Archie's Archery Depot

When you need to beam up to lunch from your next landing party, be sure to use your Star Trek tin lunch box. Boldly go where no man has gone before with this stylist tote. Features the crew of the classic Starship Enterprise! The original 1966-1969 television series featured career-making performances from William Shatner as Captain James Tiberius Kirk and Leonard Nimoy as Spock.

Ball, Collection Elite, 4 Pack, 16 OZ, Platinum, Wide Mouth, Jars.

As it embarks on a new century of fine china design, Royal Albert honors the artistic achievements of the one it has so faithfully chronicled with this stunning 100 Years of Royal Albert tribute collection. Employing classic shapes and delicate floral motifs, the 10-part series, which includes teaware, figurines, and brooches, recalls major British historical events and style trends from each decade of the 21st century. Inspiration for the series came from previous Royal Albert designs and its archive pattern books. This 10-piece teacup and saucer set includes the patterns from 1900 to 1940. Crafted of bone china with lustrous 22-karat gold trim, the five pairs all share the same shape for a highly coordinated look at the table while showcasing the special beauty of each decade's design. For instance, set the dark, ornate 1910 Duchess next to the simple, fresh 1930 Polka Rose for an unexpected combination that delights the senses. Royal Albert's signature roses provide a common theme that ties the styles together. Each piece has a commemorative backstamp, and the set comes packaged in a presentation-style pink and burgundy hatbox with illustrations of all the patterns. The china is dishwasher-safe and carries a two-year warranty. --Kara Karll

Royal Doulton announces the international launch of the 100 Years of Royal Albert collection, celebrating a century of English craftsmanship through ten patterns representing design trends of each decade of the 20th century. Royal Albert's success dates back to the late 1800's, and the new collection celebrates the brand's vitality, longevity and rich design history. The collection features all bone china with 22 karat gold accents on teacups, saucers, plates, mugs, teapots, creamers, sugar bowls and figurines. Every pattern included in the collection captures the true historical design statements and trends of each time period.

What's up, Doc? Well, how about a four-disc boxed set packed with 56 of the funniest cartoons in Warner Bros. history? Get ready to laugh yourself silly with salutes to Bugs Bunny ("Baseball Bugs," "Long-Haired Hare," "Wabbit Twouble," "The Rabbit of Seville," and more); Daffy Duck and Porky Pig ("Duck Amuck," "Dough for the Do-Do," "Scaredy Cat," "Duck Dodgers in the 24 1/2th Century," and more); and other toon faves ("Elmer's Candid Camera," "Fast and Furry-ous," "For Scent-imental Reasons," "Speedy Gonzales," "The Foghorn Leghorn," "Devil May Hare," and more). 6 3/4 hrs. total. Standard; Soundtracks: English Dolby Digital mono, French Dolby Digital mono; Subtitles: English, French, Spanish; audio commentary; documentaries; featurette; more. NOTE: This set includes all 28 shorts from "Premiere Collection, Vol. 1."

For years, animation buffs have waited impatiently for the Warner Bros. cartoons to appear on DVD. The Warner shorts never commanded the budgets and prestige of the Disney and MGM films, and won fewer Oscars than they deserved. But decades after the best ones were created, they remain the quintessential Hollywood cartoons: brash, fast-paced, aggressively funny and uniquely American. Virtually everyone in the U.S. under the age of 60 grew up on these films, in theaters and on TV. The 56 cartoons in the set (out of a studio output of over 1,000) were transferred from good prints--which means the viewer can see dust, scratches, and occasional mistakes by the cel painters. The films are all presented uncut, in defiance of the killjoys who have insisted on censoring alleged "violence" in the versions shown on television. Warner Bros. is obviously testing consumer response with this set. Although the erratic selection includes many classics, purists will argue (correctly) that it offers neither a fair representation of the directors' oeuvres, nor anything approaching a coherent history of the characters or studio style. (Nearly half the films were directed by Chuck Jones; only three are by Bob Clampett, and there's nothing by Tex Avery or Frank Tashlin.) But it seems petty to carp about omissions and biases when the discs offer excellent, uncensored prints of some of the funniest films ever made in the U.S.--or anywhere else. (Rated G, suitable for all ages: cartoon violence) --Charles Solomon

