While Daybreakers presents vampiric traits that distinguish its vampires from others in the many films that have ridden 2009's vampire movie wave, there is a lack of humor here that makes this film sour compared to sweeter ones like Cirque du Freak: A Vampire's Assistant. Maybe that's because the plot in this horror feature from Peter and Michael Spierig (Undead) is more akin to zombie films like 28 Days Later.

The year is 2019, and nearly all humans are converted vampires searching in vain for blood during a blood shortage, as they drain remaining humans into extinction. Nightly, CNN airs segments about the Blood Crisis, while vampire citizens around the globe attack each other like cannibals. Humans are farmed like cattle while tied to blood-draining machinery in the top-secret pharmaceutical corporation run by evil CEO Charles Bromley (Sam Neill). Sound like a heavy-handed metaphor for our oil wars? Daybreakers can definitely be viewed in that light, as a story about greed and consumption.

Stylistically, it looks like a cross between Alien and Batman, with its Giger-esque set design and blue-tinted hue to represent night fallen on society. The lead eactors help to salvage this movie. Edward Dalton (Ethan Hawke), chief hematologist at Bromley, straddles the vampire and human worlds, with the aid of humans Lionel "Elvis" Cormac (Willem Dafoe) and Lisa Barrett (Harriet Minto-Day), to search for a blood replacement to placate the starving masses. These three protagonists carry the film, though not well enough to call Daybreakers any sort of genre breakthrough. --Trinie Dalton

Now, he’s on a mission to save the world as a hero who’s built, not born, to be unlike any other. Co-starring Gwyneth Paltrow, Terrence Howard and Jeff Bridges, it’s a fantastic, high-flying journey that is "hugely entertaining" (Joe Morgenstern, The Wall Street Journal).
<table cellpadding="0" cellspacing="0" border="0"><tr><td><img src="http://dvdsonsale.net/images/B001GAPC1K/51hso1X0GJL._SL75_.jpg" /><td></tr><tr><td> Suit up for action with Robert Downey Jr. in the ultimate adventure movie you�ve been waiting for, Iron Man! When jet-setting genius-industrialist Tony Stark is captured in enemy territory, he builds a high-tech suit of armor to escape. Now, he�s on a mission to save the world as a hero who�s built, not born, to be unlike any other. Co-starring Gwyneth Paltrow, Terrence Howard and Jeff Bridges, it�s a fantastic, high-flying journey that is "hugely entertaining" (Joe Morgenstern, The Wall Street Journal).<td></tr></table>

You know you're going to get a different kind of superhero when you cast Robert Downey Jr. in the lead role. And Iron Man is different, in welcome ways. Cleverly updated from Marvel Comics' longstanding series, Iron Man puts billionaire industrialist Tony Stark (that's Downey) in the path of some Middle Eastern terrorists; in a brilliantly paced section, Stark invents an indestructible suit that allows him to escape.

If the rest of the movie never quit hits that precise rhythm again, it nevertheless offers plenty of pleasure, as the renewed Stark swears off his past as a weapons manufacturer, develops his new Iron Man suit, and puzzles both his business partner (Jeff Bridges in great form) and executive assistant (Gwyneth Paltrow).

Director Jon Favreau geeks out in fun ways with the hardware, but never lets it overpower the movie, and there's always a goofy one-liner or a slapstick pratfall around to break the tension. As for Downey, he doesn't get to jitterbug around too much in his improv way, but he brings enough of his unpredictable personality to keep the thing fresh.

And listen up, hardcore Marvel mavens: even if you know the Stan Lee cameo is coming, you won't be able to guess it until it's on the screen. It all builds to a splendid final scene, with a concluding line delivery by Downey that just feels absolutely right. --Robert Horton

For the first time ever, find all 156 complete episodes of Rod Serling's groundbreaking series in one box set, packed with exciting extras! Travel to another dimension of sight and sound again and again through these stellar remastered high-definition film transfers.

