From the producers of Band of Brothers, The Pacific tracks the real-life journeys of three U.S. Marines--Robert Leckie (James Badge Dale), Eugene Sledge (Joe Mazzello) and John Basilone (Jon Seda)--across the vast canvas of the Pacific Theater during World War II. The miniseries follows these men and their fellow Marines from their first battle with the Japanese on Guadalcanal, through the rain forests of Cape Gloucester and the strongholds of Peleliu, across the bloody sands of Iwo Jima and through the horror of Okinawa, and finally to their triumphant but uneasy return home after V-J Day.

This is an epic miniseries from HBO that will keep you drawn in from the beginning all the way to the final seconds. It interweaves real life stories and harrowing accounts of the horrors of war, with personal moments and insights about the character and personalities of all of the men involved.

Some feel the The Pacific blu-ray doesn't quite live up to the Band of Brothers, which was a fantastic HBO series also made in conjunction with Tom Hanks and Steven Spielberg. The two shows are certainly very different from one another. The pace is probably a bit slower in this one, and each episode focuses on a different character or group of characters, changing focus several times throughout the series.

Still, buying the Pacific on blu-ray is really a no brainer. This is still a fantastic series, and it offers intriguing tales that have never really been heard before. This half of WWII is so often forgotten and overlooked, particularly the smaller bit still fierce and deadly battles sandwiched between the big name ones like Guadalcanal and Iwo Jima.

Above you can find the Pacific blu-ray boxed set for sale at a great, cheap price. The sales and discounts available for The Pacific are fantastic and make bringing this one home even better. Add the boxed set The Pacific blu-ray to your collection today!

It's hard to believe Ridley Scott's handsome epic won't become the cinematic touchstone of the Crusades for years to come. Kingdom of Heaven is greater than the sum of its parts, delivering a vital, mostly engrossing tale following Balian (Orlando Bloom), a lonely French blacksmith who discovers he's a noble heir and takes his father's (Liam Neeson) place in the center of the universe circa 1184: Jerusalem.

Here, grand battles and backdoor politics are key as Scott and first-time screenwriter William Monahan fashion an excellent storyline to tackle the centuries-long conflict. Two forward-thinking kings, Baldwin (Edward Norton in an uncredited yet substantial role) and Saladin (Ghassan Massoud), hold an uneasy truce between Christians (who hold the city) and Muslims while factions champ at the bit for blood. There are good and evildoers on both sides, with the Knights Templar taking the brunt of the blame; Balian plans to find his soul while protecting Baldwin and the people.

The look of the film, as nearly everything is from Scott, is impressive: his CGI-infused battle scenes rival the LOTR series and, with cinematographer John Mathieson, create postcard beauty with snowy French forests and the vast desert (filmed in Morocco and Spain). An excellent supporting cast, including Jeremy Irons, Brendan Gleeson, and David Thewlis, also help make the head and heart of the film work. Many critics pointed out that Bloom doesn't have the gravitas of Russell Crowe in the lead (then again, who does?), but it's the underdeveloped character and not the actor that hurts the film and impacts its power.

Balian isn't given much more to do than be sullen and give an occasional big speech, alongside his perplexing abilities for warfare tactics and his wandering moral compass (whose sole purpose seems to be to put a love scene in the movie). Note: all the major characters except Neeson's are based on fact, but many are heavily fictionalized. --Doug Thomas

Stanley Kubrick was only 31 years old when Kirk Douglas (star of Kubrick's classic Paths of Glory) recruited the young director to pilot this epic saga, in which the rebellious slave Spartacus (played by Douglas) leads a freedom revolt against the decadent Roman Empire. Kubrick would later disown the film because it was not a personal project--he was merely a director-for-hire--but Spartacus remains one of the best of Hollywood's grand historical epics.

With an intelligent screenplay by then-blacklisted writer Dalton Trumbo (from a novel by Howard Fast), its message of moral integrity and courageous conviction is still quite powerful, and the all-star cast (including Charles Laughton in full toga) is full of entertaining surprises. Fully restored in 1991 to include scenes deleted from the original 1960 release, the full-length Spartacus is a grand-scale cinematic marvel, offering some of the most awesome battles ever filmed and a central performance by Douglas that's as sensitively emotional as it is intensely heroic. Jean Simmons plays the slave woman who becomes Spartacus's wife, and Peter Ustinov steals the show with his frequently hilarious, Oscar-winning performance as a slave trader who shamelessly curries favor with his Roman superiors.

