Kung Fu idol Billy Chong pulls no punches in this non-stop action packed from the first frame to the last martial arts horror fest. After years of...... more

Kung Fu idol Billy Chong pulls no punches in this non-stop action packed from the first frame to the last martial arts horror fest. After years of rigorous martial arts training Billy Chong is finally ready to face his ultimate challenge - the undead. How can you beat something that's no longer living? Watch and crack up as Billy fights non-stop for two days and nights, taking on all cormers in an epic battle where black magic comes face to face with the very best of Shaolin kung fu. A guaranteed treat for horror and kung fu fans alike.

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When Karen Carpenter died on February 4, 1983 at the age of 32, more than one generation mourned. Karen and her brother, Richard, had achieved monumental...... more

When Karen Carpenter died on February 4, 1983 at the age of 32, more than one generation mourned. Karen and her brother, Richard, had achieved monumental success as purveyors of soft-rock soulfulness, aided by their wholesome, wistful looks. After all, these were the hard-rocking, disco-throbbing 1970s, yet with classics like "Close to You", "Rainy Days and Mondays" and "We've Only Just Begun", the pair blurred the lines of musical class. But no one knew--or at least talked about--Karen's debilitating bouts of bulimia and ongoing battle against the ravaging effects of anorexia. Close to You: Remembering the Carpenters is more a gracious memento than a documentary and presents a rather biased view, heavily influenced by Richard's opinion and commentary. Beginning with the duo's early major success, winning a Battle of the Bands at the Hollywood Bowl, it's a quick trip through the salad years including the first record deal with Herb Alpert's A&M Records. Alpert calls his initial listen to the Carpenters' demo tape "love at first hear". That appears to be true for everyone who came into contact with them, as band members, songwriters Burt Bacharach and Paul Williams, and singer Petula Clark readily testify. The hits and the TV specials are reviewed, too, but something feels missing from this glimpse, which barely scratches the surface. It's obvious to anyone watching the film that Karen, who really wanted to be known as a drummer who sang, not the other way around, was in immense pain and terribly conflicted. Yet by the final credits, we know little more about her than we did before. She remains an enigma and this peek at her life--and Richard's--feels too protective of her memory to tell the whole truth. --Paula Nechak, Amazon.com

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When Karen Carpenter died on February 4, 1983 at the age of 32, more than one generation mourned. Karen and her brother, Richard, had achieved monumental...... more

When Karen Carpenter died on February 4, 1983 at the age of 32, more than one generation mourned. Karen and her brother, Richard, had achieved monumental success as purveyors of soft-rock soulfulness, aided by their wholesome, wistful looks. After all, these were the hard-rocking, disco-throbbing 1970s, yet with classics like "Close to You", "Rainy Days and Mondays" and "We've Only Just Begun", the pair blurred the lines of musical class. But no one knew--or at least talked about--Karen's debilitating bouts of bulimia and ongoing battle against the ravaging effects of anorexia. Close to You: Remembering the Carpenters is more a gracious memento than a documentary and presents a rather biased view, heavily influenced by Richard's opinion and commentary. Beginning with the duo's early major success, winning a Battle of the Bands at the Hollywood Bowl, it's a quick trip through the salad years including the first record deal with Herb Alpert's A&M Records. Alpert calls his initial listen to the Carpenters' demo tape "love at first hear". That appears to be true for everyone who came into contact with them, as band members, songwriters Burt Bacharach and Paul Williams, and singer Petula Clark readily testify. The hits and the TV specials are reviewed, too, but something feels missing from this glimpse, which barely scratches the surface. It's obvious to anyone watching the film that Karen, who really wanted to be known as a drummer who sang, not the other way around, was in immense pain and terribly conflicted. Yet by the final credits, we know little more about her than we did before. She remains an enigma and this peek at her life--and Richard's--feels too protective of her memory to tell the whole truth. --Paula Nechak, Amazon.com

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One of the definitive TV shows of the 1970s that originally aspired to the dark moral complexity of anthology shows like The Twilight Zone. Even...... more

One of the definitive TV shows of the 1970s that originally aspired to the dark moral complexity of anthology shows like The Twilight Zone. Even die hard fans will have to admit Fantasy Island fell short of its goal--but that didn't stop it from becoming hugely popular, lasting for seven powerhouse seasons. All the most iconic elements were present from the beginning: Diminutive Tattoo (Herve Villechaize, The Man with the Golden Gun) shouting "De plane! De plane!"; infinitely gracious Mr. Roarke (Ricardo Montalban, Star Trek II: The Wrath of Khan) commanding "Smiles, everyone, smiles," before delivering pages of exposition with his implacable Latin gravitas; the white suits; the tropical island that somehow has all the vegetation and weather patterns in the world; the pageant of celebrities from Jim Backus to Karen Valentine, Barbi Benton to Don Knotts--it all added up to sneakily addictive television.After all, wish-fulfillment--be it a schlub who wants to be irresistible to chicks or kids who want their separated parents to reconcile or a former cheerleading team who want to relive their high school glory days--had a built-in narrative hook, even though the resolution (various versions of "be careful what you wish for") was never in doubt. Almost every episode bubbled over with sex, revenge, ambition, and regret, delivered with a shameless lack of subtlety. Over the course of the first season, the interplay between Montalban and Villechaize--each armed with an intriguing exotic accent--became more and more prominent, with Mr. Roarke becoming increasingly supernatural while Tattoo oozed the mortal sins of greed and lechery. Turn on any episode; you'll find it hard to stop watching, no matter how cheesy or ludicrous the storyline. --Bret Fetzer

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Modern-day Iceland is terminally weird, if writer-director Baltasar Kormákur's debut film 101 Reykjavík is anything to go by. Our guide...... more

Modern-day Iceland is terminally weird, if writer-director Baltasar Kormákur's debut film 101 Reykjavík is anything to go by. Our guide to this particular Icelandic saga is Hlynur, 28-year-old unemployed slacker and one-man Nordic-gloom factory; "I'll be dead after I die. I was dead before I was born. Life is just a break from death," he muses. After his gut-freezingly boring family Christmas dinner--whose highpoint is watching a video of last year's ditto--you can see his point. Distraction, and a welcome dose of Southern warmth, comes in the form of his mother's flamenco teacher Lola (the delicious Victoria Abril). Only after sleeping with her does he discover that she's not just Mum's teacher, but her lover as well. A little like Pål Sletaune's 1997 Norwegian postie-comedy Junk Mail, 101 Reykjavík gets a lot of lugubrious fun from its protagonist's sheer social and emotional ineptitude--though to give Hlynur his due, most of his mates seem equally clueless, (the women, as so often in this kind of movie, come off rather better). We've been here before, of course--as a male with a severe case of delayed adolescence is gradually brought to engage with adulthood--but the offbeat humour and eccentric details of Kormákur's film keep it fresh and engaging. Whether--in view of remarks like "Reykjavík is like some backwater in Siberia, with glaciated diarrhoea,"--it will do much for the Icelandic tourist trade is another matter!On the DVD: Filmographies for Kormákur, Abril, and lead male actor Hilmir Snaer Gudnason; subtitles and menu; and the theatrical trailer, which contains snatches of several scenes evidently cut from the final release. The sound is clean and immediate (score co-composed by Damon Albarn) and the widescreen print preserves the original 16:9 ratio. --Philip Kemp

