Kicking off with a jam-packed Christmas special and ending with a blockbuster extended closing instalment, Doctor Who?s fourth series since it was...... more

Kicking off with a jam-packed Christmas special and ending with a blockbuster extended closing instalment, Doctor Who?s fourth series since it was revived is a breathless, exciting one, that also boasts some exceptional episodes. You get fourteen episodes for your money here, and the ones in particular to watch out for are the outstanding Silence In The Library/Forest Of The Dead double header, the almost single-location creepfest that is Midnight, and the trio of Turn Left, The Stolen Earth and Journey?s End that round off the series. In the midst of those is also one of the very best cliffhangers that Doctor Who has ever employed in its long and glorious history. This is also the series of Doctor Who that introduces Catherine Tate as full-time companion Donna Noble, working alongside David Tennant?s Doctor across time and space. And it?s--against initial expectations--arguably the best combination since the show returned. Here, there?s no hint of romance between the pair, as they instead knuckle down to business, occasionally helped by the likes of Martha Jones (Freema Agyeman), Sarah Jane Smith (Elisabeth Sladen) and Jack Harkness (John Barrowman). Let?s not forget too the collection of monsters we meet this time round. The daleks and Davros are the main attractions in Doctor Who Series 4, while the return of the Sontarans proves to be a bit of a disappointment. But, after viewing the series, chances are you?ll be counting shadows around you, and wary of getting on the wrong side of the Ood. As with most series of Doctor Who, there are one or two bumpy episodes and missteps, but this is still unmatched at what it does, and finds the show in even more confident form than last time round. That, along with the immense rewatch value, is what makes this terrific piece of family entertainment such a compelling buy. --Simon Brew

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The original BBC radio adventures of Arthur Dent (an ape-descendant whose anger at the apparently inexplicable destruction of his home planet Earth,...... more

The original BBC radio adventures of Arthur Dent (an ape-descendant whose anger at the apparently inexplicable destruction of his home planet Earth, situated in an obscure corner of the outer spiral arm of the galaxy, is expressed in frequent irritation at friendly automatic doors and vending machines) and his travelling companions, Ford Prefect (an itinerant towel-carrying hitch-hiker originally from a small planet somewhere in the vicinity of Betelgeuse), Zaphod Beeblebrox (the notorious ex-Galactic President and patron of Eccentrica Galumbits, the triple-breasted whore of Eroticon Six) and Marvin the Paranoid Android (who's still suffering from that terrible pain in all the diodes down his left side) proved to be such a success for the BBC that its transition to TV was (almost) inevitable. In 1981 several key members of the radio cast made the move to the small screen. Simon Jones' bewildered Arthur Dent remains the central character, shambling around in his dressing gown (a fact easy to forget on radio); Mark Wing-Davey's Zaphod Beeblebrox is the same as his boastful radio persona, even if the second head utterly fails to convince. Unfortunately, newcomers David Dixon (as Ford Prefect) and the irritating Sandra Dickinson (as Trillian) are no match for their radio predecessors.The problem here is not so much the low-budget look as the script itself, which is lovingly faithful to the radio series in a way that Douglas Adams' novels aren't. The Hitchhiker's Guide to the Galaxy was a lucid, satirical, occasionally profound, utterly unique comic invention on radio. As such, it has nothing to gain from TV. The script needs no visual elaboration--that's best left to the listener's own imagination. Only the animated renditions of the Guide itself enhance Peter Jones' wonderfully dry narration; otherwise--paradoxically, perhaps--by supplying images the concept is oddly diminished here.On the DVD: A suitably eclectic not to say eccentric collection of extra features makes this a wholly satisfying two-disc set, neatly packaged in a fold-out slipcase. On the second disc there's an hour-long "making of" documentary from 1992 featuring contributions from the cast and crew, including Douglas Adams; and then there's even more in a 20-minute section entitled "Don't Panic!". A fascinating behind-the-scenes peek at filming as the clock runs out on studio time and a look at the recording of the original radio series complete the first part. Then navigate to the "Outer Planets" to find outtakes, a deleted scene, Zaphod's animatronic second head on Tomorrow's World and Peter Jones's witty and shambolic introduction to the first episode, plus more besides. The series itself is presented in standard 4:3 ratio and Dolby stereo. --Mark Walker

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With its campy combination of lightweight adventure and Spandex disco chic, Buck Rogers in the 25th Century is a nostalgic throwback to post-Star Wars...... more

With its campy combination of lightweight adventure and Spandex disco chic, Buck Rogers in the 25th Century is a nostalgic throwback to post-Star Wars opportunism. Series co-creator Glen A. Larson was incapable of originality, and former soap star Gil Gerard (in the title role) was a bland incarnation of the comic-strip hero, so the much-anticipated series premiered on September 20, 1979, with serious disadvantages. Although the two-hour pilot "Awakening" had tested successfully as a theatrical release, Gerard and the show's producers could never agree on a stable tone for the series, which presents Capt. William "Buck" Rogers as a jovial space cowboy who is accidentally time-warped from 1987 to 2491. Earth is engaged in interplanetary war following a global holocaust, and Buck's piloting skills make him an ideal starfighter recruit for the Earth Defense Directorate, where his closest colleagues are Dr. Huer (Tim O'Connor), squadron leader Col. Wilma Deering (former model Erin Gray, looking oh-so-foxy), the wisecracking robot Twiki (voiced by cartoon legend Mel Blanc), and a portable computer-brain named Dr. Theopolis, who's carried by Twiki like oversized bling-bling. The series struggled through an awkward first season, with routine plots elevated by decent special effects and noteworthy guest stars including Jamie Lee Curtis, ill-fated Playboy Playmate Dorothy Stratten (appearing, with her voice dubbed over, less than a year before her tragic murder), Batman alumnus Julie Newmar, Buster Crabbe (veteran of vintage Buck Rogers movie serials), and several others in a show that favored vamps and vixens over credible science fiction. A full-scale overhaul resulted in a disastrous second season, but devoted fans still gravitate to Hawk (Thom Christopher), the charismatic alien "birdman" who was introduced with new characters and a new, space-faring search for lost tribes from Earth (with echoes of Larson's own Battlestar Galactica). Behind-the-scenes squabbles continued, and by mid-season of 1981, NBC pulled the plug on a breezy, still-engaging series that suffered from uneasy chemistry and never realized its full potential. Existing somewhere between Galactica and Lost in Space in the TV sci-fi food chain, this Buck--with a dearth of DVD extras--now functions as a cheesy stroll down memory lane. --Jeff Shannon