Yes, Virginia, there was a Sesame Street before the Age of Elmo. This 1993 collection highlights the role of music in the long-running series from Children's Television Workshop, and reminds us that such Jim Henson creations as Big Bird, Oscar the Grouch, Cookie Monster, and Ernie and Bert were once part of a true ensemble of Muppet superstars. Nothing against Elmo, of course: kids adore him and he makes enough appearances in this anthology (including the show-stopping "Happy Tappin' with Elmo") to keep today's tykes happy. Also included is Ernie's classic "Rubber Duckie" (really, who doesn't know the words to that?), Oscar's anthemic "I Love Trash," you-know-who's "C Is for Cookie," and Big Bird's Big Finale, a rendition of "Sing" that includes the entire cast. There are 27 tunes in all, and they don't all involve singing puppets: Ladysmith Black Mambazo turns up for one track, and the "Sesame Street Jam Session" includes some actual playing of instruments. --Tom Keogh

Everyone's invited as Sesame Street celebrates its 25th birthday! The whole family will want to sing along with this special hour-long collection of favorite Sesame Street songs, featuring "C is for Cookie," "Bein' Green," "Monster in the Mirror," and many, many more! Ernie sings a medley of Duckie songs, including "Do De Rubber Duck," "Put Down the Duckie," "The Honker-Duckie-Dinger Jamboree," and, of course, "Rubber Duckie." Big Bird leads the whole cast in a rousing finale of "Sing." You're sure to treasure this wonderful collector's edition of Sesame Street for years to come.Product Measures: 0.5 x 5.4 x 7.5 INRecommended Ages: 12 months & up

Mint condition cover and disc of musical performances from 1964 by The Beach Boys, Jan & Dean, The Supremes, Lesly Gore, The Rolling Stones and more. (Region 1 US & Canada)

Filmed in 1964 at the Santa Monica Civic Auditorium, this is arguably the very best rock-concert movie ever made, packed start to finish with nearly two hours of absolutely essential performances by an unprecedented group of American and British rock, pop, soul, and Motown legends. Dig this lineup: Marvin Gaye, the Supremes (look for Teri Garr as one of the dancers during "Where Did Our Love Go?"), Chuck Berry, Smokey Robinson and the Miracles, Gerry and the Pacemakers, Leslie Gore, Jan and Dean, a phenomenal James Brown and the Flames, followed (!) by the Rolling Stones rising to the occasion after Brown's legendary performance (Keith Richards has said that performing after Brown was perhaps the biggest mistake the band ever made). Never released on home video, The T.A.M.I. Show was the holy grail of rock-concert movies. Those who have had to make do with substandard and incomplete bootlegs will agree that it was worth the wait for this collector's edition that restores the long-lost Beach Boys set (listen to director Steve Binder's audio commentary for the story behind its removal). --Donald Liebenson

Relive the adventure...discover every detail...experience the epic story of STAR WARS as never before...now on Blu-ray in spectacular high definition with the purest digital sound in the galaxy! The STAR WARS saga concludes with STAR WARS: EPISODE IV - A NEW HOPE, STAR WARS: EPISODE V - THE EMPIRE STRIKES BACK and STAR WARS: EPISODE VI - RETURN OF THE JEDI as Luke Skywalker and Princess Leia, aided by an unforgettable assortment of courageous characters, lead the Rebellion to bring balance back to the Force!Product Measures: 1.5 x 5.5 x 7.5