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United Kingdom released, PAL/Region 2.4 DVD: LANGUAGES: English ( Dolby Digital 5.1 ), English ( Dolby Digital Stereo ), ANAMORPHIC WIDESCREEN (1.78:1), SPECIAL...... more

United Kingdom released, PAL/Region 2.4 DVD: LANGUAGES: English ( Dolby Digital 5.1 ), English ( Dolby Digital Stereo ), ANAMORPHIC WIDESCREEN (1.78:1), SPECIAL FEATURES: Anamorphic Widescreen, Box Set, Interactive Menu, Multi-DVD Set, Scene Access, SYNOPSIS: Join everyone's favourite reluctant traveller, Karl Pilkington as he is sent around the globe by Ricky Gervais and Stephen Merchant.... Twice. First off Karl is sent to the far reaches of our planet to witness the awe-inspiring 7 wonders of the world. Will he find them awe-inspiring or just awful. In series 2 Karl is dispatched to explore the best things you can possibly do before you die. Features every episode from both series of this smash hit show. Season 1 The Preview Show S1, Ep0 Sep. 5, 2010 China S1, Ep1 Sep. 24, 2010 India S1, Ep2 Oct. 1, 2010 Jordan S1, Ep3 Oct. 8, 2010 Mexico S1, Ep4 Oct. 15, 2010 Egypt S1, Ep5 Oct. 22, 2010 Brazil S1, Ep6 Oct. 29, 2010 Peru S1, Ep7 Nov. 5, 2010 Karl Comes Home: The Debrief S1, Ep8 Nov. 11, 2010 Season 2 Desert Island S2, Ep1 Sep. 23, 2011 Trans-Siberian Express S2, Ep2 Sep. 30, 2011 Swim with Dolphins S2, Ep3 Oct. 7, 2011 Whale Watching S2, Ep4 Oct. 14, 2011 Meet a Gorilla S2, Ep5 Oct. 21, 2011 Route 66 S2, Ep6 Oct. 28, 2011 Climb Mount Fuji S2, Ep7 Nov. 4, 2011 Karl Comes Home S2, Ep8 Nov. 11, 2011 ...An Idiot Abroad - Complete Series 1 & 2 - 4-DVD Box Set ( An Idiot Abroad - Complete Series One and Two ) ( Karl Pilkington's Seven Wonders )

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Released in 1971 (the same year Straw Dogs and A Clockwork Orange hit the screens, which must make 71 the annus mirabilis for violent films set in...... more

Released in 1971 (the same year Straw Dogs and A Clockwork Orange hit the screens, which must make 71 the annus mirabilis for violent films set in Britain), Get Carter opens with gangsters leering over pornographic slides and ends on a filthy, slag-stained beach in Newcastle. It's a low-down and dirty movie from beginning to end, and possibly the grittiest and best film of its kind to come out of Britain. The granddaddy of Lock, Stock & Two Smoking Barrels and all its ilk, director Mike Hodges' Get Carter offers revenge tragedy swinging-60s style, all nicotine-stained cinematography, shabby locations and the kind of killer catchphrases Vinnie Jones would die for ("You're a big man, but you're in bad shape. With me, it's a full-time job. Now behave yourself", says Michael Caine's deadpan anti-hero Carter before inflicting a few choice punches on Brian Mosley, aka Coronation Street's Alf Roberts, to name but one example from Hodges and Ted Lewis' exquisitely laconic script). Presenting the dark horse in his family of loveable Cockney geezer roles (Alfie, The Italian Job), Michael Caine plays the title role of Jack Carter, a man so hard he barely registers a flicker of regret watching a woman he's just had sex with plunge to her death. After taking the train up to Newcastle as the credits roll and Roy Budd's chunky bass-heavy theme tune plays, Carter returns to his hometown to attend his brother's funeral and investigate the circumstances of his death. Not that he's all that sentimental about family: he shaves nonchalantly over the open coffin, and shows affection to his niece Doreen (Petra Markham) by cramming a few notes in her hand and telling her to "be good and don't trust boys". Gradually, Carter unravels the skein of drugs, pornography and corruption tangled around his brother's death, which brings him up against supremely oleaginous kingpin Kinnear (played by the author of Look Back in Anger John Osborne) among others. A remake starring Sylvester Stallone is in the offing, but quite frankly it will be a 30-degree (Celsius) Christmas night in Newcastle before Hollywood could ever make something as assured, raw and immortal as this. --Leslie Felperin

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This box sets has the same contents as the box set available on Amazon.com.Lost: Season OneAlong with Desperate Housewives, Lost was one of the two breakout...... more