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The most famous episode in franchise history, "The Trouble with Tribbles," is one of the highlights of the second season of Star Trek: The Original...... more

The most famous episode in franchise history, "The Trouble with Tribbles," is one of the highlights of the second season of Star Trek: The Original Series. A deserved classic, the humourous story centers on an ever-expanding mass of furry creatures that memorably rain themselves down on top of Captain Kirk (William Shatner) and into the middle of a Federation-Klingon showdown. It inspired one of the most memorable episodes in the spin-off series Deep Space Nine, "Trial and Tribble-ations." Also in the second season, the Vulcan culture of Mr. Spock (Leonard Nimoy) is fleshed out in "Amok Time" (in which Spock is faced with the possibility of killing his captain and friend) and "Journey to Babel" (introducing Spock's father, played by Mark Sarek, in what would turn out to be a long-recurring role). A new character, navigator Pavel Chekov (Walter Koenig), was introduced; his Monkees haircut was intended to appeal to the younger audience, but he was also a Russian, which at the height of the cold war reflected Gene Roddenberry's optimistic vision of a more enlightened future. Other social-commentary opportunities presented themselves in "The Omega Glory," "The Doomsday Machine," and "Assignment: Earth," the last also one of those periodic opportunities to scrimp on the budget by time-traveling to an earlier version of Earth. Another example was "A Piece of the Action," a comic episode set in the Roaring Twenties and memorable for, among other things, Kirk's teaching a made-up card game called Fizzbin. In other significant episodes, "I, Mudd" saw the return of the bounder from season 1, "The Changeling" was the original inspiration for the first Trek feature film a decade later, "Wolf in the Fold" (penned by the author of Psycho) provides an example of the series' great writing, and "Mirror, Mirror" introduced the concept of the parallel universe inhabited by vicious, amoral counterparts of the regular crew, another theme later borrowed (more than once, and to good emotional effect) by DS9. --David Horiuchi

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The long front lawns of summer afternoons, the flicker of sunlight as it sprays through tree branches, the volcanic surge of the Earth's interior as the...... more

The long front lawns of summer afternoons, the flicker of sunlight as it sprays through tree branches, the volcanic surge of the Earth's interior as the planet heaves itself into being--you certainly can't say Terrence Malick lacks for visual expressiveness. The Tree of Life is Malick's long-cherished project, a film that centres on a family in 1950s Waco, Texas, yet also reaches for cosmic significance in the creation of the universe itself. The Texas memories belong to Jack (Sean Penn), a modern man seemingly ground down by the soulless glass-and-metal corporate world that surrounds him. We learn early in the film of a family loss that happened at a later time, but the flashbacks concern only the dark Eden of Jack's childhood: his games with his two younger brothers, his frustrated, bullying father (Brad Pitt), his one-dimensionally radiant mother (Jessica Chastain). None of which unfolds in anything like a conventional narrative, but in a series of disconnected scenes that conjure, with poetry and specificity, a particular childhood realm. The contributions of cinematographer Emmanuel Lubezki and production designer Jack Fisk cannot be underestimated in that regard, and it should be noted that Brad Pitt contributes his best performance: strong yet haunted. And how does the Big Bang material (especially a long, trippy sequence in the film's first hour) tie into this material? Yes, well, the answer to that question will determine whether you find Malick's film a profound exploration of existence or crazy-ambitious failure full of beautiful things. Malick's sincerity is winning (and so is his exceptional touch with the child actors), yet many of the movie's touches are simultaneously gaseous (amongst the bits of whispered narration is the war between nature and grace, roles assigned to mother and father) and all-too-literal (a dinosaur retreats from nearly killing a fellow creature--the first moments of species kindness, or anthropomorphic poppycock?). The Tree of Life premiered at the Cannes Film Festival and won the Palme d'Or there after receiving boos at its press screening. The debate continues, unabated, from that point. --Robert Horton

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The original BBC radio adventures of Arthur Dent (an ape-descendant whose anger at the apparently inexplicable destruction of his home planet Earth,...... more

