Not really a movie or documentary, The Secret is more of a video seminar, a presentation featuring a series of authors, philosophers, doctors, quantum physicists, entrepreneurs, and spiritual practitioners expounding on the powers of The Secret (probably the most well-known of the presenters is Jack Canfield, author of Chicken Soup for the Soul and The Success Principles).

What is The Secret, exactly? "That principle can be summed up in three simple words: thoughts become things," proclaims writer Mike Dooley, author of Notes from the Universe. Put it another way, it’s The Power of Positive Thinking and how it can be applied to attracting more money, better health, and relationships; in short, happiness. (There is a rundown of topics on the DVD Chapters menu).

Most of the material here is given in a straightforward manner, with the presenters simply talking into the camera to address the audience directly, which is good because it avoids the trap of pretense. On the other hand, the quick edits between presenters (would it hurt to let them say more than one sentence at a time?) don't help because it reduces many of their points to palatable sound bites and aphorisms.

To many viewers, this may make the program come across as a series of nice ideas not rooted in reality. Plus it's somewhat spurious to claim that The Secret was well understood and practiced by specific individuals like Plato or Shakespeare (it's well known that some of the historical figures noted didn't exactly live happy or even prosperous lives, despite their achievements).

But still, the primary message is one of positivity and hope for everyone. So what to make of it? In the end, programs like this generally find an audience that is open to the message, and many will probably find it to be a source of inspiration. Others will approach it with a good deal of skepticism or dismiss it as another way of marketing happiness the masses. It simply won’t resonate with everyone, but if it resonates with you, you're likely to enjoy it and get a lot out of it. Those looking for more on The Secret might want to check out the companion book by Rhonda Byrne. --Daniel Vancini

You can buy the documentary series Life on Blu-ray right here, and you can take advantage of some really great, cheap discounts and sale prices. The DVD and Blu-rays are not officially released until June 1, 2010, but we're posting this nice and early so you can pre-order, utilize these cheap prices and reserve your copy before it backorders.

Of course, Life was made by the same folks who made the critically acclaimed and amazing to watch Planet Earth series. That series focused on the planet itself, different domains and locales, weather systems, climates, habitats and so forth. Life on the other hand focuses entirely on all of the creatures and organisms that inhabit our wonderful planet.

It's an 11-part documentary, with each part focusing in on a different segment of our vast population, including mammals, birds, reptiles, fish, insects, the deep sea and much more. You get a jaw dropping view of some creatures and their ways of life, and many things that you simply need to see to believe. The imagery is breathtaking and the Life documentary series from BBC and the Discovery Channel should absolutely be enjoyed on Blu-ray, where you can really see the astonishing detail and the amazing colors.

As mentioned, the Life Blu-ray for sale and pre-order here is the original BBC version, narrated by David Attenborough. The Oprah Winfrey narrated version is also available for sale on both Blu-ray and DVD. All of the scenes and all of the video is the same, the only thing that's different are the voices and the exact words of what's said.

The bottom line is that the documentary series Life on Blu-ray is something you absolutely need to have in your collection. You can't miss out on all of this great beauty and all of these never before seen, amazing wildlife and nature shots. Buy Life on Blu-ray right here for the cheapest price you can find online.

Michael Moore's didactic documentary style is actually a source of inspiration in Capitalism: A Love Story. This film, which explores the history of incongruousness between American capitalism and democracy, is evidently a culmination of Moore's lifetime of research into this topic: he begins the movie by admitting his longstanding interest, rooted in childhood experiences in Flint, Michigan.

As a result, the film displays an expertise that is less irritating than in Moore's earlier works, in which various loopholes can be found in one-sided presentations (see Bowling for Columbine). Here Moore employs his trademark tactics to make a satirical documentary that functions as a film-based, grassroots political strategy meant to provoke revolt. Consisting of patched-together clips from various eras and media outlets, the film weaves a narrative that underscores Moore's argument that while America is a success because of its democracy, it has been denigrated by capitalism, which he calls "a system of taking and giving, mostly taking."

Capitalism: A Love Story is a patriotic call to arms that seeks to ignite rage in the viewer who is tired of political stupidity resulting in poverty and hardship among a dwindling middle class. It begins by tracing the growing gap between the rich and poor, from the Depression through the 1950s "free enterprise" boom. Using clips of FDR and Jimmy Carter warning against greed and inequality, Moore shows how gradually Americans came to accept Reaganomics, corporate corruption, then Bush-era swindling over time.

This history serves as context for his explanation of the housing crisis, the collapse of banks, and Bush's covert, last-ditch efforts to pass sketchy bills on the cusp of Obama's election. Moore asks several lawyers, senators, and bankers, "What the **** happened?" and each offers intelligent assessments of situations that many American viewers still struggle to comprehend. Unfortunately, there are corny Moore moments throughout the film, such as when he takes an armored truck to various banking headquarters and harasses security guards to let him in to reclaim money stolen from the American public.