The Star Wars trilogy had the rare distinction of becoming more than just a series of movies, but a cultural phenomenon, a life-defining event for its generation. On its surface, George Lucas's original 1977 film is a rollicking and humorous space fantasy that owes debts to more influences than one can count on two hands, but filmgoers became entranced by its basic struggle of good vs. evil "a long time ago, in a galaxy far, far away," its dazzling special effects, and a mythology of Jedi Knights, the Force, and droids. In the first film, Luke Skywalker (Mark Hamill) gets to live out every boy's dream: ditch the farm and rescue a princess (Carrie Fisher). Accompanied by the roguish Han Solo (Harrison Ford, the only principal who was able to cross over into stardom) and trained by Jedi master Obi-Wan Kenobi (Alec Guinness), Luke finds himself involved in a galactic war against the Empire and the menacing Darth Vader (David Prowse, voiced by James Earl Jones). The following film, The Empire Strikes Back (1980), takes a darker turn as the tiny rebellion faces an overwhelming onslaught. Directed by Irvin Kershner instead of Lucas, Empire is on the short list of Best Sequels Ever, marked by fantastic settings (the ice planet, the cloud city), the teachings of Yoda, a dash of grown-up romance, and a now-classic "revelation" ending. The final film of the trilogy, Return of the Jedi (1983, directed by Richard Marquand), is the most uneven. While the visual effects had taken quantum leaps over the years, resulting in thrilling speeder chases and space dogfights, the story is an uneasy mix of serious themes (Luke's maturation as a Jedi, the end of the Empire-rebellion showdown) and the cuddly teddy bears known as the Ewoks. Years later, George Lucas transformed his films into "special editions" by adding new scenes and special effects, which were greeted mostly by shrugs from fans. They were perfectly happy with the films they had grown up with (who cares if Greedo shot first?), and thus disappointed by Lucas's decision to make the special editions the only versions available. --David Horiuchi

In space no one can hear you kvell as you open this deluxe collector's set. Along with "Alien" (1979 theatrical version and 2003 director's cut), "Aliens" (1986 theatrical version and 1991 special edition), "Alien 3" (1992 theatrical version and 2003 special edition), and "Alien Resurrection" (1997 theatrical version and 2003 special edition), there's also two bonus discs bursting with extra features. Six-disc set.

Review of AlienA landmark of science fiction and horror, Alien arrived in 1979 between Star Wars and The Empire Strikes Back as a stylishly malevolent alternative to George Lucas's space fantasy. Partially inspired by 1958's It! The Terror from Beyond Space, this instant classic set a tone of its own, offering richly detailed sets, ominous atmosphere, relentless suspense, and a flawless ensemble cast as the crew of the space freighter Nostromo, who fall prey to a vicious creature (designed by Swiss artist H.R. Giger) that had gestated inside one of the ill-fated crew members. In a star-making role, Sigourney Weaver excels as sole survivor Ripley, becoming the screen's most popular heroine in a lucrative movie franchise. To measure the film's success, one need only recall the many images that have been burned into our collective psyche, including the "facehugger," the "chestburster," and Ripley's climactic encounter with the full-grown monster. Impeccably directed by Ridley Scott, Alien is one of the cinema's most unforgettable nightmares. --Jeff ShannonReview of AliensAliens is one of the few cases of a sequel that far surpassed the original. Sigourney Weaver returns as Ripley, who awakens on Earth only to discover that she has been hibernating in space so long that everyone she knows is dead. Then she is talked into traveling (along with a squad of Marines) to a planet under assault by the same aliens that nearly killed her. Once she gets there, she finds a lost little girl who triggers her maternal instincts--and she discovers that the company has once again double-crossed her, in hopes of capturing one of the aliens to study as a military weapon. Directed and written by James Cameron, this is one of the most intensely exciting (not to mention intensely frightening) action films ever, with a large ensemble cast that includes Bill Paxton, Lance Henriksen, Paul Reiser, and Michael Biehn. Weaver defined the action woman in this film and walked away with an Oscar nomination for her trouble. --Marshall FineReview of Alien 3The least successful film in this series was directed by stylemaster (and content-underachiever) David Fincher. Ripley, the only survivor of her past mission, awakens on a prison planet in the far corners of the solar system. As she tries to recover, she realizes that not only has an alien gotten loose on the planet, the alien has implanted one of its own within her. As she battles the prison authorities (and is aided by the prisoners) in trying to kill the alien, she must also cope with a distinctly shortened lifespan that awaits her. But the striking imagery makes for muddled action and the script confuses it further. The ending looks startling but it takes a long time--and a not particularly satisfying journey--to get there. --Marshall FineReview of Alien ResurrectionPerhaps these films are like the Star Trek movies: The even-numbered episodes are the best ones. Certainly this film (directed by French stylist Jean-Pierre Jeunet) is an improvement over Alien 3, with a script that breathes exciting new life into the franchise. This chapter is set even further in the future, where scientists on a space colony have cloned both the alien and Ripley (Sigourney Weaver), who died in Alien 3; in doing so, however, they've mixed alien DNA with Ripley's human chromosomes, which gives Ripley surprising power (and a bad attitude). A band of smugglers comes aboard only to discover the new race of aliens--and when the multi-mouthed melonheads get loose, no place is safe. But, on the plus side, they have Ripley as a guide to help them get out. Winona Ryder is on hand as the smugglers' most unlikely crew member (with a secret of her own), but this one is Sigourney's all the way. --Marshall Fine

