending sequels (this is the first film of a trilogy) may—like The Matrix—take all the stimulating possibilities Night Watch raises and drag them into the toilet, but for the moment, this is the sort of electric excitement that blockbuster movies promise but so rarely deliver. —Bret Fetzer