The original BBC radio adventures of Arthur Dent (an ape-descendant whose anger at the apparently inexplicable destruction of his home planet Earth, situated in an obscure corner of the outer spiral arm of the galaxy, is expressed in frequent irritation at friendly automatic doors and vending machines) and his travelling companions, Ford Prefect (an itinerant towel-carrying hitch-hiker originally from a small planet somewhere in the vicinity of Betelgeuse), Zaphod Beeblebrox (the notorious ex-Galactic President and patron of Eccentrica Galumbits, the triple-breasted whore of Eroticon Six) and Marvin the Paranoid Android (who's still suffering from that terrible pain in all the diodes down his left side) proved to be such a success for the BBC that its transition to TV was (almost) inevitable. In 1981 several key members of the radio cast made the move to the small screen. Simon Jones' bewildered Arthur Dent remains the central character, shambling around in his dressing gown (a fact easy to forget on radio); Mark Wing-Davey's Zaphod Beeblebrox is the same as his boastful radio persona, even if the second head utterly fails to convince. Unfortunately, newcomers David Dixon (as Ford Prefect) and the irritating Sandra Dickinson (as Trillian) are no match for their radio predecessors.The problem here is not so much the low-budget look as the script itself, which is lovingly faithful to the radio series in a way that Douglas Adams' novels aren't. The Hitchhiker's Guide to the Galaxy was a lucid, satirical, occasionally profound, utterly unique comic invention on radio. As such, it has nothing to gain from TV. The script needs no visual elaboration--that's best left to the listener's own imagination. Only the animated renditions of the Guide itself enhance Peter Jones' wonderfully dry narration; otherwise--paradoxically, perhaps--by supplying images the concept is oddly diminished here.On the DVD: A suitably eclectic not to say eccentric collection of extra features makes this a wholly satisfying two-disc set, neatly packaged in a fold-out slipcase. On the second disc there's an hour-long "making of" documentary from 1992 featuring contributions from the cast and crew, including Douglas Adams; and then there's even more in a 20-minute section entitled "Don't Panic!". A fascinating behind-the-scenes peek at filming as the clock runs out on studio time and a look at the recording of the original radio series complete the first part. Then navigate to the "Outer Planets" to find outtakes, a deleted scene, Zaphod's animatronic second head on Tomorrow's World and Peter Jones's witty and shambolic introduction to the first episode, plus more besides. The series itself is presented in standard 4:3 ratio and Dolby stereo. --Mark Walker

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The 1994 movie Stargate was originally intended as the start of a franchise, but creators Roland Emmerich and Dean Devlin were distracted celebrating their...... more

The 1994 movie Stargate was originally intended as the start of a franchise, but creators Roland Emmerich and Dean Devlin were distracted celebrating their Independence Day. Episodic TV treatment was the natural next step. Since neither Kurt Russell nor James Spader would be able to commit, it gave the producers licence to tinker with the cast and the universe they'd explore. Replacing the roles of Colonel Jack O'Neill and Dr Daniel Jackson respectively are Richard Dean Anderson and Michael Shanks. They're joined by Captain Samantha Carter (Amanda Tapping) and guilt-stricken former alien baddie Teal'c (Christopher Judge) to form the teacher's pet primary unit SG-1 With a seemingly endless network of Stargates found to exist on planets all across the known universe, their mission is to make first contact with as many friendly races as possible. Chasing their heels at almost every turn are the "overlord" Pharaonic Goa'uld--the ancient Egyptian Gods who are none too chummy after the events of the original film. The welcome notion of a continued plot thread sees offshoots that follow the reincarnation of Daniel's wife; Sam's father literally joining a renegade faction of the Goa'uld; and Jack in an unending quest to out-sarcasm everyone. There's something of The Time Tunnel to the show's premise, but amid a dearth of derivative look-a-likes, Stargate has held its own with stories that put the science fiction back into TV sci-fi. On the DVD: To resolve the Season Two cliffhanger "Out Of Mind", General Hammond rounds up every conceivable ally to rescue the SG-1 team from Hathor's clutches and gets a much-needed field trip in the process. "Into the Fire " is actually a weak opening for the new year, but does boast some impressive visuals as Hammond and Brat'ac pilot a shuttle through an open Stargate (euphemistically called "threading the needle"). In the next episode, the team are troublingly advised that the ancient God of Evil--"Seth"--has been hiding on Earth for thousands of years. Daniel miraculously tracks him down in about five minutes through a quick surf on the Web! In "Fair Game" O'Neill is "beamed up" to his chum the Asgard Thor in the middle of Carter's promotion to Major. Thor warns him that the Goa'uld System Lords are miffed about his team thwarting Hathor in "Out of Mind". All manner of underhand trickery and subterfuge then follows at a treaty meeting between three representatives and the hapless Jack. "Legacy" on the other hand is a strange connection back to Season Two's "Holiday" when Daniel suffers a mental breakdown courtesy of scientist Ma'chello. Some unnerving imagery (slugs in the ear akin to Star Trek II: The Wrath of Khan) makes this one of the series' darker instalments. --Paul Tonks

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With its campy combination of lightweight adventure and Spandex disco chic, Buck Rogers in the 25th Century is a nostalgic throwback to post-Star Wars...... more

With its campy combination of lightweight adventure and Spandex disco chic, Buck Rogers in the 25th Century is a nostalgic throwback to post-Star Wars opportunism. Series co-creator Glen A. Larson was incapable of originality, and former soap star Gil Gerard (in the title role) was a bland incarnation of the comic-strip hero, so the much-anticipated series premiered on September 20, 1979, with serious disadvantages. Although the two-hour pilot "Awakening" had tested successfully as a theatrical release, Gerard and the show's producers could never agree on a stable tone for the series, which presents Capt. William "Buck" Rogers as a jovial space cowboy who is accidentally time-warped from 1987 to 2491. Earth is engaged in interplanetary war following a global holocaust, and Buck's piloting skills make him an ideal starfighter recruit for the Earth Defense Directorate, where his closest colleagues are Dr. Huer (Tim O'Connor), squadron leader Col. Wilma Deering (former model Erin Gray, looking oh-so-foxy), the wisecracking robot Twiki (voiced by cartoon legend Mel Blanc), and a portable computer-brain named Dr. Theopolis, who's carried by Twiki like oversized bling-bling. The series struggled through an awkward first season, with routine plots elevated by decent special effects and noteworthy guest stars including Jamie Lee Curtis, ill-fated Playboy Playmate Dorothy Stratten (appearing, with her voice dubbed over, less than a year before her tragic murder), Batman alumnus Julie Newmar, Buster Crabbe (veteran of vintage Buck Rogers movie serials), and several others in a show that favored vamps and vixens over credible science fiction. A full-scale overhaul resulted in a disastrous second season, but devoted fans still gravitate to Hawk (Thom Christopher), the charismatic alien "birdman" who was introduced with new characters and a new, space-faring search for lost tribes from Earth (with echoes of Larson's own Battlestar Galactica). Behind-the-scenes squabbles continued, and by mid-season of 1981, NBC pulled the plug on a breezy, still-engaging series that suffered from uneasy chemistry and never realized its full potential. Existing somewhere between Galactica and Lost in Space in the TV sci-fi food chain, this Buck--with a dearth of DVD extras--now functions as a cheesy stroll down memory lane. --Jeff Shannon