Extras include the fascinating Serling bio-documentary Submitted for Your Approval, compelling interviews with the show's writers, the series' unaired pilot, audio commentaries with Martin Landau, Leonard Nimoy, Cliff Robertson and much, much more!
<table cellpadding="0" cellspacing="0" border="0"><tr><td><img src="http://dvdsonsale.net/images/B000H5U5EE/51GJ4AXDBSL._SL75_.jpg" /><td></tr><tr><td>For the first time ever, find all 156 complete episodes of Rod Serling's groundbreaking series in one box set, packed with exciting extras! Travel to another dimension of sight and sound again and again through these stellar remastered high-definition film transfers. Extras include the fascinating Serling bio-documentary Submitted for Your Approval, compelling interviews with the show's writers, the series' unaired pilot, audio commentaries with Martin Landau, Leonard Nimoy, Cliff Robertson and much, much more!<td></tr></table>

That's 28 full DVDs of The Twilight Zone, all action packed and all of the amazing stories and classic episodes that you always loved and always wanted to own in a convenient and high quality collection.

Each and every one of the original 156 episodes, and over 4,500 minutes of content! Fans of The Twilight Zone can't beat that, and you'll literally be occupied for years pouring through all of these classics and all of the great bonus material.

One of truly landmark television shows of all-time, you can buy your own copy of the Twilight Zone boxed set complete series collection today!

After 12 years of thinking about it (and waiting for movie technology to catch up with his visions), James Cameron followed up his unsinkable Titanic with Avatar, a sci-fi epic meant to trump all previous sci-fi epics. Set in the future on a distant planet, Avatar spins a simple little parable about greedy colonizers (that would be mankind) messing up the lush tribal world of Pandora.

A paraplegic Marine named Jake (Sam Worthington) acts through a 9-foot-tall avatar that allows him to roam the planet and pass as one of the Na'vi, the blue-skinned, large-eyed native people who would very much like to live their peaceful lives without the interference of the visitors. Although he's supposed to be gathering intel for the badass general (Stephen Lang) who'd like to lay waste to the planet and its inhabitants, Jake naturally begins to take a liking to the Na'vi, especially the feisty Neytiri (Zoë Saldana, whose entire performance, recorded by Cameron's complicated motion-capture system, exists as a digitally rendered Na'vi).

Pick up your own copy of Avatar on Blu-ray or DVD right here! And see the continued full review below.

The movie uses state-of-the-art 3D technology to plunge the viewer deep into Cameron's crazy toy box of planetary ecosystems and high-tech machinery. Maybe it's the fact that Cameron seems torn between his two loves--awesome destructive gizmos and flower-power message mongering--that makes Avatar's pursuit of its point ultimately uncertain. That, and the fact that Cameron's dialogue continues to clunk badly.

If you're won over by the movie's trippy new world, the characters will be forgivable as broad, useful archetypes rather than standard-issue stereotypes, and you might be able to overlook the unsurprising central plot. (The overextended "take that, Michael Bay" final battle sequences could tax even Cameron enthusiasts, however.) It doesn't measure up to the hype (what could?) yet Avatar frequently hits a giddy delirium all its own. The film itself is our Pandora, a sensation-saturated universe only the movies could create. --Robert Horton

A scientist (Chiwetel Ejiofor) detects shifting continental plates and sun flares and realizes that this foretells the imminent destruction of the planet. Just as the molten lava is about to hit the fan, a novelist (John Cusack) takes his kids on a trip to Yellowstone; later he'll hook up with his ex (Amanda Peet) and her new boyfriend (Tom McCarthy) in a global journey toward safety. If there is any safety.

The suitably hair-raising plot lines are punctuated--frequently, people, frequently--by visions of mayhem around the globe: the Vatican falls over, the White House is clobbered (Emmerich's Independence Day was not enough on that score), and the California coastline dives into the Pacific Ocean. Unlike other action directors we could name, Emmerich actually understands how to let you see and drink in these vast special-effects vistas--and they are incredible.