This box sets has the same contents as the box set available on Amazon.com.Lost: Season OneAlong with Desperate Housewives, Lost was one of the two breakout shows of 2004. Mixing suspense and action with a sci-fi twist, it began with a thrilling pilot episode in which a jetliner traveling from Australia to Los Angeles crashes, leaving 48 survivors on an unidentified island with no sign of civilisation or hope of imminent rescue. That may sound like Gilligan's Island meets Survivor, but Lost kept viewers tuning in every Wednesday night--and spending the rest of the week speculating on Web sites--with some irresistible hooks (not to mention the beautiful women). First, there's a huge ensemble cast of no fewer than 14 regular characters, and each episode fills in some of the back story on one of them. There's a doctor; an Iraqi soldier; a has-been rock star; a fugitive from justice; a self-absorbed young woman and her brother; a lottery winner; a father and son; a Korean couple; a pregnant woman; and others. Second, there's a host of unanswered questions: What is the mysterious beast that lurks in the jungle? Why do polar bears and wild boars live there? Why has a woman been transmitting an SOS message in French from somewhere on the island for the last 16 years? Why do impossible wishes seem to come true? Are they really on a physical island, or somewhere else? What is the significance of the recurring set of numbers? And will Kate ever give up her bad-boy fixation and hook up with Jack? Lost did have some hiccups during the first season. Some plot threads were left dangling for weeks, and the "oh, it didn't really happen" card was played too often. But the strong writing and topnotch cast kept the show a cut above most network TV. The best-known actor at the time of the show's debut was Dominic Monaghan, fresh off his stint as Merry the Hobbit in Peter Jackson's Lord of the Rings films. The rest of the cast is either unknowns or "where I have I seen that face before" supporting players, including Matthew Fox and Evangeline Lilly, who are the closest thing to leads. Other standouts include Naveen Andrews, Terry O'Quinn (who's made a nice career out of conspiracy-themed TV shows), Josh Holloway, Jorge Garcia, Yunjin Kim, Maggie Grace, and Emilie de Ravin, but there's really not a weak link in the cast. Co-created by J.J. Abrams (Alias), Lost left enough unanswered questions after its first season to keep viewers riveted for a second season. --David Horiuchi Lost: Season TwoWhat was in the Hatch? The cliffhanger from season one of Lost was answered in its opening sequences, only to launch into more questions as the season progressed. That's right: Just when you say "Ohhhhh," there comes another "What?" Thankfully, the show's producers sprinkle answers like tasty morsels throughout the season, ending with a whopper: What caused Oceanic Air Flight 815 to crash in the first place? As the show digs into more revelations about its inhabitant's pasts, it also devotes a good chunk to new characters (Hey, it's an island; you never know who you're going to run into.) First, there are the "Tailies," passengers from the back end of the plane who crashed on the other side of the island. Among them are the wise, God-fearing ex-drug lord Mr. Eko (standout Adewale Akinnuoye-Agbaje); devoted husband Bernard (Sam Anderson); psychiatrist Libby (Cynthia Watros, whose character has more than one hidden link to the other islanders); and ex-cop Ana Lucia (Michelle Rodriguez), by far the most infuriating character on the show, despite how much the writers tried to incur sympathy with her flashback. Then there are the Others, first introduced when they kidnapped Walt (Malcolm David Kelley) at the end of season one. Brutal and calculating, their agenda only became more complex when one of them (played creepily by Michael Emerson) was held hostage in the hatch and, quite handily, plays mind games on everyone's already frayed nerves. The original cast continues to battle their own skeletons, most notably Locke (Terry O'Quinn), Sun (Yunjin Kim) and Michael (Harold Perrineau), whose obsession with finding Walt takes a dangerous turn. The love triangle between Jack (Matthew Fox), Kate (Evangeline Lilly) and Sawyer (Josh Holloway), which had stalled with Sawyer's departure, heats up again in the second half. Despite the bloating cast size (knocked down by a few by season's end) Lost still does what it does best: explores the psyche of people, about whom "my life is an open book" never applies, and cracks into the social dynamics of strangers thrust into Lord of the Flies-esque situations. Is it all a science experiment? A dream? A supernatural pocket in the universe? Likely, any theory will wind up on shaky ground by the season's conclusion. But hey, that's the fun of it. This show was made for DVD, and you can pause and slow-frame to your heart's content. --Ellen Kim Lost: Season ThreeWhen it aired in 2006-07, Lost's third season was split into two, with a hefty break in between. This did nothing to help the already weirdly disparate direction the show was taking (Kate and Sawyer in zoo cages! Locke eating goop in a mud hut!), but when it finally righted its course halfway through--in particular that whopper of a finale--the drama series had left its irked fan base thrilled once again. This doesn't mean, however, that you should skip through the first half of the season to get there, because quite a few questions find answers: what the Others are up to, the impact of turning that fail-safe key, the identity of the eye-patched man from the hatch's video monitor. One of the series' biggest curiosities from the past--how Locke ended up in that wheelchair in the first place--also gets its satisfying due. (The episode, "The Man from Tallahassee," likely was a big contributor to Terry O'Quinn's surprising--but long-deserved--Emmy win that year.) Unfortunately, you do have to sit through a lot of aforementioned nuisances to get there. Season 3 kicks off with Jack (Matthew Fox), Kate (Evangeline Lilly), and Sawyer (Josh Holloway) held captive by the Others; Sayid (Naveen Andrews), Sun (Yunjin Kim), and Jin (Daniel Dae Kim) on a mission to rescue them; and Locke, Mr. Eko (Adewale Akinnuoye-Agbaje), and Desmond (Henry Ian Cusick) in the aftermath of the electromagnetic pulse that blew up the hatch. Spinning the storylines away from base camp alone wouldn't have felt so disjointed were it not for the new characters simultaneously being introduced. First there's Juliet, a mysterious member of the Others whose loyalty constantly comes into question as the season goes on. Played delicately by Elizabeth Mitchell (Gia, ER, Frequency), Juliet is in one turn a cold-blooded killer, by another turn a sympathetic friend; possibly both at once, possibly neither at all. (She's also a terrific, albeit unwitting, threat to the Kate-Sawyer-Jack love triangle, which plays out more definitively this season.) On the other hand, there's the now-infamous Nikki and Paulo (Kiele Sanchez and Rodrigo Santoro), a tagalong couple who were cleverly woven into the previous seasons' key moments but came to bear the brunt of fans' ire toward the show (Sawyer humorously echoed the sentiments by remarking, "Who the hell are you?"). By the end of the season, at least two major characters die, another is told he/she will die within months, major new threats are unveiled, and--as mentioned before--the two-part season finale restores your faith in the series. --Ellen A. Kim Lost: Season FourSeason four of Lost was a fine return to form for the series, which polarized its audience the year before with its focus on The Others and not enough on our original crash victims. That season's finale introduced a new storytelling device--the flash-forward--that's employed to great effect this time around; by showing who actually got off the island (known as the Oceanic Six), the viewer is able to put to bed some longstanding loose ends. As the finale attests, we see that in the future Jack (Matthew Fox) is broken, bearded, and not sober, while Kate (Evangeline Lilly) is estranged from Jack and with another guy (the identity may surprise you). Four others do make it back to their homes, but as the flash-forwards show, it's definitely not the end of their connection to the island. Back in present day, however, the islanders are visited by the denizens of a so-called rescue ship, who have agendas of their own. While Jack works with the newcomers to try to get off the island, Locke (Terry O'Quinn), with a few followers of his own, forms an uneasy alliance with Ben (Michael Emerson) against the suspicious gang. Some episodes featuring the new characters feel like filler, but the evolution of such characters as Sun and Jin (Yunjin Kim and Daniel Dae Kim) is this season's strength; plus, the love story of Desmond (Henry Ian Cusick) and Penny (Sonya Walger) provides some of the show's emotional highlights. As is the custom with Lost, bullets fly and characters die (while others may or may not have). Moreover, the fate of Michael (Harold Perrineau), last seen traitorously sailing off to civilisation in season two, as well as the flash-forwards of the Oceanic Six, shows you never quite leave the island once you've left. There's a force that pulls them in, and it's a hook that keeps you watching. Season four was a shorter 13 episodes instead of the usual 22 due to the 2008 writers' strike. --Ellen A. Kim Lost: Season FiveSince Lost made its debut as a cult phenomenon in 2004, certain things seemed inconceivable. In its fourth year, some of those things, like a rescue, came to pass. The season ended with Locke (Terry O'Quinn) attempting to persuade the Oceanic Six to return, but he dies before that can happen--or so it appears--and where Jack (Matthew Fox) used to lead, Ben (Emmy nominee Michael Emerson) now takes the reins and convinces the survivors to fulfill Locke's wish. As producers Damon Lindelof and Carlton Cuse state in their commentary on the fifth-season premiere, "We're doing time travel this year," and the pile-up of flashbacks and flash-forwards will make even the most dedicated fan dizzy. Ben, Jack, Hurley (Jorge Garcia), Sayid (Naveen Andrews), Sun (Yunjin Kim), and Kate (Evangeline Lilly) arrive to find that Sawyer (Josh Holloway) and Juliet (Elizabeth Mitchell) have been part of the Dharma Initiative for three years. The writers also clarify the roles that Richard (Nestor Carbonell) and Daniel (Jeremy Davies) play in the island's master plan, setting the stage for the prophecies of Daniel's mother, Eloise Hawking (Fionnula Flanagan), to play a bigger part in the sixth and final season. Dozens of other players flit in and out, some never to return. A few, such as Jin (Daniel Dae Kim), live again in the past. Lost could've wrapped things up in five years, as The Wire did, but the show continues to excite and surprise. As Lindelof and Cuse admit in the commentary, there's a "fine line between confusion and mystery," adding, "it makes more sense if you're drunk." --Kathleen C. FennessyLost Season SixIts taken a long time to get here, but finally, the last season of Lost arrives, with answers to at least some of the questions that fans of the show have been demanding for the past few years. In true Lost fashion, it doesnt tie all its mysteries up with a bow, but it does at least answer some of the questions that have long being gestating. In the series opening, for instance, we finally learn the secret of the smoke monster, which is a sizeable step in the right direction. In terms of quality, the show has been on an upward curve since the end date of the programme was announced, and season six arguably finds Lost at its most confident to date. Never mind the fact that it's juggling lots of proverbial balls: there's a very clear end point here, and the show benefits enormously from it. Naturally, Lost naysayers will probably find themselves more alienated than ever here. But this season nonetheless marks the passing of a major television show, one that has cleverly managed to reinvent itself on more than one occasion, and keep audiences across the world gripped as a result. There's going to be nothing quite like it for a long time to come. --Jon Foster

