It's baseball playoff time again. If you're a Mets fan it might have been a disappointing year for you. Our friends over A&E have something to cheer you up. They've given us three copies of New York Mets 50 Greatest Players to give away to a few lucky upcomingdiscs readers. The disc includes interviews with some of the team's historic greats. A blue-ribbon panel selected this list of players. See if you agree.

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Rarely in my video game reviewing do I get the popular game. I seem to gravitate more towards the forgotten gem or the niche cult hit. I do not mind it of course, it has lead me to discover many awesome smaller games such as the Darkness or Mafia II. However, today the story is different. In my hands is a contender for the game of the year. A game that blends first person shooters with role playing and enough loot to make a Diablo player blush. The game happens to be the Gearbox Software smash, Borderlands 2.

The first thing you will notice dropping into the world of Pandora is the cell-shaded environment. Admittedly, I was not in love with the graphics on first sight. I thought that the frozen wastelands was not all that impressive. However, once I found my way out of the ice and the snow, like Sanctuary for example, I noticed a more lush world full of color and details. It almost acted as a reward for those who finally worked their way out of the starting zone.

Ever wonder what a martial arts epic directed by Baz “Moulin Rouge” Luhrmann would look like? Me neither. But that’s pretty much what we get with Legendary Amazons, (loosely) based on the exploits of the Yang family during the Song Dynasty. The story has an intriguing hook — the men of the Yang clan are massacred in battle, leaving their women to throw on armor and take to the battlefield — but is ultimately bogged down by its cartoonish tone and embarrassingly bad production values.

For the cartoonish tone, we can probably thank/blame producer Jackie Chan since the Hong Kong superstar has crafted a wildly successful career out of injecting comedy into the martial arts genre. (Legendary Amazons even has Chan’s signature bloopers during the end credits; although the actress who fell off a horse and hit the ground hard didn’t seem to be laughing.)

“I thought this was a family show.”

“Well, it depends on your family.”

"Bad things happen to good people, and they deserve to have their stories told."

I have to say that the horror film market has disappointed me of late. With October in full swing, I expect to be exposed to all kinds of horror films, from unknown independent projects to the standard franchise entries that pop up every year around this time. The trouble is that the films I've seen at the theaters so far have either been very disappointing or not really horror films at all. Thankfully, Sinister is not disappointing, and it is a straight-out horror movie in the tradition of films like The Ring.

Ever since Ben Affleck stepped behind the camera and took on the role of director, I’ve found myself not only becoming a fan of his work but believing the man has greatness ahead of him.  When I first watched Gone Baby Gone, I was more than a little impressed; after all, it was his first time at the helm.  But then Affleck released his follow-up film, The Town, and it blew me away.  Sure, there were some great movies that came out that year, but the fact that it didn’t make the list of best picture nominees I just can’t understand.  But with the release of Argo it would seem the Academy will have a chance to right that wrong and shower this film with plenty of adoration.  Sure, this is pretty much a shoe-in for the best picture nomination, but not just because it’s great, but really, what is the competition?

There is a lot that I enjoyed, and dare I say loved, about the film.  As the old Warner Bros. logo appeared on the screen I got a little excited.  No time is wasted, thrusting us right into the middle of a protest growing out of hand, outside the US Embassy in Iran.  The opening works great as the tension builds between the protestors and the Americans doing all they can to destroy all the confidential files they have on hand. With time running out before the embassy is over run, six Americans manage to escape taking refuge with the Canadian ambassador (Victor Garber).

"Every ambition has a dark side."