He also honors the old Irwin Allen disaster-movie tradition by actually shelling out for good actors. Cusack and Ejiofor are convincing even in the cheesiest material; toss in Danny Glover (the U.S. president), Woody Harrelson (a nut-bar conspiracy-theorizing radio host), Thandie Newton, and Oliver Platt, and you've got a very watchable batch of people.

Emmerich hasn't developed an ear for dialogue, even at this stage in his career, and the final act goes on a bit too long. This is a very silly movie, but if you've got a weakness for B-movie energy and hairbreadth escapes, 2012 delivers quite a bit of both. --Robert Horton

Incidentally, Edward is absent for most of the film; after an accident on Bella's birthday reminds Edward that her life is always at risk when he's around, he chooses to abandon her, sending her into a deep depression. The only person who helps her heal her broken heart is her friend Jacob (Taylor Lautner), a member of the Quileute tribe who, as he grows taller, beefier, and more aggressive (with less clothing), comes to realize he's not entirely human either.

But even his love for Bella doesn't prevent her from throwing herself in the path of danger, because that's the only time she can see visions of Edward. One such fateful misunderstanding sends Edward into the coven of the Volturi (a sort of vampire Mafia, if you will), where the most dangerous vampires hold both Edward and Bella's fate in their cold, dark hands.

Much of New Moon rests on the shoulders of Lautner, so scrawny in Twilight, who famously packed on the muscle to avoid getting recast. He's very nearly successful in carrying the load, but the cheese-tastic beefcake scenes disservice him, and Jacob and Bella's complicated friendship stumbles on its way to any kind of love triangle.

Some of that blame lies with Stewart, who understandably holds her emotions close to her chest but reveals much too little (c'mon, even an angsty girl has to be a little joyful in the arms of two different hunks). As is with the book, the film is just a bridge between sagas, so the plot drags and not a lot happens.

Fortunately, while Twilight was trapped in its own self-consciousness, the wobbly-legged cast seems to have found stronger footing in New Moon; the jokes come faster, the writing (by Melissa Rosenberg, who also scribed Twilight) is a hair wittier. (Even Pattinson seems more comfortable in Edward's skin.)

The Volturi, highlighted by Michael Sheen's Aro and Dakota Fanning's Jane, also make an all-too-brief impression, but at least there's more to look forward to when Eclipse, the third installment, is released. --Ellen A. Kim
<table cellpadding="0" cellspacing="0" border="0"><tr><td><img src="http://dvdsonsale.net/images/B001OQCV56/51O9M7WT6vL._SL75_.jpg" /><td></tr><tr><td>New Moon, the second in Stephenie Meyer's blockbuster teen-fiction saga adapted for film, is stronger than its predecessor, Twilight. Director Chris Weitz (The Golden Compass), taking the helm from Catherine Hardwicke, brings a lighter, more assured touch to the sequel, which continues the star-crossed love story of mortal Bella (Kristen Stewart) and vampire Edward (Robert Pattinson). Incidentally, Edward is absent for most of the film; after an accident on Bella's birthday reminds Edward that her life is always at risk when he's around, he chooses to abandon her, sending her into a deep depression. The only person who helps her heal her broken heart is her friend Jacob (Taylor Lautner), a member of the Quileute tribe who, as he grows taller, beefier, and more aggressive (with less clothing), comes to realize he's not entirely human either. But even his love for Bella doesn't prevent her from throwing herself in the path of danger, because that's the only time she can see visions of Edward. One such fateful misunderstanding sends Edward into the coven of the Volturi (a sort of vampire Mafia, if you will), where the most dangerous vampires hold both Edward and Bella's fate in their cold, dark hands. Much of New Moon rests on the shoulders of Lautner, so scrawny in Twilight, who famously packed on the muscle to avoid getting recast. He's very nearly successful in carrying the load, but the cheese-tastic beefcake scenes disservice him, and Jacob and Bella's complicated friendship stumbles on its way to any kind of love triangle. Some of that blame lies with Stewart, who understandably holds her emotions close to her chest but reveals much too little (c'mon, even an angsty girl has to be a little joyful in the arms of two different hunks). As is with the book, the film is just a bridge between sagas, so the plot drags and not a lot happens. Fortunately, while Twilight was trapped in its own self-consciousness, the wobbly-legged cast seems to have found stronger footing in New Moon; the jokes come faster, the writing (by Melissa Rosenberg, who also scribed Twilight) is a hair wittier. (Even Pattinson seems more comfortable in Edward's skin.) The Volturi, highlighted by Michael Sheen's Aro and Dakota Fanning's Jane, also make an all-too-brief impression, but at least there's more to look forward to when Eclipse, the third installment, is released. --Ellen A. Kim<td></tr></table>