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Lost: Season OneAlong with Desperate Housewives, Lost was one of the two breakout shows of 2004. Mixing suspense and action with a sci-fi twist, it began with a...... more

Lost: Season OneAlong with Desperate Housewives, Lost was one of the two breakout shows of 2004. Mixing suspense and action with a sci-fi twist, it began with a thrilling pilot episode in which a jetliner traveling from Australia to Los Angeles crashes, leaving 48 survivors on an unidentified island with no sign of civilisation or hope of imminent rescue. That may sound like Gilligan's Island meets Survivor, but Lost kept viewers tuning in every Wednesday night--and spending the rest of the week speculating on Web sites--with some irresistible hooks (not to mention the beautiful women). First, there's a huge ensemble cast of no fewer than 14 regular characters, and each episode fills in some of the back story on one of them. There's a doctor; an Iraqi soldier; a has-been rock star; a fugitive from justice; a self-absorbed young woman and her brother; a lottery winner; a father and son; a Korean couple; a pregnant woman; and others. Second, there's a host of unanswered questions: What is the mysterious beast that lurks in the jungle? Why do polar bears and wild boars live there? Why has a woman been transmitting an SOS message in French from somewhere on the island for the last 16 years? Why do impossible wishes seem to come true? Are they really on a physical island, or somewhere else? What is the significance of the recurring set of numbers? And will Kate ever give up her bad-boy fixation and hook up with Jack? Lost did have some hiccups during the first season. Some plot threads were left dangling for weeks, and the "oh, it didn't really happen" card was played too often. But the strong writing and topnotch cast kept the show a cut above most network TV. The best-known actor at the time of the show's debut was Dominic Monaghan, fresh off his stint as Merry the Hobbit in Peter Jackson's Lord of the Rings films. The rest of the cast is either unknowns or "where I have I seen that face before" supporting players, including Matthew Fox and Evangeline Lilly, who are the closest thing to leads. Other standouts include Naveen Andrews, Terry O'Quinn (who's made a nice career out of conspiracy-themed TV shows), Josh Holloway, Jorge Garcia, Yunjin Kim, Maggie Grace, and Emilie de Ravin, but there's really not a weak link in the cast. Co-created by J.J. Abrams (Alias), Lost left enough unanswered questions after its first season to keep viewers riveted for a second season. --David Horiuchi Lost: Season TwoWhat was in the Hatch? The cliffhanger from season one of Lost was answered in its opening sequences, only to launch into more questions as the season progressed. That's right: Just when you say "Ohhhhh," there comes another "What?" Thankfully, the show's producers sprinkle answers like tasty morsels throughout the season, ending with a whopper: What caused Oceanic Air Flight 815 to crash in the first place? As the show digs into more revelations about its inhabitant's pasts, it also devotes a good chunk to new characters (Hey, it's an island; you never know who you're going to run into.) First, there are the "Tailies," passengers from the back end of the plane who crashed on the other side of the island. Among them are the wise, God-fearing ex-drug lord Mr. Eko (standout Adewale Akinnuoye-Agbaje); devoted husband Bernard (Sam Anderson); psychiatrist Libby (Cynthia Watros, whose character has more than one hidden link to the other islanders); and ex-cop Ana Lucia (Michelle Rodriguez), by far the most infuriating character on the show, despite how much the writers tried to incur sympathy with her flashback. Then there are the Others, first introduced when they kidnapped Walt (Malcolm David Kelley) at the end of season one. Brutal and calculating, their agenda only became more complex when one of them (played creepily by Michael Emerson) was held hostage in the hatch and, quite handily, plays mind games on everyone's already frayed nerves. The original cast continues to battle their own skeletons, most notably Locke (Terry O'Quinn), Sun (Yunjin Kim) and Michael (Harold Perrineau), whose obsession with finding Walt takes a dangerous turn. The love triangle between Jack (Matthew Fox), Kate (Evangeline Lilly) and Sawyer (Josh Holloway), which had stalled with Sawyer's departure, heats up again in the second half. Despite the bloating cast size (knocked down by a few by season's end) Lost still does what it does best: explores the psyche of people, about whom "my life is an open book" never applies, and cracks into the social dynamics of strangers thrust into Lord of the Flies-esque situations. Is it all a science experiment? A dream? A supernatural pocket in the universe? Likely, any theory will wind up on shaky ground by the season's conclusion. But hey, that's the fun of it. This show was made for DVD, and you can pause and slow-frame to your heart's content. --Ellen Kim Lost: Season ThreeWhen it aired in 2006-07, Lost's third season was split into two, with a hefty break in between. This did nothing to help the already weirdly disparate direction the show was taking (Kate and Sawyer in zoo cages! Locke eating goop in a mud hut!), but when it finally righted its course halfway through--in particular that whopper of a finale--the drama series had left its irked fan base thrilled once again. This doesn't mean, however, that you should skip through the first half of the season to get there, because quite a few questions find answers: what the Others are up to, the impact of turning that fail-safe key, the identity of the eye-patched man from the hatch's video monitor. One of the series' biggest curiosities from the past--how Locke ended up in that wheelchair in the first place--also gets its satisfying due. (The episode, "The Man from Tallahassee," likely was a big contributor to Terry O'Quinn's surprising--but long-deserved--Emmy win that year.) Unfortunately, you do have to sit through a lot of aforementioned nuisances to get there. Season 3 kicks off with Jack (Matthew Fox), Kate (Evangeline