Clips of Bush dancing juxtaposed with shots of people crying because they've lost their homes are melodramatic and only weaken Moore's arguments. Like Robin Hood, Moore seeks justice, but his greatest strength is as a translator between those speaking a complex political language and his viewers. Capitalism: A Love Story, while it does have a condescending tone throughout, does much to relay a complicated history that we all need to know for the sake of our own empowerment. --Trinie Dalton

Director Robert Kenner explores the subject from all angles, talking to authors, advocates, farmers, and CEOs, like co-producer Eric Schlosser (Fast Food Nation), Michael Pollan (The Omnivore's Dilemma), Gary Hirschberg (Stonyfield Farms), and Barbara Kowalcyk, who's been lobbying for more rigorous standards since E. coli claimed the life of her two-year-old son.

The filmmaker takes his camera into slaughterhouses and factory farms where chickens grow too fast to walk properly, cows eat feed pumped with toxic chemicals, and illegal immigrants risk life and limb to bring these products to market at an affordable cost.

If eco-docs tends to preach to the converted, Kenner presents his findings in such an engaging fashion that Food, Inc. may well reach the very viewers who could benefit from it the most: harried workers who don't have the time or income to read every book and eat non-genetically modified produce every day.

Though he covers some of the same ground as Super-Size Me and King Korn, Food Inc. presents a broader picture of the problem, and if Kenner takes an understandably tough stance on particular politicians and corporations, he's just as quick to praise those who are trying to be responsible--even Wal-Mart, which now carries organic products. That development may have more to do with economics than empathy, but the consumer still benefits, and every little bit counts. --Kathleen C. Fennessy

Corben has no particular interest in seriously examining the sociopolitical implications of Miami's drug-fueled rise and fall, so Cocaine Cowboys lives up to its title by focusing on some of the most colorful, daring, and outrageously successful survivors of that era, when tons of cocaine were distributed through Miami by the kingpins of Colombia's notorious Medellin cartel. Chief among the many interviewees are Jon Roberts and Mickey Munday (who personally transported over $2 billion worth of cocaine into Miami) and Jorge "Rivi" Ayala, a convicted drug-trade assassin now serving consecutive life terms in prison.

They're lively storytellers who are egotistically eager to share their coke-tales, and Corben's only too happy to capture their exploits on film, up to and including the dubious use of violent reenactments that could easily serve as a recruitment film for Tony Montana wannabes.

It's simultaneously disgusting and compelling, especially since Corben has a knack for matching swift editing to the pulsing score by TV's original Miami Vice composer Jan Hammer. In the final analysis, it must be said that Cocaine Cowboys succeeds as a brash and breathtaking record of a bygone era, when murder rates were at an all-time high, coke was everywhere, and Miami was financially transformed into a nightlife mecca where criminals were kings.

Or queens, as in the case of Griselda Blanco, the ruthless and self-appointed "Godmother" of the cocaine trade, who was responsible for countless murders and as of 2007 remained at large, her whereabouts unknown. All of this deadly life in the fast lane makes for a fascinating movie, but Corben and coproducer David Cypkin's breathless commentary makes it clear that they're young, immature thrill-seekers, and their film makes no apologies for glorifying the drug trade while exploring its bloody and frequently fatal consequences.

Their commentary also accompanies an abundance of deleted scenes, and there's also a bonus featurette, "Hustlin' with the Godmother," in which Griselda Blanco's former lover and big-time coke dealer Charles Cosby tells his story, which clearly has all the makings of a Hollywood movie along the lines of Blow. You can bet that film will eventually be made, and don't be surprised if it's Corben who makes it. --Jeff Shannon
<table cellpadding="0" cellspacing="0" border="0"><tr><td><img src="http://dvdsonsale.net/images/B000KLQUUS/610XV6GXD5L._SL75_.jpg" /><td></tr><tr><td>More of a real-life exploitation film than a bonafide documentary, Cocaine Cowboys is tailor-made for anyone who worships Brian De Palma's Scarface. It's no surprise that this slick, energetic film found a niche audience among crime-obsessed hip-hoppers; from a journalistic perspective it's an irresponsible mess, but director Billy Corben is obviously more interested in capturing the thrills and danger of the drug trade that transformed Miami, Florida during the Miami Vice era of the late 1970s and '80s. Corben has no particular interest in seriously examining the sociopolitical implications of Miami's drug-fueled rise and fall, so Cocaine Cowboys lives up to its title by focusing on some of the most colorful, daring, and outrageously successful survivors of that era, when tons of cocaine were distributed through Miami by the kingpins of Colombia's notorious Medellin cartel. Chief among the many interviewees are Jon Roberts and Mickey Munday (who personally transported over $2 billion worth of cocaine into Miami) and Jorge "Rivi" Ayala, a convicted drug-trade assassin now serving consecutive life terms in prison. They're lively storytellers who are egotistically eager to share their coke-tales, and Corben's only too happy to capture their exploits on film, up to and including the dubious use of violent reenactments that could easily serve as a recruitment film for Tony Montana wannabes. It's simultaneously disgusting and compelling, especially since Corben has a knack for matching swift editing to the pulsing score by TV's original Miami Vice composer Jan Hammer. In the final analysis, it must be said that Cocaine Cowboys succeeds as a brash and breathtaking record of a bygone era, when murder rates were at an all-time high, coke was everywhere, and Miami was financially transformed into a nightlife mecca where criminals were kings. Or queens, as in the case of Griselda Blanco, the ruthless and self-appointed "Godmother" of the cocaine trade, who was responsible for countless murders and as of 2007 remained at large, her whereabouts unknown. All of this deadly life in the fast lane makes for a fascinating movie, but Corben and coproducer David Cypkin's breathless commentary makes it clear that they're young, immature thrill-seekers, and their film makes no apologies for glorifying the drug trade while exploring its bloody and frequently fatal consequences. Their commentary also accompanies an abundance of deleted scenes, and there's also a bonus featurette, "Hustlin' with the Godmother," in which Griselda Blanco's former lover and big-time coke dealer Charles Cosby tells his story, which clearly has all the makings of a Hollywood movie along the lines of Blow. You can bet that film will eventually be made, and don't be surprised if it's Corben who makes it. --Jeff Shannon<td></tr></table>