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Kicking off with a jam-packed Christmas special and ending with a blockbuster extended closing instalment, Doctor Who?s fourth series since it was...... more

Kicking off with a jam-packed Christmas special and ending with a blockbuster extended closing instalment, Doctor Who?s fourth series since it was revived is a breathless, exciting one, that also boasts some exceptional episodes. You get fourteen episodes for your money here, and the ones in particular to watch out for are the outstanding Silence In The Library/Forest Of The Dead double header, the almost single-location creepfest that is Midnight, and the trio of Turn Left, The Stolen Earth and Journey?s End that round off the series. In the midst of those is also one of the very best cliffhangers that Doctor Who has ever employed in its long and glorious history. This is also the series of Doctor Who that introduces Catherine Tate as full-time companion Donna Noble, working alongside David Tennant?s Doctor across time and space. And it?s--against initial expectations--arguably the best combination since the show returned. Here, there?s no hint of romance between the pair, as they instead knuckle down to business, occasionally helped by the likes of Martha Jones (Freema Agyeman), Sarah Jane Smith (Elisabeth Sladen) and Jack Harkness (John Barrowman). Let?s not forget too the collection of monsters we meet this time round. The daleks and Davros are the main attractions in Doctor Who Series 4, while the return of the Sontarans proves to be a bit of a disappointment. But, after viewing the series, chances are you?ll be counting shadows around you, and wary of getting on the wrong side of the Ood. As with most series of Doctor Who, there are one or two bumpy episodes and missteps, but this is still unmatched at what it does, and finds the show in even more confident form than last time round. That, along with the immense rewatch value, is what makes this terrific piece of family entertainment such a compelling buy. --Simon Brew

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The long front lawns of summer afternoons, the flicker of sunlight as it sprays through tree branches, the volcanic surge of the Earth's interior as the...... more

The long front lawns of summer afternoons, the flicker of sunlight as it sprays through tree branches, the volcanic surge of the Earth's interior as the planet heaves itself into being--you certainly can't say Terrence Malick lacks for visual expressiveness. The Tree of Life is Malick's long-cherished project, a film that centres on a family in 1950s Waco, Texas, yet also reaches for cosmic significance in the creation of the universe itself. The Texas memories belong to Jack (Sean Penn), a modern man seemingly ground down by the soulless glass-and-metal corporate world that surrounds him. We learn early in the film of a family loss that happened at a later time, but the flashbacks concern only the dark Eden of Jack's childhood: his games with his two younger brothers, his frustrated, bullying father (Brad Pitt), his one-dimensionally radiant mother (Jessica Chastain). None of which unfolds in anything like a conventional narrative, but in a series of disconnected scenes that conjure, with poetry and specificity, a particular childhood realm. The contributions of cinematographer Emmanuel Lubezki and production designer Jack Fisk cannot be underestimated in that regard, and it should be noted that Brad Pitt contributes his best performance: strong yet haunted. And how does the Big Bang material (especially a long, trippy sequence in the film's first hour) tie into this material? Yes, well, the answer to that question will determine whether you find Malick's film a profound exploration of existence or crazy-ambitious failure full of beautiful things. Malick's sincerity is winning (and so is his exceptional touch with the child actors), yet many of the movie's touches are simultaneously gaseous (amongst the bits of whispered narration is the war between nature and grace, roles assigned to mother and father) and all-too-literal (a dinosaur retreats from nearly killing a fellow creature--the first moments of species kindness, or anthropomorphic poppycock?). The Tree of Life premiered at the Cannes Film Festival and won the Palme d'Or there after receiving boos at its press screening. The debate continues, unabated, from that point. --Robert Horton

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With the DVD release of this, the complete second season of The Universe, the History Channel has now devoted a combined total of more than 25 hours,...... more