Ten-disc set includes "The Matrix," "The Matrix Reloaded," "The Matrix Revolutions," the documentary "The Matrix Revisited," and "The Animatrix," plus five discs worth of all-new bonus materials. Standard and Widescreen (Enhanced); Soundtracks: English Dolby TrueHD 5.1, Dolby Digital 5.1, French Dolby Digital 5.1, Spanish Dolby Digital 5.1, Dolby Digital stereo, Italian Dolby Digital 5.1, Portuguese Dolby Digital 5.1, Dolby Digital stereo; Subtitles: English (SDH), French, Spanish, Dutch, Italian, Portuguese; audio commentary; "making of" documentaries; photo gallery; storyboards; music video; TV spots; theatrical trailers; more.

The MatrixBy following up their debut thriller Bound with the 1999 box-office smash The Matrix, the codirecting Wachowski brothers--Andy and Larry--annihilated any suggestion of a sophomore jinx, crafting one of the most exhilarating sci-fi/action movies of the 1990s. Set in the not too distant future in an insipid, characterless city, we find a young man named Neo (Keanu Reeves). A software techie by day and a computer hacker by night, he sits alone at home by his monitor, waiting for a sign, a signal--from what or whom he doesn't know--until one night, a mysterious woman named Trinity (Carrie-Anne Moss) seeks him out and introduces him to that faceless character he has been waiting for: Morpheus (Laurence Fishburne). A messiah of sorts, Morpheus presents Neo with the truth about his world by shedding light on the dark secrets that have troubled him for so long: "You've felt it your entire life, that there's something wrong with the world. You don't know what it is, but it's there, like a splinter in your mind, driving you mad." Ultimately, Morpheus illustrates to Neo what the Matrix is--a reality beyond reality that controls all of their lives, in a way that Neo can barely comprehend. Neo thus embarks on an adventure that is both terrifying and enthralling. Pitted against an enemy that transcends human concepts of evil, Morpheus and his team must train Neo to believe that he is the chosen champion of their fight. With mind-boggling, technically innovative special effects and a thought-provoking script that owes a debt of inspiration to the legacy of cyberpunk fiction, this is much more than an out-and-out action yarn; it's a thinking man's journey into the realm of futuristic fantasy, a dreamscape full of eye candy that will satisfy sci-fi, kung fu, action, and adventure fans alike. Although the film is headlined by Reeves and Fishburne--who both turn in fine performances--much of the fun and excitement should be attributed to Moss, who flawlessly mixes vulnerability with immense strength, making other contemporary female heroines look timid by comparison. And if we were going to cast a vote for most dastardly movie villain of 1999, it would have to go to Hugo Weaving, who plays the feckless, semipsychotic Agent Smith with panache and edginess. As the film's box-office profits soared, the Wachowski brothers announced that The Matrix is merely the first chapter in a cinematically dazzling franchise--a chapter that is arguably superior to the other sci-fi smash of 1999 (you know... the one starring Jar Jar Binks). --Jeremy Storey The Matrix ReloadedConsidering the lofty expectations that preceded it, The Matrix Reloaded triumphs where most sequels fail. It would be impossible to match the fresh audacity that made The Matrix a global phenomenon in 1999, but in continuing the exploits of rebellious Neo (Keanu Reeves), Morpheus (Laurence Fishburne), and Trinity (Carrie-Anne Moss) as they struggle to save the human sanctuary of Zion from invading machines, the codirecting Wachowski brothers have their priorities well in order. They offer the obligatory bigger and better highlights (including the impressive "Burly Brawl" and freeway chase sequences) while remaining focused on cleverly plotting the middle of a brain-teasing trilogy that ends with The Matrix Revolutions. The metaphysical underpinnings can be dismissed or scrutinized, and choosing the latter course (this is, after all, an epic about choice and free will) leads to astonishing repercussions that made Reloaded an explosive hit with critics and hardcore fans alike. As the centerpiece of a multimedia franchise, this dynamic sequel ends with a cliffhanger that virtually guarantees a mind-blowing conclusion. --Jeff Shannon The Matrix RevolutionsDespite the inevitable law of diminishing returns, The Matrix Revolutions is quite satisfying as an adrenalized action epic, marking yet another milestone in the exponential evolution of computer-generated special effects. That may not be enough to satisfy hardcore Matrix fans who turned the Wachowski Brothers' hacker mythology into a quasi-religious pop-cultural phenomenon, but there's no denying that the trilogy goes out with a cosmic bang instead of the whimper that many expected. Picking up precisely where The Matrix Reloaded left off, this 130-minute finale finds Neo (Keanu Reeves) at a virtual junction, defending the besieged human enclave of Zion by confronting the attacking machines on their home turf, while humans combat swarms of tentacled mechanical sentinels as Zion's fate lies in the balance. It all amounts to a blaze of CGI glory, devoid of all but the shallowest emotions, and so full of metaphysical hokum that the trilogy's detractors can gloat with I-told-you-so sarcasm. And yet, Revolutions still succeeds as a slick, exciting hybrid of cinema and video game, operating by its own internal logic with enough forward momentum to make the whole trilogy seem like a thrilling, magnificent dream. -- Jeff Shannon