In the near future, human beings need no longer leave their homes: mechanical surrogates, similar in appearance (but younger looking, fitter, with fewer wrinkles and more hair) can move about in the world on the user's behalf, following commands and absorbing physical wear and tear. A cop (Bruce Willis) begins investigating a mystifying case of a user who died when his surrogate got blasted by a fancy ray-gun in the street--that's a definite violation of the company guarantee.

In the course of a trim, sub-90-minute running time, the Willis character himself is forced to enter the mean streets in his own flesh-and-blood version, not his surrogate, a move that puzzles both his wife (Rosamund Pike) and partner (Radha Mitchell).

In the movie's scheme of perfect surrogates and digitally-smoothed faces, the grizzled humanity of Bruce Willis comes blazing through; what a relief to see a battered human in the midst of the beautiful people.

Director Jonathan Mostow (Terminator 3) gets the world right, but one waits in vain for a fuller picture of the effects of this surrogate population, or a deeper study of the creator (James Cromwell) of the technology, or a reason to get involved in the rebel leader (Ving Rhames in a fright wig) and his reservation populated by defiant non-surrogates. Sprinting along as it does, Surrogates doesn't find time for these presumably crucial details, and the result feels just a little skin-deep. --Robert Horton

But when Kable suddenly decides he wants out, his rebellion threatens the twisted plans of game creator Ken Castle (Michael C. Hall, TV’s "Dexter”), who will stop at nothing to crush the renegade commando in this taut, adrenaline-packed action-thriller.

Ultimately, Gamer is a fun movie that presents a whole new twist to the action and science fiction genres. Both Gerard Butler and Michael C. Hall put on a great performance, and this is a nonstop thrill ride throughout.

With the advances in technology that have taken place over the last decade, who's to say that something like this isn't possible at some point in the near future? To watch how it all plays out and to see this fun movie, you have to pick on Gamer on DVD here.

It's an exciting flick that you'll watch several times over, and even people who aren't normally into science fiction or action will enjoy this one.

The screenplay by Bruce Joel Rubin (My Life), based on a novel by Audrey Niffenegger, incorporates some of those crazy paradoxes that are a part of time-travel fiction, but without beating one over the head. Take Henry's introduction to his future wife, Clare (Rachel McAdams), who tells him they've already met even though they haven't actually met.

Brain teasers, however, are not what The Time Traveler's Wife is about. In a quite haunting way, the story really concerns what it means to know and love someone at every phase of his or her life. The fact that Henry's life, from Clare's perspective, is hardly linear--he can disappear and turn back up again at different ages--means that she must cherish what is essential about him. Which doesn't mean the couple is immune to periods of unhappiness, including a painful sequence about trying to bear a child--perhaps a child that might also carry the time-traveling gene.