With the DVD release of this, the complete second season of The Universe, the History Channel has now devoted a combined total of more than 25 hours, not including bonus material, to its documentary study of that combination of time, space, and matter that we call our universe. Thats a lot. But then you consider the mind-boggling age and size of the universe itself: 13.7 billion years old, and big beyond our comprehension; infinite, in fact, and expanding rapidly. By those measures, its apparent that this fascinating series could probably air for longer than The Simpsons and Gunsmoke (the two longest running shows in TV history) put together and still not run out of things to talk about. The 18 episodes from Season Two cover an appropriately wide range of topics, from "Cosmic Holes" to "Cosmic Collisions," from supernovas to gravity. There are episodes about the weather in space, the largest objects in space (hint: theyre really, really big, like the so-called "cosmic web" of galaxies, which is a hundred million billion times bigger than Earth), and travelling to and colonizing space. The amount of information and data provided is enormous. Jargon abounds, including terms like "lunar transient phenomena," "pulsar planets," "hot Jupiters," "dark matter" and "dark energy," "collisional families," the "heavy bombardment period," and many, many more. And the numbers are mind-boggling: for instance, its estimated that the impact of the asteroid that landed on the Yucatan Peninsula some 65 million years ago, wiping out the dinosaurs, was equal to that of dropping a Hiroshima-sized atomic bomb every second for 140 years! Still, some may find the episodes that involve informed speculation more interesting than those that deal in facts. We know that the Moon affects ocean tides, but does it also have an effect on human behaviour? If the Big Bang was the beginning of the universe, what came before it? Instead of using rockets to go to space, can scientists actually build a "space elevator" that will reach from an orbiting satellite some 60 thousand miles down to Earth? All of this is delivered by way of very convincing computer-generated imagery and other effects, along with dozens of interviews with astronomers and other experts, photos, film footage, and so on. Best of all, while it can get a bit dense, technically speaking, by and large The Universe will be readily accessible to most viewers. --Sam Graham

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Synopsis: A story about two strangers...one stranger than the other two people can meet ANYWHERE. In a cab on a rainy New York afternoon, at the...... more

Synopsis: A story about two strangers...one stranger than the other two people can meet ANYWHERE. In a cab on a rainy New York afternoon, at the neighborhood bar, in a queue waiting to use the ATM Machine, On a plane, deep sea diving, in the middle of an earth quake, sitting on that famous bench at the Taj Mahal or standing under the Pyramids in Egypt. You can meet someone in the most mundane of circumstances or in the most exotic ones. Akash and Kiara meet. But they meet in a situation as unusual as no other. But what if the two people who meet as strangers want to stay that way? They want to end right where they started - as strangers. This is the story of two strangers on an odyssey of discovery - down a path that is ridden with the exquisite pain and joy of falling in love, only they don't realize it a series of hilarious misadventures trace their bi coastal road journey as they go about fulfilling their last wishes. But then life interrupts, as is its habit; and painful choices must be made. The duo part with the understanding that their days together were a brief interlude of insanity that had to succumb to real life. They part as they met - as strangers. But can a cloaked love so strange between two strangers conquer the idiom of normalcy we all believe in. Is it worth another chance? Is it worth leaving behind all that is familiar? Is it a love in time; is it truly the beginning they never expected? Follow Akash and Kiara, along this hilarious, contemporary yet poignant journey of stumbling into all that is worth living for. Can you let a stranger change your life.... forever...

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With its campy combination of lightweight adventure and Spandex disco chic, Buck Rogers in the 25th Century is a nostalgic throwback to post-Star Wars...... more

With its campy combination of lightweight adventure and Spandex disco chic, Buck Rogers in the 25th Century is a nostalgic throwback to post-Star Wars opportunism. Series co-creator Glen A. Larson was incapable of originality, and former soap star Gil Gerard (in the title role) was a bland incarnation of the comic-strip hero, so the much-anticipated series premiered on September 20, 1979, with serious disadvantages. Although the two-hour pilot "Awakening" had tested successfully as a theatrical release, Gerard and the show's producers could never agree on a stable tone for the series, which presents Capt. William "Buck" Rogers as a jovial space cowboy who is accidentally time-warped from 1987 to 2491. Earth is engaged in interplanetary war following a global holocaust, and Buck's piloting skills make him an ideal starfighter recruit for the Earth Defense Directorate, where his closest colleagues are Dr. Huer (Tim O'Connor), squadron leader Col. Wilma Deering (former model Erin Gray, looking oh-so-foxy), the wisecracking robot Twiki (voiced by cartoon legend Mel Blanc), and a portable computer-brain named Dr. Theopolis, who's carried by Twiki like oversized bling-bling. The series struggled through an awkward first season, with routine plots elevated by decent special effects and noteworthy guest stars including Jamie Lee Curtis, ill-fated Playboy Playmate Dorothy Stratten (appearing, with her voice dubbed over, less than a year before her tragic murder), Batman alumnus Julie Newmar, Buster Crabbe (veteran of vintage Buck Rogers movie serials), and several others in a show that favored vamps and vixens over credible science fiction. A full-scale overhaul resulted in a disastrous second season, but devoted fans still gravitate to Hawk (Thom Christopher), the charismatic alien "birdman" who was introduced with new characters and a new, space-faring search for lost tribes from Earth (with echoes of Larson's own Battlestar Galactica). Behind-the-scenes squabbles continued, and by mid-season of 1981, NBC pulled the plug on a breezy, still-engaging series that suffered from uneasy chemistry and never realized its full potential. Existing somewhere between Galactica and Lost in Space in the TV sci-fi food chain, this Buck--with a dearth of DVD extras--now functions as a cheesy stroll down memory lane. --Jeff Shannon

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With the DVD release of this, the complete second season of The Universe, the History Channel has now devoted a combined total of more than 25 hours,...... more