Michael performs material that spans his career, from a Motown medley to multi-platinum hits from Off the Wall, Thriller, and Bad. Though he hadn't toured in 10 years, it becomes instantly apparent, despite rumors to the contrary, that Jackson was still in full possession of that unmistakable voice--high-pitched whoops and all--and that he still had the gravity-defying moves of a man half his age. Jackson and Ortega also collaborated on some real showstoppers, such as a graveyard-set "Thriller"; an imposing "They Don't Care About Us," in which several dancers appear to morph into thousands; and a film noir sequence in which the singer slides in and out of Gilda and other black-and-white classics, singing "Smooth Criminal" all the while.

Not everything works, like the Jackson 5 numbers, in which he flubs a few lyrics, claiming that his earpiece isn't working properly, but as he readily acknowledges, "That's what rehearsal is for." It's a tragedy that he didn't get the chance to share this dazzling show with the world, but Ortega allows fans to feel as if it actually happened--at least onscreen. --Kathleen C. Fennessy

<table cellpadding="0" cellspacing="0" border="0"><tr><td><img src="http://dvdsonsale.net/images/B002TYZKIM/51ZPQ2QbWkL._SL75_.jpg" /><td></tr><tr><td>It's hard not to watch This Is It without feeling a mixture of sorrow and elation. When he passed away in the summer of 2009, Michael Jackson was in the midst of rehearsals for his final tour, an ambitious 50-date engagement. In editing 120 hours of rehearsal footage together, Jackson producer Kenny Ortega proves that it would've been an event for the ages. Michael performs material that spans his career, from a Motown medley to multi-platinum hits from Off the Wall, Thriller, and Bad. Though he hadn't toured in 10 years, it becomes instantly apparent, despite rumors to the contrary, that Jackson was still in full possession of that unmistakable voice--high-pitched whoops and all--and that he still had the gravity-defying moves of a man half his age. Jackson and Ortega also collaborated on some real showstoppers, such as a graveyard-set "Thriller"; an imposing "They Don't Care About Us," in which several dancers appear to morph into thousands; and a film noir sequence in which the singer slides in and out of Gilda and other black-and-white classics, singing "Smooth Criminal" all the while. Not everything works, like the Jackson 5 numbers, in which he flubs a few lyrics, claiming that his earpiece isn't working properly, but as he readily acknowledges, "That's what rehearsal is for." It's a tragedy that he didn't get the chance to share this dazzling show with the world, but Ortega allows fans to feel as if it actually happened--at least onscreen. --Kathleen C. Fennessy Stills from Michael Jackson: This Is It (Click for larger image) <td></tr></table>

The reason that Planet Earth became so popular is that it offers truly amazing, breathtaking cinematography of places most of us have never seen before, and will never get a chance to visit. The shots are truly amazing, and all the while you are actually learning a great deal about our planet and the delicate balance of life that exists in each and every corner. Our planet is something to cherish, and this DVD set definitely helps to spread that point of view.

Whether you watched the show or not when it was on television for the first time, it's a great addition to your collection. It's the DVD equivalent of a great, fascinating coffee table book that everyone wants to pick up, flip through and talk about.

Since this great series has been available for so long now, you can enjoy some great price discounts. Buy the Planet Earth Complete BBC Series for cheap right here, featuring these great discounts from our partners. It will always be kept close by, and you'll find yourself watching it time and time again. With Planet Earth, you learn something new every time you watch, and it's a thrilling, captivating ride at the same time.