Lilly), and Sawyer (Josh Holloway) held captive by the Others; Sayid (Naveen Andrews), Sun (Yunjin Kim), and Jin (Daniel Dae Kim) on a mission to rescue them; and Locke, Mr. Eko (Adewale Akinnuoye-Agbaje), and Desmond (Henry Ian Cusick) in the aftermath of the electromagnetic pulse that blew up the hatch. Spinning the storylines away from base camp alone wouldn't have felt so disjointed were it not for the new characters simultaneously being introduced. First there's Juliet, a mysterious member of the Others whose loyalty constantly comes into question as the season goes on. Played delicately by Elizabeth Mitchell (Gia, ER, Frequency), Juliet is in one turn a cold-blooded killer, by another turn a sympathetic friend; possibly both at once, possibly neither at all. (She's also a terrific, albeit unwitting, threat to the Kate-Sawyer-Jack love triangle, which plays out more definitively this season.) On the other hand, there's the now-infamous Nikki and Paulo (Kiele Sanchez and Rodrigo Santoro), a tagalong couple who were cleverly woven into the previous seasons' key moments but came to bear the brunt of fans' ire toward the show (Sawyer humorously echoed the sentiments by remarking, "Who the hell are you?"). By the end of the season, at least two major characters die, another is told he/she will die within months, major new threats are unveiled, and--as mentioned before--the two-part season finale restores your faith in the series. --Ellen A. Kim Lost: Season FourSeason four of Lost was a fine return to form for the series, which polarized its audience the year before with its focus on The Others and not enough on our original crash victims. That season's finale introduced a new storytelling device--the flash-forward--that's employed to great effect this time around; by showing who actually got off the island (known as the Oceanic Six), the viewer is able to put to bed some longstanding loose ends. As the finale attests, we see that in the future Jack (Matthew Fox) is broken, bearded, and not sober, while Kate (Evangeline Lilly) is estranged from Jack and with another guy (the identity may surprise you). Four others do make it back to their homes, but as the flash-forwards show, it's definitely not the end of their connection to the island. Back in present day, however, the islanders are visited by the denizens of a so-called rescue ship, who have agendas of their own. While Jack works with the newcomers to try to get off the island, Locke (Terry O'Quinn), with a few followers of his own, forms an uneasy alliance with Ben (Michael Emerson) against the suspicious gang. Some episodes featuring the new characters feel like filler, but the evolution of such characters as Sun and Jin (Yunjin Kim and Daniel Dae Kim) is this season's strength; plus, the love story of Desmond (Henry Ian Cusick) and Penny (Sonya Walger) provides some of the show's emotional highlights. As is the custom with Lost, bullets fly and characters die (while others may or may not have). Moreover, the fate of Michael (Harold Perrineau), last seen traitorously sailing off to civilisation in season two, as well as the flash-forwards of the Oceanic Six, shows you never quite leave the island once you've left. There's a force that pulls them in, and it's a hook that keeps you watching. Season four was a shorter 13 episodes instead of the usual 22 due to the 2008 writers' strike. --Ellen A. Kim Lost: Season FiveSince Lost made its debut as a cult phenomenon in 2004, certain things seemed inconceivable. In its fourth year, some of those things, like a rescue, came to pass. The season ended with Locke (Terry O'Quinn) attempting to persuade the Oceanic Six to return, but he dies before that can happen--or so it appears--and where Jack (Matthew Fox) used to lead, Ben (Emmy nominee Michael Emerson) now takes the reins and convinces the survivors to fulfill Locke's wish. As producers Damon Lindelof and Carlton Cuse state in their commentary on the fifth-season premiere, "We're doing time travel this year," and the pile-up of flashbacks and flash-forwards will make even the most dedicated fan dizzy. Ben, Jack, Hurley (Jorge Garcia), Sayid (Naveen Andrews), Sun (Yunjin Kim), and Kate (Evangeline Lilly) arrive to find that Sawyer (Josh Holloway) and Juliet (Elizabeth Mitchell) have been part of the Dharma Initiative for three years. The writers also clarify the roles that Richard (Nestor Carbonell) and Daniel (Jeremy Davies) play in the island's master plan, setting the stage for the prophecies of Daniel's mother, Eloise Hawking (Fionnula Flanagan), to play a bigger part in the sixth and final season. Dozens of other players flit in and out, some never to return. A few, such as Jin (Daniel Dae Kim), live again in the past. Lost could've wrapped things up in five years, as The Wire did, but the show continues to excite and surprise. As Lindelof and Cuse admit in the commentary, there's a "fine line between confusion and mystery," adding, "it makes more sense if you're drunk." --Kathleen C. FennessyLost: Season SixIts taken a long time to get here, but finally, the last season of Lost arrives, with answers to at least some of the questions that fans of the show have been demanding for the past few years. In true Lost fashion, it doesnt tie all its mysteries up with a bow, but it does at least answer some of the questions that have long being gestating. In the series opening, for instance, we finally learn the secret of the smoke monster, which is a sizeable step in the right direction.In terms of quality, the show has been on an upward curve since the end date of the programme was announced, and season six arguably finds Lost at its most confident to date. Never mind the fact that its juggling lots of proverbial balls: theres a very clear end point here, and the show benefits enormously from it. Naturally, Lost naysayers will probably find themselves more alienated than ever here. But this boxset nonetheless marks the passing of a major television show, one that has cleverly managed to reinvent itself on more than one occasion, and keep audiences across the world gripped as a result. Theres going to be nothing quite like it for a long time to come --Jon Foster