With the DVD release of this, the complete second season of The Universe, the History Channel has now devoted a combined total of more than 25 hours, not including bonus material, to its documentary study of that combination of time, space, and matter that we call our universe. Thats a lot. But then you consider the mind-boggling age and size of the universe itself: 13.7 billion years old, and big beyond our comprehension; infinite, in fact, and expanding rapidly. By those measures, its apparent that this fascinating series could probably air for longer than The Simpsons and Gunsmoke (the two longest running shows in TV history) put together and still not run out of things to talk about. The 18 episodes from Season Two cover an appropriately wide range of topics, from "Cosmic Holes" to "Cosmic Collisions," from supernovas to gravity. There are episodes about the weather in space, the largest objects in space (hint: theyre really, really big, like the so-called "cosmic web" of galaxies, which is a hundred million billion times bigger than Earth), and travelling to and colonizing space. The amount of information and data provided is enormous. Jargon abounds, including terms like "lunar transient phenomena," "pulsar planets," "hot Jupiters," "dark matter" and "dark energy," "collisional families," the "heavy bombardment period," and many, many more. And the numbers are mind-boggling: for instance, its estimated that the impact of the asteroid that landed on the Yucatan Peninsula some 65 million years ago, wiping out the dinosaurs, was equal to that of dropping a Hiroshima-sized atomic bomb every second for 140 years! Still, some may find the episodes that involve informed speculation more interesting than those that deal in facts. We know that the Moon affects ocean tides, but does it also have an effect on human behaviour? If the Big Bang was the beginning of the universe, what came before it? Instead of using rockets to go to space, can scientists actually build a "space elevator" that will reach from an orbiting satellite some 60 thousand miles down to Earth? All of this is delivered by way of very convincing computer-generated imagery and other effects, along with dozens of interviews with astronomers and other experts, photos, film footage, and so on. Best of all, while it can get a bit dense, technically speaking, by and large The Universe will be readily accessible to most viewers. --Sam Graham

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Review for The Universe: Season One: The sky and outer space have fascinated man for centuries and the History Channel's series The Universe is the...... more

Review for The Universe: Season One: The sky and outer space have fascinated man for centuries and the History Channel's series The Universe is the story of man's study of the cosmos from his earliest attempts to map and understand the heavens through modern day scientific studies, advances, and theories. A mix of historical footage, modern space imaging, and conceptual computer graphics presented in high-definition, the visual component of this production is absolutely breathtaking. Each of the 13 44-minute episodes begins with a general introduction of subjects ranging from the sun to individual planets, alien galaxies, the search for extra-terrestrial life, and scientific theories like the Big Bang. Each topic is then broken down into a series of segments that detail specific ideas, theories, or components integral to the understanding of the main topic as well as historical material, current studies and theories, and projections of potential future events and scientific advances. The 90-minute "Beyond the Big Bang" feature relates "the story of everything"--from the universe's formation following the "Big Bang" to its eventual projected demise from unchecked expansion dubbed the "Big Rip." Leading experts from universities and scientific institutions around the world do a great job of taking very complex subjects like galaxies with spiral density arms and relating them to easily graspable concepts like a city with a downtown core surrounded by suburbs and plagued by freeway traffic jams. Amazing photographs from the Hubble space telescope, infrared views from the Spitzer space telescope, and x-ray images from the Chandra X-ray Observatory augment understanding as do demonstrations of modern science's ability to simulate historical events like the formation of earth and to project future cosmic events. The Universe is a fascinating and understandable study of space that speaks to viewers ranging from the generally curious to the serious student of cosmology. --Tami Horiuchi Review for The Universe: Season Two: With the DVD release (on five discs) of this, the complete second season of The Universe, the History Channel has now devoted a combined total of more than 25 hours, not including bonus material, to its documentary study of that combination of time, space, and matter that we call our universe. Thats a lot. But then you consider the mind-boggling age and size of the universe itself: 13.7 billion years old, and big beyond our comprehension; infinite, in fact, and expanding rapidly. By those measures, its apparent that this fascinating series could probably air for longer than The Simpsons and Gunsmoke (the two longest running shows in TV history) put together and still not run out of things to talk about. The 18 episodes from Season Two cover an appropriately wide range of topics, from "Cosmic Holes" to "Cosmic Collisions," from supernovas to gravity. There are episodes about the weather in space, the largest objects in space (hint: theyre really, really big, like the so-called "cosmic web" of galaxies, which is a hundred million billion times bigger than Earth), and traveling to and colonizing space. The amount of information and data provided is enormous. Jargon abounds, including terms like "lunar transient phenomena," "pulsar planets," "hot Jupiters," "dark matter" and "dark energy," "collisional families," the "heavy bombardment period," and many, many more. And the numbers are mind-boggling: for instance, its estimated that the impact of the asteroid that landed on the Yucatan Peninsula some 65 million years ago, wiping out the dinosaurs, was equal to that of dropping a Hiroshima-sized atomic bomb every second for 140 years! Still, some may find the episodes that involve informed speculation more interesting than those that deal in facts. We know that the Moon affects ocean tides, but does it also have an effect on human behavior? If the Big Bang was the beginning of the universe, what came before it? Instead of using rockets to go to space, can scientists actually build a "space elevator" that will reach from an orbiting satellite some 60 thousand miles down to Earth? All of this is delivered by way of very convincing computer-generated imagery and other effects, along with dozens of interviews with astronomers and other experts, photos, film footage, and so on. Best of all, while it can get a bit dense, technically speaking, by and large The Universe will be readily accessible to most viewers. --Sam Graham

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The Tree of LifeThe long front lawns of summer afternoons, the flicker of sunlight as it sprays through tree branches, the volcanic surge of the Earth's...... more