This Husqvarna Handheld Blower/Vac combines high power from a 28cc engine with state-of-the-art ergonomic design. Designed so that the blower tube is in line with the handle, minimizing rotational force on the wrist. This 170 MPH, 470 CFM blower can also be used as a vacuum with mulching knives to reduce yard waste and increase bag capacity. U.S.A. Blower Type: Handheld, Power Source: Gas, Cylinder Displacement (cc): 28, Air Velocity (MPH): 170, Air Volume (CFM): 470, Noise Level (dB): 92, Tool Weight (lbs.): 9.6, EPA/CARB Approval (California Air Resource Board): Yes

Ideal for dry pick up, the Shop-Vac cartridge filter fits a 5-gallon tank, and is specifically designed for the Hang Up wet/dry vacuum. Its high airflow keeps the debris inside the tank, while filtering the exhaust air. This black filter can be lightly washed, but must be air dried prior to re-installation on the ball-float cage.

Replacement cartridge filter for the 4.5HP Hang-Up Pro Shop Vacuum.

Seven-disc set includes "Rocky," "Rocky II," "Rocky III," "Rocky IV," "Rocky V," "Rocky Balboa," and a bonus disc full of extras.

Review for Rocky: The only remaining evidence that Sylvester Stallone might have had a respectable career, this 1976 Oscar winner (for Best Picture, Director, and Editing) is still the quintessential ode to an underdog and one of the best boxing movies ever made. After writing the script about a two-bit boxer who gets a "million-to-one shot" against the world heavyweight champion, Stallone insisted that he star in the title role, and his equally unknown status helped to catapult him (and this rousing film) to overnight success. The story is familiar, but it has been handled with such vitality and emotional honesty that you can't help but leap and cheer for Rocky Balboa, the chump turned champ (despite his valiant defeat in the ring) who stuns the boxing world with the support of his timid girlfriend, Adrian (Talia Shire), and grizzled trainer, Mickey (Burgess Meredith). Oscar nominations went to all the lead actors (including Burt Young as Adrian's hot-tempered brother), but four sequels could never top the universal appeal of this low-budget crowd pleaser. --Jeff Shannon Review for Rocky II: Beginning precisely where Rocky left off, the surprisingly effective 1979 sequel takes the saga of Rocky Balboa to its logical next step, as the palooka turned public idol and media darling returns to his "normal" life in Philadelphia with his newlywed bride Adrian (Talia Shire) and some degree of material comfort. He needs to find a job, but boxing champ Apollo Creed (Carl Weathers) is challenging Rocky to a lucrative rematch, and despite his doctor's warning against future boxing, Rocky can't resist. Defying the odds that most sequels can't live up to their originals, Rocky II doesn't pack all the punch that Rocky did, but it takes us further into the lives of its now-familiar and beloved characters, and Stallone (as director and star) gives us another rousing finale in the ring. Do you really need to know who wins? --Jeff Shannon Review for Rocky III: Rocky III: The third installment in the Rocky saga is the last one to matter, and in this case only marginally. The now rich and famous Rocky (Sylvester Stallone) triumphantly pummels a succession of boxing challengers until he encounters Clubber Lang (Mr. T), a human wall of brick who wants a piece of Rocky's action. The Rock's loyal trainer Mickey (Burgess Meredith) has taken ill and