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Modern-day Iceland is terminally weird, if writer-director Baltasar Kormákur's debut film 101 Reykjavík is anything to go by. Our guide...... more

Modern-day Iceland is terminally weird, if writer-director Baltasar Kormákur's debut film 101 Reykjavík is anything to go by. Our guide to this particular Icelandic saga is Hlynur, 28-year-old unemployed slacker and one-man Nordic-gloom factory; "I'll be dead after I die. I was dead before I was born. Life is just a break from death," he muses. After his gut-freezingly boring family Christmas dinner--whose highpoint is watching a video of last year's ditto--you can see his point. Distraction, and a welcome dose of Southern warmth, comes in the form of his mother's flamenco teacher Lola (the delicious Victoria Abril). Only after sleeping with her does he discover that she's not just Mum's teacher, but her lover as well. A little like Pål Sletaune's 1997 Norwegian postie-comedy Junk Mail, 101 Reykjavík gets a lot of lugubrious fun from its protagonist's sheer social and emotional ineptitude--though to give Hlynur his due, most of his mates seem equally clueless, (the women, as so often in this kind of movie, come off rather better). We've been here before, of course--as a male with a severe case of delayed adolescence is gradually brought to engage with adulthood--but the offbeat humour and eccentric details of Kormákur's film keep it fresh and engaging. Whether--in view of remarks like "Reykjavík is like some backwater in Siberia, with glaciated diarrhoea,"--it will do much for the Icelandic tourist trade is another matter!On the DVD: Filmographies for Kormákur, Abril, and lead male actor Hilmir Snaer Gudnason; subtitles and menu; and the theatrical trailer, which contains snatches of several scenes evidently cut from the final release. The sound is clean and immediate (score co-composed by Damon Albarn) and the widescreen print preserves the original 16:9 ratio. --Philip Kemp

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The Who: Live at the Royal Albert Hall commemorates a remarkable charity gig in aid of the Teenage Cancer Trust. Roger Daltrey does allow himself a smirk as he...... more

The Who: Live at the Royal Albert Hall commemorates a remarkable charity gig in aid of the Teenage Cancer Trust. Roger Daltrey does allow himself a smirk as he declaims his famous hope that he'll die before he gets old, but other than that, The Who are to be commended for playing their reunion entirely straight. Their souped-up rhythm'n'blues was always propelled by a self-belief as fervent as it was absolute; had any irony been allowed to impinge on proceedings here, the spectacle of three men well into their 50s delivering a set of what remain definitive hymns to youth and its attendant furies would have been wholly preposterous. As it is, the three surviving members of The Who (Daltrey, Pete Townshend, Jon Entwhistle) combine with keyboardist John Bundrick and drummer Zak Starkey (son of Ringo Starr) to altogether engaging effect. There is, obviously, nothing wrong with the songs "Pinball Wizard", "The Kids Are Alright", "You Better You Bet", and they all get the treatment they deserve here. In fact, the only downsides are the many guest performances, which are either redundant, like Noel Gallagher's rhythm guitar on "Won't Get Fooled Again", or actually detrimental, like Kelly Jones' dreadful braying of "Substitute".On the DVD: The widescreen DVD is enhanced for 16:9 TVs. The second disc of extras includes backstage and rehearsal footage, the option to watch the performance of "Pinball Wizard" from a variety of angles, and an interview with Roger Daltrey, which he devotes principally to his work for the Teenage Cancer Trust, who were the beneficiaries of the concert. Also included is a derisory booklet of hopeless out-of-focus photos of the show taken by Bryan Adams, who would be well advised, on this evidence, to stick with the day job. --Andrew Mueller

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Released in 1971 (the same year Straw Dogs and A Clockwork Orange hit the screens, which must make 71 the annus mirabilis for violent films set in...... more

Released in 1971 (the same year Straw Dogs and A Clockwork Orange hit the screens, which must make 71 the annus mirabilis for violent films set in Britain), Get Carter opens with gangsters leering over pornographic slides and ends on a filthy, slag-stained beach in Newcastle. It's a low-down and dirty movie from beginning to end, and possibly the grittiest and best film of its kind to come out of Britain. The granddaddy of Lock, Stock & Two Smoking Barrels and all its ilk, director Mike Hodges' Get Carter offers revenge tragedy swinging-60s style, all nicotine-stained cinematography, shabby locations and the kind of killer catchphrases Vinnie Jones would die for ("You're a big man, but you're in bad shape. With me, it's a full-time job. Now behave yourself", says Michael Caine's deadpan anti-hero Carter before inflicting a few choice punches on Brian Mosley, aka Coronation Street's Alf Roberts, to name but one example from Hodges and Ted Lewis' exquisitely laconic script). Presenting the dark horse in his family of loveable Cockney geezer roles (Alfie, The Italian Job), Michael Caine plays the title role of Jack Carter, a man so hard he barely registers a flicker of regret watching a woman he's just had sex with plunge to her death. After taking the train up to Newcastle as the credits roll and Roy Budd's chunky bass-heavy theme tune plays, Carter returns to his hometown to attend his brother's funeral and investigate the circumstances of his death. Not that he's all that sentimental about family: he shaves nonchalantly over the open coffin, and shows affection to his niece Doreen (Petra Markham) by cramming a few notes in her hand and telling her to "be good and don't trust boys". Gradually, Carter unravels the skein of drugs, pornography and corruption tangled around his brother's death, which brings him up against supremely oleaginous kingpin Kinnear (played by the author of Look Back in Anger John Osborne) among others. A remake starring Sylvester Stallone is in the offing, but quite frankly it will be a 30-degree (Celsius) Christmas night in Newcastle before Hollywood could ever make something as assured, raw and immortal as this. --Leslie Felperin

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Released in 1971 (the same year Straw Dogs and A Clockwork Orange hit the screens, which must make 71 the annus mirabilis for violent films set in...... more