The Tree of LifeThe long front lawns of summer afternoons, the flicker of sunlight as it sprays through tree branches, the volcanic surge of the Earth's interior as the planet heaves itself into being--you certainly can't say Terrence Malick lacks for visual expressiveness. The Tree of Life is Malick's long-cherished project, a film that centres on a family in 1950s Waco, Texas, yet also reaches for cosmic significance in the creation of the universe itself. The Texas memories belong to Jack (Sean Penn), a modern man seemingly ground down by the soulless glass-and-metal corporate world that surrounds him. We learn early in the film of a family loss that happened at a later time, but the flashbacks concern only the dark Eden of Jack's childhood: his games with his two younger brothers, his frustrated, bullying father (Brad Pitt), his one-dimensionally radiant mother (Jessica Chastain). None of which unfolds in anything like a conventional narrative, but in a series of disconnected scenes that conjure, with poetry and specificity, a particular childhood realm. The contributions of cinematographer Emmanuel Lubezki and production designer Jack Fisk cannot be underestimated in that regard, and it should be noted that Brad Pitt contributes his best performance: strong yet haunted. And how does the Big Bang material (especially a long, trippy sequence in the film's first hour) tie into this material? Yes, well, the answer to that question will determine whether you find Malick's film a profound exploration of existence or crazy-ambitious failure full of beautiful things. Malick's sincerity is winning (and so is his exceptional touch with the child actors), yet many of the movie's touches are simultaneously gaseous (amongst the bits of whispered narration is the war between nature and grace, roles assigned to mother and father) and all-too-literal (a dinosaur retreats from nearly killing a fellow creature--the first moments of species kindness, or anthropomorphic poppycock?). The Tree of Life premiered at the Cannes Film Festival and won the Palme d'Or there after receiving boos at its press screening. The debate continues, unabated, from that point. --Robert Horton The Thin Red LineOne of the cinema's great disappearing acts came to a close with the release of The Thin Red Line in late 1998. Terrence Malick, the cryptic recluse who withdrew from Hollywood visibility after the release of his visually enthralling masterpiece Days of Heaven (1978), returned to the director's chair after a 20-year coffee break. Malick's comeback vehicle is a fascinating choice: a wide-ranging adaptation of a World War II novel (filmed once before, in 1964) by James Jones. The battle for Guadalcanal Island gives Malick an opportunity to explore nothing less than the nature of life, death, God, and courage. Let that be a warning to anyone expecting a conventional war flick; Malick proves himself quite capable of mounting an exciting action sequence, but he's just as likely to meander into pure philosophical noodling--or simply let the camera contemplate the first steps of a newly born tropical bird or the sinister skulk of a crocodile. This is not especially an actors' movie--some faces go by so quickly they barely register--but the standouts are bold: Nick Nolte as a career-minded colonel, Elias Koteas as a deeply spiritual captain who tries to protect his men, Ben Chaplin as a G.I. haunted by lyrical memories of his wife. The backbone of the film is the ongoing discussion between a wry sergeant (Sean Penn) and an ethereal, almost holy private newcomer (Jim Caviezel). The picture's sprawl may be a result of Malick's method of "finding" a film during shooting and editing, and in some ways The Thin Red Line seems vaguely, intriguingly incomplete. Yet it casts a spell like almost nothing else of its time, and Malick's visionary images are a challenge and a signpost to the rest of his filmmaking generation. --Robert Horton

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The long front lawns of summer afternoons, the flicker of sunlight as it sprays through tree branches, the volcanic surge of the Earth's interior as the...... more

The long front lawns of summer afternoons, the flicker of sunlight as it sprays through tree branches, the volcanic surge of the Earth's interior as the planet heaves itself into being--you certainly can't say Terrence Malick lacks for visual expressiveness. The Tree of Life is Malick's long-cherished project, a film that centres on a family in 1950s Waco, Texas, yet also reaches for cosmic significance in the creation of the universe itself. The Texas memories belong to Jack (Sean Penn), a modern man seemingly ground down by the soulless glass-and-metal corporate world that surrounds him. We learn early in the film of a family loss that happened at a later time, but the flashbacks concern only the dark Eden of Jack's childhood: his games with his two younger brothers, his frustrated, bullying father (Brad Pitt), his one-dimensionally radiant mother (Jessica Chastain). None of which unfolds in anything like a conventional narrative, but in a series of disconnected scenes that conjure, with poetry and specificity, a particular childhood realm. The contributions of cinematographer Emmanuel Lubezki and production designer Jack Fisk cannot be underestimated in that regard, and it should be noted that Brad Pitt contributes his best performance: strong yet haunted. And how does the Big Bang material (especially a long, trippy sequence in the film's first hour) tie into this material? Yes, well, the answer to that question will determine whether you find Malick's film a profound exploration of existence or crazy-ambitious failure full of beautiful things. Malick's sincerity is winning (and so is his exceptional touch with the child actors), yet many of the movie's touches are simultaneously gaseous (amongst the bits of whispered narration is the war between nature and grace, roles assigned to mother and father) and all-too-literal (a dinosaur retreats from nearly killing a fellow creature--the first moments of species kindness, or anthropomorphic poppycock?). The Tree of Life premiered at the Cannes Film Festival and won the Palme d'Or there after receiving boos at its press screening. The debate continues, unabated, from that point. --Robert Horton

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The long front lawns of summer afternoons, the flicker of sunlight as it sprays through tree branches, the volcanic surge of the Earth's interior as the...... more