And that includes the world of the cable television series. The world of cable series has brought us some of the most ambitious and compelling television shows we've ever seen. There's no censor board to answer to, so that means the shows have the freedom to expand into visual areas that have long been taboo on network shows. Nudity, sexuality, language, and even violence are often huge parts of these kinds of shows. Because there isn't really a ratings pressure, the shows can also cater to more specialized audiences. Of  course, it's not completely true there are no ratings issues. For these networks it's getting the carriers to distribute their networks, and for some it's signing up premium members. There's little doubt that HBO did enjoy subscriptions completely tied to having The Sopranos. But that kind of programming is no longer rare. It no longer shocks us with its novelty, and the standards for quality have been established at a high level. When you watch a cable show, you don't just expect R material. You expect film-quality production values on the small screen. You also expect quality writing and compelling drama. In the case of Starz new Magic City, you'll have to settle for 2 out of 3. You get the edgy R material and outstanding production values. Unfortunately, the series misses more than it connects on the compelling drama front.

Among the more unjustly ignored performances was Jack Nicholson’s turn as union boss Jimmy Hoffa in Hoffa. Fox finally decided to put out the Danny DeVito-directed, David Mamet-written film on DVD. Mamet’s script seems to romanticize Hoffa, portraying him as more of a union man, as one who was forced to make deals that could compromise his integrity, but he overlooks his integrity in order to help benefit the American working man. The story is told in the point of view of Hoffa aide Bobby (DeVito), a fictitious character whose flashbacks are used to help us see how Hoffa perhaps should be viewed, as opposed to the punchline in some jokes we may make now.

As is usually the case with Mamet’s screenplay, the dialog is well-written and engrossing, and Nicholson’s portrayal of Hoffa is both powerful and persuasive. You see him with a prosthetic nose and hairpiece, along with a couple of dental devices that get the look of Hoffa down to a T. In DeVito, a longtime real-life friend, one who knows his ins and outs, Nicholson pulls out all the stops. Recent Nicholson performances seem to glide along on a gentle stride, using the occasional (and very effective) use of his noteworthy eyes. But in Hoffa, he’s a guy who is clearly more animated, as the role dictates, and it’s a much more dynamic performance than you’re used to seeing. Is Hoffa historically accurate? Probably not, and God knows there are more informed people who will tell you so. However, DeVito does manage to use the time period where Jimmy feuded openly with Robert Kennedy to great effect, using the congressional hearings as an interesting start of a plot device that helps provide an interesting hypothetical on Hoffa’s possible Mafia ties. With an outstanding supporting cast including Robert Prosky (Hill Street Blues), the late JT Walsh (Sling Blade), Armand Assante (Q & A) and a very young John C. Reilly (Chicago), the movie’s overall impact is very clearly felt.

Director Jennifer Lynch’s camera winds its way through a dingy house with tragically outdated décor during the opening moments of Chained. It’s almost as if the filmmaker is encouraging the audience to get nice and cozy with this depressing setting because we’re going to be spending a lot of time here.

Thankfully, we don’t spend nearly as much time in that sad hell hole as poor little Tim. The nine year old boy (Evan Bird) and his mother (Julia Ormond sporting a busted American accent) are abducted by Bob (Vincent D’Onofrio), a cab-driving serial killer who targets women and takes the two of them back to his house.

Ever since I first saw John Carpenter’s The Thing, I’ve had a soft spot for movies that take place in cold, snowy climates.  I’m guessing it’s because living in Tampa, there is little to no chance of seeing the white stuff.   Frozen was the last chiller-thriller that had me grimacing at the sight of what frostbite can do. So when I saw the title Hypothermia I figured it was time to crank up the A/C and warm up some Swiss Miss, because I was ready to check this movie out.The Pelletier family is heading out for a weekend of ice fishing; this has been a yearly tradition for as long as the family can remember.  But with David (Benjamin Forster) about to finish school, he and his girlfriend Gina (Amy Chang) have plans to volunteer in Africa, which means this could be the last ice fishing trip they’ll have together, as a family. Ray (Michael Rooker), David’s father, couldn’t be any more proud of his son, so they decide to make this family trip the best it can possibly be.

It’s at this point they begin to realize something isn’t right with the lake and the fish are not biting.  To put another kink in the family’s relaxing trip, Steve and Stevie Jr. decide to come out and do some fishing themselves, while annoying the Pelletier family with their loud music and roaring engines from their snowmobiles.  All this noise ends up attracting the attention of a large creature that is lurking beneath the ice.