Dolby Digital 5.1 (Spanish)

"From the day we arrive on the planet and blinking, step into the sun, there's more to see than can ever be seen. More to do than can ever be done. There's far too much to take in here. More to find than can ever be found..."

There's a period in the 1990's that has often been referred to as the second golden age of Disney animation. The studio had fallen from its once mighty perch, and most film historians tend to agree there was a creative dark ages through the 1980's. But the renaissance of the studio began with Aladdin in 1992 would go on to include such tremendous classics as Beauty And The Beast and The Little Mermaid. None of these films speak to the resurgence of the animated feature like The Lion King. The film set every animated record there was and holds some of those box office records today. It can be safely stated that the great flood of animated projects that followed can be traced to the impact of The Lion King. In 1996 Simba was the most popular name chosen for new housecats. Elton John saw his appeal extend to children, and there could be no mistake that the animated feature was back.

Two young filmmakers from New York city, Ariel Schulman and Henry Joost, start documenting the burgeoning relationship between their roommate (and brother in the case of Ariel) Nev and a family from Michigan. Said relationship exists only through online correspondence and phone calls. As a romance seems to be arising between Nev and Meghan, who is oldest daughter in the family, the filmmakers decide to make a trip to meet the family in person.

As the months pass, the story becomes so elaborate and strange that many critics have questioned the authenticity of this film as a documentary. I personally find it is worth looking past any doubt or beliefs and simply enjoy the mystery bubbling under the surface of the romance plot, as well as surprising level of pathos and intriguing character drama one receives from this story.

“It's worse than I thought, but it's even worse upstairs… It’s dangerous. Do not go there.”

Uruguayan director Gustavo Hernández claims to have shot the first 78 minutes of The Silent House in one continuous unbroken take. Personally, I don’t believe that to be true, as there are plenty of times the camera goes to black passing furniture or into shadows which could hide a cut, but he does pull off the illusion with some incredibly long uninterrupted shots, and that is very impressive indeed.

In the wake of the financially successful but critically drubbed Transformers: Revenge of the Fallen, Michael Bay and company return to the fray with this considerably more coherent exercise. Given that this movie committed to advancing the cause of 3D like no other film since Avatar, the question arises as to how well its visual splendour and over-the-top technological extravagance will translate to home video. The answer is: pretty damn well.

Following the events of Transformers: Revenge of the Fallen, the Autobots are working hand-in-mechanical-glove with human authorities (in other words, the apparently all-powerful CIA), keeping close watch for Deception activity, but also helping out in human-on-human conflicts. Meanwhile, Shia LaBeouf has traded in improbably hot girlfriend Megan Fox for the equally improbable Rosie Huntington-Whiteley (an improbability that the script does have some fun with). He is also out of work and dismayed at not being given due consideration as a saviour of the planet.

Fight Fans welcome. We have for you today in the center of this ring, the story of four young men from different backgrounds but who have all come to fight in the Beatdown. The Beatdown is a place where passion can fuel the desire of the fighters to become the very best. But, there are many obstacles in their way in life and in the ring. What exactly will happen and how many broken bones will take place? Join me in the cage and we shall experience, Never Back Down 2: The Beatdown.

Are you ready?, I said are you ready? Then for the thousands in attendance (or just me and two nervous cats) and the millions (or possibly dozens) watching around the world (okay domestic United States and possibly Canada), let's get ready to go down the cast page and story plotline. We have some interesting characters tonight and there is no way you can follow the action if you don't have a program to go by. Programs are sold at the door and are available at www.donttakethisseriously.com.

"Once, mankind accepted a simple truth: that they were not alone in this universe. Some worlds man believed home to their Gods. Others they knew to fear."

Marvel has rolled out some rather ambitious plans for the next two years. Of course, it has all been leading to the huge Avengers film coming summer of 2012. If you've been watching the scenes after the credits of both Iron Man films, you've already seen the groundwork has been laid. Now comes Thor, and we're talking more than just groundwork here. This is the first in a series of films that lead directly to The Avengers.

Baby here again. No, you're not seeing double unless you're seeing two of me. That would be very bad since you're reading this and I'm not really there at all. No, you're not seeing double. But, thanks to the guys at Disney and a little bit to the guys at UPS who somehow got this thing through my tight security net, we get not one but two classic Disney animated movies on one Blu-ray release. This thing has so much canine content that you're gonna need a doggie bag for all the leftovers. Speaking of leftovers, you can send any of that stuff to us here at Upcomingdiscs in care of Baby. Now, how many paws am I holding up?

Of course, the movie should have been called The Hound And The Fox, because we know who should get top billing here. But don't blame the guys at Disney for that one. That blame belongs to a guy named Daniel P. Mannix. You see, he wrote a children's book a while before, and this was another one of those Disney versions of a classic story. I guess that means I should tell you the story.

"Hello, Pretty Bird..."

Director/writer Carlos Saldanha is perhaps best known for his work on the Ice Age films. He's been a part of the director duties on all three of the films so far. It's natural that he might wish to step away from the popular franchise and find a computer animation project that is more of a work of passion for the young talent. He decided to write and direct his own feature and set it in his native Brazil. His own childhood growing up in the area allows him to infuse the creative process with vivid environments and a story that is rich in cultural flavor, particularly the music of the country. It's a work straight from his heart, and it takes us on quite a nice journey through his home country. But is Rio up to par with the likes of the Ice Age films? Probably not.

"Who knew mothering was so hard?"

If you thought that mothering was hard, you should see the work and creativity that goes into making a motion-capture computer animation feature. What started with The Polar Express led to a wonderful holiday special in the hands of Walt Disney with last year's charming A Christmas Carol. Now Disney has taken the magic one step farther with the recent release of Mars Needs Moms.

In 2007, writer-directors Jaume Balaguero and Paco Plaza created [REC], a truly frightening horror film. Considering their subject matter is so familiar to audiences it proved a major challenge not to fall into clichés. Somehow, against all odds, [REC] remained fresh by blending the elements so well… nasty contagion and fast zombies ala 28 Days Later captured in documentary-syle videography made famous by The Blair Witch Project. Add likable lead characters, natural dialog, horrific gore and scream-at-the-screen suspense; sprinkle in clues of a disturbing spiritual origin to the mysterious virus and you end up with one of the scariest and most effective additions to both the zombie and “found footage” horror sub-genres.

To appreciate the sequel, [REC]2, one should take the time to watch the first film, but if you haven’t, here is a brief spoiler filled synopsis of [REC]. A local Spanish TV journalist and her cameraman are embedded with a group of firefighters for the night as part of a human interest segment on their magazine news show. A routine call to an old apartment building on the outskirts of Madrid immediately leads to the team being sealed inside by a government quarantine trying to contain the origin of a ferocious viral pandemic. The news team chronicles the firefighters’ efforts to battle the frenzied, ravenous infected and escape the building, avoiding viral contamination or getting shot by government snipers.