The long front lawns of summer afternoons, the flicker of sunlight as it sprays through tree branches, the volcanic surge of the Earth's interior as the planet heaves itself into being--you certainly can't say Terrence Malick lacks for visual expressiveness. The Tree of Life is Malick's long-cherished project, a film that centres on a family in 1950s Waco, Texas, yet also reaches for cosmic significance in the creation of the universe itself. The Texas memories belong to Jack (Sean Penn), a modern man seemingly ground down by the soulless glass-and-metal corporate world that surrounds him. We learn early in the film of a family loss that happened at a later time, but the flashbacks concern only the dark Eden of Jack's childhood: his games with his two younger brothers, his frustrated, bullying father (Brad Pitt), his one-dimensionally radiant mother (Jessica Chastain). None of which unfolds in anything like a conventional narrative, but in a series of disconnected scenes that conjure, with poetry and specificity, a particular childhood realm. The contributions of cinematographer Emmanuel Lubezki and production designer Jack Fisk cannot be underestimated in that regard, and it should be noted that Brad Pitt contributes his best performance: strong yet haunted. And how does the Big Bang material (especially a long, trippy sequence in the film's first hour) tie into this material? Yes, well, the answer to that question will determine whether you find Malick's film a profound exploration of existence or crazy-ambitious failure full of beautiful things. Malick's sincerity is winning (and so is his exceptional touch with the child actors), yet many of the movie's touches are simultaneously gaseous (amongst the bits of whispered narration is the war between nature and grace, roles assigned to mother and father) and all-too-literal (a dinosaur retreats from nearly killing a fellow creature--the first moments of species kindness, or anthropomorphic poppycock?). The Tree of Life premiered at the Cannes Film Festival and won the Palme d'Or there after receiving boos at its press screening. The debate continues, unabated, from that point. --Robert Horton

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The original BBC radio adventures of Arthur Dent (an ape-descendant whose anger at the apparently inexplicable destruction of his home planet Earth,...... more

The original BBC radio adventures of Arthur Dent (an ape-descendant whose anger at the apparently inexplicable destruction of his home planet Earth, situated in an obscure corner of the outer spiral arm of the galaxy, is expressed in frequent irritation at friendly automatic doors and vending machines) and his travelling companions, Ford Prefect (an itinerant towel-carrying hitch-hiker originally from a small planet somewhere in the vicinity of Betelgeuse), Zaphod Beeblebrox (the notorious ex-Galactic President and patron of Eccentrica Galumbits, the triple-breasted whore of Eroticon Six) and Marvin the Paranoid Android (who's still suffering from that terrible pain in all the diodes down his left side) proved to be such a success for the BBC that its transition to TV was (almost) inevitable. In 1981 several key members of the radio cast made the move to the small screen. Simon Jones' bewildered Arthur Dent remains the central character, shambling around in his dressing gown (a fact easy to forget on radio); Mark Wing-Davey's Zaphod Beeblebrox is the same as his boastful radio persona, even if the second head utterly fails to convince. Unfortunately, newcomers David Dixon (as Ford Prefect) and the irritating Sandra Dickinson (as Trillian) are no match for their radio predecessors.The problem here is not so much the low-budget look as the script itself, which is lovingly faithful to the radio series in a way that Douglas Adams' novels aren't. The Hitchhiker's Guide to the Galaxy was a lucid, satirical, occasionally profound, utterly unique comic invention on radio. As such, it has nothing to gain from TV. The script needs no visual elaboration--that's best left to the listener's own imagination. Only the animated renditions of the Guide itself enhance Peter Jones' wonderfully dry narration; otherwise--paradoxically, perhaps--by supplying images the concept is oddly diminished here.On the DVD: A suitably eclectic not to say eccentric collection of extra features makes this a wholly satisfying two-disc set, neatly packaged in a fold-out slipcase. On the second disc there's an hour-long "making of" documentary from 1992 featuring contributions from the cast and crew, including Douglas Adams; and then there's even more in a 20-minute section entitled "Don't Panic!". A fascinating behind-the-scenes peek at filming as the clock runs out on studio time and a look at the recording of the original radio series complete the first part. Then navigate to the "Outer Planets" to find outtakes, a deleted scene, Zaphod's animatronic second head on Tomorrow's World and Peter Jones's witty and shambolic introduction to the first episode, plus more besides. The series itself is presented in standard 4:3 ratio and Dolby stereo. --Mark Walker

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The long front lawns of summer afternoons, the flicker of sunlight as it sprays through tree branches, the volcanic surge of the Earth's interior as the...... more

The long front lawns of summer afternoons, the flicker of sunlight as it sprays through tree branches, the volcanic surge of the Earth's interior as the planet heaves itself into being--you certainly can't say Terrence Malick lacks for visual expressiveness. The Tree of Life is Malick's long-cherished project, a film that centres on a family in 1950s Waco, Texas, yet also reaches for cosmic significance in the creation of the universe itself. The Texas memories belong to Jack (Sean Penn), a modern man seemingly ground down by the soulless glass-and-metal corporate world that surrounds him. We learn early in the film of a family loss that happened at a later time, but the flashbacks concern only the dark Eden of Jack's childhood: his games with his two younger brothers, his frustrated, bullying father (Brad Pitt), his one-dimensionally radiant mother (Jessica Chastain). None of which unfolds in anything like a conventional narrative, but in a series of disconnected scenes that conjure, with poetry and specificity, a particular childhood realm. The contributions of cinematographer Emmanuel Lubezki and production designer Jack Fisk cannot be underestimated in that regard, and it should be noted that Brad Pitt contributes his best performance: strong yet haunted. And how does the Big Bang material (especially a long, trippy sequence in the film's first hour) tie into this material? Yes, well, the answer to that question will determine whether you find Malick's film a profound exploration of existence or crazy-ambitious failure full of beautiful things. Malick's sincerity is winning (and so is his exceptional touch with the child actors), yet many of the movie's touches are simultaneously gaseous (amongst the bits of whispered narration is the war between nature and grace, roles assigned to mother and father) and all-too-literal (a dinosaur retreats from nearly killing a fellow creature--the first moments of species kindness, or anthropomorphic poppycock?). The Tree of Life premiered at the Cannes Film Festival and won the Palme d'Or there after receiving boos at its press screening. The debate continues, unabated, from that point. --Robert Horton

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