Released in 1971 (the same year Straw Dogs and A Clockwork Orange hit the screens, which must make 71 the annus mirabilis for violent films set in Britain), Get Carter opens with gangsters leering over pornographic slides and ends on a filthy, slag-stained beach in Newcastle. It's a low-down and dirty movie from beginning to end, and possibly the grittiest and best film of its kind to come out of Britain. The granddaddy of Lock, Stock & Two Smoking Barrels and all its ilk, director Mike Hodges' Get Carter offers revenge tragedy swinging-60s style, all nicotine-stained cinematography, shabby locations and the kind of killer catchphrases Vinnie Jones would die for ("You're a big man, but you're in bad shape. With me, it's a full-time job. Now behave yourself", says Michael Caine's deadpan anti-hero Carter before inflicting a few choice punches on Brian Mosley, aka Coronation Street's Alf Roberts, to name but one example from Hodges and Ted Lewis' exquisitely laconic script).Presenting the dark horse in his family of loveable Cockney geezer roles (Alfie, The Italian Job), Michael Caine plays the title role of Jack Carter, a man so hard he barely registers a flicker of regret watching a woman he has just had sex with plunge to her death. After taking the train up to Newcastle as the credits roll and Roy Budd's chunky bass-heavy theme tune plays, Carter returns to his hometown to attend his brother's funeral and investigate the circumstances of his death. Not that he's all that sentimental about family: he shaves nonchalantly over the open coffin, and shows affection to his niece Doreen (Petra Markham) by cramming a few notes in her hand and telling her to "be good and don't trust boys". Gradually, Carter unravels the skein of drugs, pornography and corruption tangled around his brother's death, which brings him up against supremely oleaginous kingpin Kinnear (played by the author of Look Back in Anger John Osborne) among others. A remake starring Sylvester Stallone is in the offing, but quite frankly it will be a 30-degree (Celsius) Christmas night in Newcastle before Hollywood could ever make something as assured, raw and immortal as this. --Leslie Felperin

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Released in 1971 (the same year Straw Dogs and A Clockwork Orange hit the screens, which must make 71 the annus mirabilis for violent films set in...... more

Released in 1971 (the same year Straw Dogs and A Clockwork Orange hit the screens, which must make 71 the annus mirabilis for violent films set in Britain), Get Carter opens with gangsters leering over pornographic slides and ends on a filthy, slag-stained beach in Newcastle. It's a low-down and dirty movie from beginning to end, and possibly the grittiest and best film of its kind to come out of Britain. The granddaddy of Lock, Stock & Two Smoking Barrels and all its ilk, director Mike Hodges' Get Carter offers revenge tragedy swinging-60s style, all nicotine-stained cinematography, shabby locations and the kind of killer catchphrases Vinnie Jones would die for ("You're a big man, but you're in bad shape. With me, it's a full-time job. Now behave yourself", says Michael Caine's deadpan anti-hero Carter before inflicting a few choice punches on Brian Mosley, aka Coronation Street's Alf Roberts, to name but one example from Hodges and Ted Lewis' exquisitely laconic script).Presenting the dark horse in his family of loveable Cockney geezer roles (Alfie, The Italian Job), Michael Caine plays the title role of Jack Carter, a man so hard he barely registers a flicker of regret watching a woman he has just had sex with plunge to her death. After taking the train up to Newcastle as the credits roll and Roy Budd's chunky bass-heavy theme tune plays, Carter returns to his hometown to attend his brother's funeral and investigate the circumstances of his death. Not that he's all that sentimental about family: he shaves nonchalantly over the open coffin, and shows affection to his niece Doreen (Petra Markham) by cramming a few notes in her hand and telling her to "be good and don't trust boys". Gradually, Carter unravels the skein of drugs, pornography and corruption tangled around his brother's death, which brings him up against supremely oleaginous kingpin Kinnear (played by the author of Look Back in Anger John Osborne) among others. A remake starring Sylvester Stallone is in the offing, but quite frankly it will be a 30-degree (Celsius) Christmas night in Newcastle before Hollywood could ever make something as assured, raw and immortal as this. --Leslie Felperin

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The Who: Live at the Royal Albert Hall commemorates a remarkable charity gig in aid of the Teenage Cancer Trust. Roger Daltrey does allow himself a smirk as he...... more

The Who: Live at the Royal Albert Hall commemorates a remarkable charity gig in aid of the Teenage Cancer Trust. Roger Daltrey does allow himself a smirk as he declaims his famous hope that he'll die before he gets old, but other than that, The Who are to be commended for playing their reunion entirely straight. Their souped-up rhythm'n'blues was always propelled by a self-belief as fervent as it was absolute; had any irony been allowed to impinge on proceedings here, the spectacle of three men well into their 50s delivering a set of what remain definitive hymns to youth and its attendant furies would have been wholly preposterous. As it is, the three surviving members of The Who (Daltrey, Pete Townshend, Jon Entwhistle) combine with keyboardist John Bundrick and drummer Zak Starkey (son of Ringo Starr) to altogether engaging effect. There is, obviously, nothing wrong with the songs "Pinball Wizard", "The Kids Are Alright", "You Better You Bet", and they all get the treatment they deserve here. In fact, the only downsides are the many guest performances, which are either redundant, like Noel Gallagher's rhythm guitar on "Won't Get Fooled Again", or actually detrimental, like Kelly Jones' dreadful braying of "Substitute".On the DVD: The widescreen DVD is enhanced for 16:9 TVs. The second disc of extras includes backstage and rehearsal footage, the option to watch the performance of "Pinball Wizard" from a variety of angles, and an interview with Roger Daltrey, which he devotes principally to his work for the Teenage Cancer Trust, who were the beneficiaries of the concert. Also included is a derisory booklet of hopeless out-of-focus photos of the show taken by Bryan Adams, who would be well advised, on this evidence, to stick with the day job. --Andrew Mueller

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The Who: Live at the Royal Albert Hall commemorates a remarkable charity gig in aid of the Teenage Cancer Trust. Roger Daltrey does allow himself a smirk as he...... more

The Who: Live at the Royal Albert Hall commemorates a remarkable charity gig in aid of the Teenage Cancer Trust. Roger Daltrey does allow himself a smirk as he declaims his famous hope that he'll die before he gets old, but other than that, The Who are to be commended for playing their reunion entirely straight. Their souped-up rhythm'n'blues was always propelled by a self-belief as fervent as it was absolute; had any irony been allowed to impinge on proceedings here, the spectacle of three men well into their 50s delivering a set of what remain definitive hymns to youth and its attendant furies would have been wholly preposterous. As it is, the three surviving members of The Who (Daltrey, Pete Townshend, Jon Entwhistle) combine with keyboardist John Bundrick and drummer Zak Starkey (son of Ringo Starr) to altogether engaging effect. There is, obviously, nothing wrong with the songs "Pinball Wizard", "The Kids Are Alright", "You Better You Bet", and they all get the treatment they deserve here. In fact, the only downsides are the many guest performances, which are either redundant, like Noel Gallagher's rhythm guitar on "Won't Get Fooled Again", or actually detrimental, like Kelly Jones' dreadful braying of "Substitute".On the DVD: The widescreen DVD is enhanced for 16:9 TVs. The second disc of extras includes backstage and rehearsal footage, the option to watch the performance of "Pinball Wizard" from a variety of angles, and an interview with Roger Daltrey, which he devotes principally to his work for the Teenage Cancer Trust, who were the beneficiaries of the concert. Also included is a derisory booklet of hopeless out-of-focus photos of the show taken by Bryan Adams, who would be well advised, on this evidence, to stick with the day job. --Andrew Mueller