While there is nothing particularly exciting stylistically about The Time Traveler's Wife, in many ways it has the simple charms and clear emotions of a 1940s weepie assigned by a studio to one of its journeyman, contract directors. (The film was directed by Flightplan's Robert Schwentke.) A couple of supporting players, Arliss Howard (as Henry's father) and Ron Livingston (as Henry's friend), provide even more reason to recommend this movie as a satisfying experience. --Tom Keogh
<table cellpadding="0" cellspacing="0" border="0"><tr><td><img src="http://dvdsonsale.net/images/B001HN69C2/51obBLIk9dL._SL75_.jpg" /><td></tr><tr><td>A genuinely old-fashioned Hollywood romance with a science fiction angle, The Time Traveler's Wife stars Eric Bana as Henry DeTamble, a Chicago librarian with a genetic disorder causing him to travel through time involuntarily. The screenplay by Bruce Joel Rubin (My Life), based on a novel by Audrey Niffenegger, incorporates some of those crazy paradoxes that are a part of time-travel fiction, but without beating one over the head. Take Henry's introduction to his future wife, Clare (Rachel McAdams), who tells him they've already met even though they haven't actually met. Brain teasers, however, are not what The Time Traveler's Wife is about. In a quite haunting way, the story really concerns what it means to know and love someone at every phase of his or her life. The fact that Henry's life, from Clare's perspective, is hardly linear--he can disappear and turn back up again at different ages--means that she must cherish what is essential about him. Which doesn't mean the couple is immune to periods of unhappiness, including a painful sequence about trying to bear a child--perhaps a child that might also carry the time-traveling gene. While there is nothing particularly exciting stylistically about The Time Traveler's Wife, in many ways it has the simple charms and clear emotions of a 1940s weepie assigned by a studio to one of its journeyman, contract directors. (The film was directed by Flightplan's Robert Schwentke.) A couple of supporting players, Arliss Howard (as Henry's father) and Ron Livingston (as Henry's friend), provide even more reason to recommend this movie as a satisfying experience. --Tom Keogh<td></tr></table>

Ben Foster and Dennis Quaid--two consistently watchable actors, and both well used here--are top-billed as a pair of space travelers who awake from lengthy hibernation with no idea who they are or how they got aboard a vast and seemingly empty spacecraft. Their exploration of the ship uncovers not only a handful of fellow humans, among them martial arts champ Cung Le and French scientist/requisite eye candy Antje Traue, but a host of feral mutants with unpleasant designs on them.

Director Christian Alvert, who gained international acclaim among genre viewers with his thriller Antibodies, keeps viewers engaged and unsettled with shadow-steeped cinematography and elaborately creepy production design, though his own attention span, which can be charitably described as blink and you'll miss it, obscures the clashes between the human and monster cast.

However, Alvert has a few twists up his sleeve for the finale--one inspired, the other, less so--which not only helps to smooth over any of Pandorum's rougher edges, but also indicates that he's a genre director to watch. --Paul Gaita
<table cellpadding="0" cellspacing="0" border="0"><tr><td><img src="http://dvdsonsale.net/images/B002QW7ALM/51pj22QfRrL._SL75_.jpg" /><td></tr><tr><td>Largely dismissed as yet another Alien carbon, the science-fiction/horror hybrid Pandorum exceeds the limits of that critique with an agreeable mix of atmospherics and high-voltage scares. Ben Foster and Dennis Quaid--two consistently watchable actors, and both well used here--are top-billed as a pair of space travelers who awake from lengthy hibernation with no idea who they are or how they got aboard a vast and seemingly empty spacecraft. Their exploration of the ship uncovers not only a handful of fellow humans, among them martial arts champ Cung Le and French scientist/requisite eye candy Antje Traue, but a host of feral mutants with unpleasant designs on them. Director Christian Alvert, who gained international acclaim among genre viewers with his thriller Antibodies, keeps viewers engaged and unsettled with shadow-steeped cinematography and elaborately creepy production design, though his own attention span, which can be charitably described as blink and you'll miss it, obscures the clashes between the human and monster cast. However, Alvert has a few twists up his sleeve for the finale--one inspired, the other, less so--which not only helps to smooth over any of Pandorum's rougher edges, but also indicates that he's a genre director to watch. --Paul Gaita<td></tr></table>