dies, so Rocky recruits retired opponent Apollo Creed (Carl Weathers) to whip him into fighting shape after his embarrassing defeat to Clubber. Time for another rematch, mixed in with some family matters involving Rocky's brother-in-law Paulie (Burt Young), who's feeling neglected amid all the hoopla. Not bad as sequels go, boosted by Mr. T.'s taunting presence and yet another rousing finale. For those with a bad case of '80s nostalgia, the hit theme song "Eye of the Tiger" is sure to bring back memories. --Jeff Shannon Review for Rocky IV: It was time for Sylvester Stallone to say "enough, already" to the boxing hero he plays in the popular Rocky film series, but instead Stallone kept the saga going by pushing Rocky into Rambo territory. The 1985 Rocky IV finds the Italian stallion pitted against a seemingly unbeatable Russian monster named Drago (Dolph Lundgren) who lets his wife (Stallone's then-wife, Brigitte Nielsen) do all the talking. With a mighty punch, Drago has sent Rocky's former opponent and trainer Apollo Creed to an early grave, and the boxer responds with the ultimate challenge. Even the Russians are rooting for Rocky, so it's not hard to guess how the film ends. Despite Stallone's claims to the contrary, this installment was followed by Rocky V in 1990. --Jeff Shannon Review for Rocky Balboa: The sixth installment of the Rocky series picks up the story of the Italian Stallion 16 years after the morose Rocky V. And sure, at his advanced age, Sylvester Stallone now looks like one of those sides of beef his character used to pound on. No matter. Somehow you buy the premise after all these years, even if it takes forever for Rocky Balboa to stop wallowing in self-pity (Adrian is dead, his old haunts are demolished) and get down to the business of drinking raw eggs and running up staircases. The business at hand is an unlikely exhibition fight with champion Mason Dixon (Antonio Tarver), which the near-sexagenarian Mr. Balboa has no business accepting. Of course, just as sure as the horns of Bill Conti's theme music are even now trumpeting through your head, the ol' Rock might have a punch or two left in him. Stallone wrote and directed, and there isn't much to say except that the movie steps in its pre-determined paces with a canny sense of what has come before (it's practically an homage to all the previous Rocky pictures, complete with fleeting flashbacks). Burt Young is around again, and Geraldine Hughes makes an appealing, rather chaste female companion for Rocky. Stallone's Rocky has gotten suspiciously articulate over the years, but he still knows how to slouch. If Stallone never forgets that, he can probably keep the franchise rolling. --Robert Horton

Following the wedding of Bella (Kristen Stewart) and vampire Edward (Robert Pattinson), Jacob (Taylor Lautner) leaves his wolf pack when he learns they plan to kill the pregnant Bella and her unborn child. But Bella's health begins to fail as her fetus grows at an accelerated rate, leading to a dangerous birth and an unexpected transformation for the new mother, and leaving the lycanthropic Jacob as the baby's protector. Peter Facinelli, Elizabeth Reaser co-star in part one of the final installment of Stephenie Meyer's successful saga. 117 min. Widescreen; Soundtracks: English Dolby Digital 5.1, DVS, Spanish Dolby Digital 5.1; Subtitles: English (SDH), Spanish; audio commentary; "making of" documentary; featurette; bonus footage. Two-disc set.