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Geoffrey Kendal's dream was to do theatre for as much of his life as he could manage, and to be under nobody's thumb. He and his wife put...... more

Geoffrey Kendal's dream was to do theatre for as much of his life as he could manage, and to be under nobody's thumb. He and his wife put together a small company, and together they barnstormed around India doing Shakespeare, Wilde, and Shaw for the best part of three decades. Before she was one of the most famous and loved actresses of her generation, Felicity Kendal was Geoffrey's daughter (her first film was Merchant Ivory's Shakespeare Wallah which celebrates his company). This memoir of her early life, and of the slow process of watching her father die recently, is distinguished by clear-sightedness; this is a book about the way you love impossible parents even when you have eventually to walk away from them for a while. It is full of the sights and scents of both India and the theatre; there are few better books on the nervous pride of the actor. It is wonderfully evocative too of the unforgivingly hip sixties London to which Felicity Kendal came back as a naive ingenue. The tone of voice is idiosyncratic and charmingly personal and the book as a whole is touching without a scrap of sentimentality. --Roz Kaveney

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Geoffrey Kendal's dream was to do theatre for as much of his life as he could manage, and to be under nobody's thumb. He and his wife put...... more

Geoffrey Kendal's dream was to do theatre for as much of his life as he could manage, and to be under nobody's thumb. He and his wife put together a small company, and together they barnstormed around India doing Shakespeare, Wilde, and Shaw for the best part of three decades. Before she was one of the most famous and loved actresses of her generation, Felicity Kendal was Geoffrey's daughter (her first film was Merchant Ivory's Shakespeare Wallah which celebrates his company). This memoir of her early life, and of the slow process of watching her father die recently, is distinguished by clear-sightedness; this is a book about the way you love impossible parents even when you have eventually to walk away from them for a while. It is full of the sights and scents of both India and the theatre; there are few better books on the nervous pride of the actor. It is wonderfully evocative too of the unforgivingly hip sixties London to which Felicity Kendal came back as a naive ingenue. The tone of voice is idiosyncratic and charmingly personal and the book as a whole is touching without a scrap of sentimentality. --Roz Kaveney

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One of the definitive TV shows of the 1970s that originally aspired to the dark moral complexity of anthology shows like The Twilight Zone. Even...... more

One of the definitive TV shows of the 1970s that originally aspired to the dark moral complexity of anthology shows like The Twilight Zone. Even die hard fans will have to admit Fantasy Island fell short of its goal--but that didn't stop it from becoming hugely popular, lasting for seven powerhouse seasons. All the most iconic elements were present from the beginning: Diminutive Tattoo (Herve Villechaize, The Man with the Golden Gun) shouting "De plane! De plane!"; infinitely gracious Mr. Roarke (Ricardo Montalban, Star Trek II: The Wrath of Khan) commanding "Smiles, everyone, smiles," before delivering pages of exposition with his implacable Latin gravitas; the white suits; the tropical island that somehow has all the vegetation and weather patterns in the world; the pageant of celebrities from Jim Backus to Karen Valentine, Barbi Benton to Don Knotts--it all added up to sneakily addictive television.After all, wish-fulfillment--be it a schlub who wants to be irresistible to chicks or kids who want their separated parents to reconcile or a former cheerleading team who want to relive their high school glory days--had a built-in narrative hook, even though the resolution (various versions of "be careful what you wish for") was never in doubt. Almost every episode bubbled over with sex, revenge, ambition, and regret, delivered with a shameless lack of subtlety. Over the course of the first season, the interplay between Montalban and Villechaize--each armed with an intriguing exotic accent--became more and more prominent, with Mr. Roarke becoming increasingly supernatural while Tattoo oozed the mortal sins of greed and lechery. Turn on any episode; you'll find it hard to stop watching, no matter how cheesy or ludicrous the storyline. --Bret Fetzer

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United Kingdom released, PAL/Region 2.4 DVD: LANGUAGES: English ( Dolby Digital 5.1 ), English ( Dolby Digital Stereo ), ANAMORPHIC WIDESCREEN (1.78:1), SPECIAL...... more

United Kingdom released, PAL/Region 2.4 DVD: LANGUAGES: English ( Dolby Digital 5.1 ), English ( Dolby Digital Stereo ), ANAMORPHIC WIDESCREEN (1.78:1), SPECIAL FEATURES: Anamorphic Widescreen, Box Set, Interactive Menu, Multi-DVD Set, Scene Access, SYNOPSIS: Join everyone's favourite reluctant traveller, Karl Pilkington as he is sent around the globe by Ricky Gervais and Stephen Merchant.... Twice. First off Karl is sent to the far reaches of our planet to witness the awe-inspiring 7 wonders of the world. Will he find them awe-inspiring or just awful. In series 2 Karl is dispatched to explore the best things you can possibly do before you die. Features every episode from both series of this smash hit show. Season 1 The Preview Show S1, Ep0 Sep. 5, 2010 China S1, Ep1 Sep. 24, 2010 India S1, Ep2 Oct. 1, 2010 Jordan S1, Ep3 Oct. 8, 2010 Mexico S1, Ep4 Oct. 15, 2010 Egypt S1, Ep5 Oct. 22, 2010 Brazil S1, Ep6 Oct. 29, 2010 Peru S1, Ep7 Nov. 5, 2010 Karl Comes Home: The Debrief S1, Ep8 Nov. 11, 2010 Season 2 Desert Island S2, Ep1 Sep. 23, 2011 Trans-Siberian Express S2, Ep2 Sep. 30, 2011 Swim with Dolphins S2, Ep3 Oct. 7, 2011 Whale Watching S2, Ep4 Oct. 14, 2011 Meet a Gorilla S2, Ep5 Oct. 21, 2011 Route 66 S2, Ep6 Oct. 28, 2011 Climb Mount Fuji S2, Ep7 Nov. 4, 2011 Karl Comes Home S2, Ep8 Nov. 11, 2011 ...An Idiot Abroad - Complete Series 1 & 2 - 4-DVD Box Set ( An Idiot Abroad - Complete Series One and Two ) ( Karl Pilkington's Seven Wonders )

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