The Twilight Saga: Breaking Dawn, Part 1 delivers strongly for the rabid fan base who have catapulted the young adult novel series and subsequent movie adaptations to the worldwide phenomenon that it's become, but it alienates a broader audience with a lack of any real action. Similar to the tone of Harry Potter and the Deathly Hallows: Part 1, the first film of the two-part Twilight conclusion is heavy on romance, love, and turmoil but light on fight scenes and gruesome battles. The movie doesn't waste any time getting to the goods and opens with Bella and Edward's much-hyped wedding scene. It works--the vows are efficient and first-time franchise director Bill Condon (Dreamgirls) moves the party along quickly and amusingly with a well-edited toast scene and some surprisingly moving moments between Bella and her father, cast standout Billy Burke. The honeymoon plays as a slightly awkward soft-focus made-for-TV movie, with a lot of long moments spent staring in the mirror and some love scenes that feel at once overly intimate and completely passionless. It's a relief when Bella retches on a bite of chicken she's cooked herself and quickly concludes she's pregnant with a potentially demonic baby. From bliss to horror, the Cullens return to Forks, where Bella spends the second half of the movie wasting away and Edward and Jacob are aligned in their anger and frustration over her decision. Throw in some over-the-top scenes with Jacob and his pack--including a strange showdown where the wolves communicate in their canine form by having a passionate nonverbal fight in their minds (a plot point that works much better in print, it's portrayed in the film via aggressive voice-over)--and the film overshoots intensity and goes straight to silly. The birth scene is horrific, but not as gruesome as in the book, and by the end, Bella has of course survived, though is much altered. The final scene features a delightfully campy Michael Sheen as Volturi leader Aro and makes it clear that the action and fun in Breaking Dawn, Part 1 is ready to start. Fans will just have to wait until Part 2 to get it. --Kira Canny

The popular Disney theme park attraction inspired this hit swashbuckling adventure. After his ship is commandeered by treasure-seeking tyrant Geoffrey Rush, roguish pirate Johnny Depp is determined to reclaim his cursed vessel. With the assistance of blacksmith Orlando Bloom, Depp races to defeat Rush and rescue beautiful maiden Keira Knightley. With Jonathan Pryce, Jack Davenport. 143 min. Widescreen; Soundtracks: English Uncompressed 5.1, Dolby Digital 5.1, French Dolby Digital 5.1, Spanish Dolby Digital 5.1; Subtitles: English (SDH), French, Spanish; "making of" documentary; featurettes; bloopers; deleted scenes; alternate scenes; more. Also includes a DVD version of the film. Three-disc set.

You won't need a bottle of rum to enjoy Pirates of the Caribbean: The Curse of the Black Pearl, especially if you've experienced the Disneyland theme-park ride that inspired it. There's a galleon's worth of fun in watching Johnny Depp's androgynous performance as Captain Jack Sparrow, a roguish pirate who could pass for the illegitimate spawn of rockers Keith Richards and Chrissie Hynde. Depp gets all the good lines and steals the show, recruiting Orlando Bloom (a blacksmith and expert swordsman) and Keira Knightley (a lovely governor's daughter) on an adventurous quest to recapture the notorious Black Pearl, a ghost ship commandeered by Jack's nemesis Capt. Barbossa (Geoffrey Rush), a mutineer desperate to reverse the curse that left him and his (literally) skeleton crew in a state of eternal, undead damnation. Director Gore Verbinski (The Ring) repeats the redundant mayhem that marred his debut film Mouse Hunt, but with the writers of Shrek he's made Pirates into a special-effects thrill-ride that plays like a Halloween party on the open seas. Aye, matey, we've come a long way since Jason and the Argonauts! --Jeff Shannon