The restored version also includes a formerly deleted bathhouse scene in which Laurence Olivier plays a bisexual Roman senator (with restored dialogue dubbed by Anthony Hopkins) who gets hot and bothered over a slave servant played by Tony Curtis. These and other restored scenes expand the film to just over three hours in length. Despite some forgivable lulls, this is a rousing and substantial drama that grabs and holds your attention. Breaking tradition with sophisticated themes and a downbeat (yet eminently noble) conclusion, Spartacus is a thinking person's epic, rising above mere spectacle with a story as impressive as its widescreen action and Oscar-winning sets. --Jeff Shannon

Tommy starts looking in on his wary sister-in-law, Grace (Natalie Portman), but then Sam's helicopter crashes in the mountains, and the military informs Grace that her husband has died. Unbeknownst to the Cahill clan, the Taliban has taken Sam hostage and tortures him to elicit information. Sam resists, but his colleague caves, leading to an unthinkable act. Back in New Mexico, Grace and Tommy grow closer, stopping just short of a full-blown affair (in Susanne Bier's original, they take the plunge).

Even Tommy's disapproving Vietnam vet father, Hank (Sam Shepard), sees his son in a new light after Tommy renovates Grace's kitchen. But when Sam is rescued by his company, he returns a broken man and is convinced that his wife has fallen in love with his brother. Even his daughters are afraid of him (Bailee Madison impresses as the eldest). As in Bier's film, Jim Sheridan (In America) elevates redemption and forgiveness over tragedy and loss, and his well-meaning remake gets off to a solid start, but it loses steam by the end. Brothers offers a compelling scenario, but the telling is too overstated to capture the full heartbreak of the situation. --Kathleen C. Fennessy

Hard to define but easy to enjoy, The Men Who Stare at Goats is the preposterous yet more-true-than-not story of a small-town journalist named Bob Wilton (Ewan McGregor) who, trying to prove himself in Iraq, stumbles upon a man named Lyn Cassady (George Clooney) who claims to be a psychic spy for the U.S. Army.

With dazzling cinematic efficiency, the movie bounces back and forth between the origins of the New Earth Army--a squad of American Jedi warriors--and Bob and Lyn wandering through war-torn Iraq, pursuing a mission that turns out to have been assigned by a vision. The movie shifts from giddy comedy to melancholy as a portrait of human pettiness, manifested in military paranoia and corporate greed, unfolds.

The ending loses a bit of steam, but most of The Men Who Stare at Goats is a delight--unusual yet satisfying, funny and thoughtful in turns. Jeff Bridges plays--of course--the addled yet charismatic founder of the New Earth Army, while Kevin Spacey plays--of course--the weaselly, manipulative psychic spy who turns what was meant to transform the world for the better into a mechanism for propaganda and worse. Adapted from the bestselling nonfiction book of the same title by British journalist Jon Ronson, The Men Who Stare at Goats niftily balances surface lunacy with serious undercurrents, buoyed by excellent performances from all involved. --Bret Fetzer

Platoon put writer-turned-director Oliver Stone on the Hollywood map; it is still his most acclaimed and effective film, probably because it is based on Stone's firsthand experience as an American soldier in Vietnam. Chris (Charlie Sheen) is an infantryman whose loyalty is tested by two superior officers: Sergeant Elias (Willem Dafoe), a former hippie humanist who really cares about his men (this was a few years before he played Jesus in Martin Scorsese's The Last Temptation of Christ), and Sergeant Barnes (Tom Berenger), a moody, macho soldier who may have gone over to the dark side.

The personalities of the two sergeants correspond to their combat drugs of choice--pot for Elias and booze for Barnes. Stone has become known for his sledgehammer visual style, but in this film it seems perfectly appropriate. His violent and disorienting images have a terrifying immediacy, a you-are-there quality that gives you a sense of how things may have felt to an infantryman in the jungles of Vietnam. Platoon won Oscars for best picture and director. --Jim Emerson

Serling soon finds discrepancies in the case of a downed Medevac helicopter in the rocky Kuwait territory. What unfolds in flashback are several versions of Walden's tactics (à la Kurosawa's Rashomon) to rescue the soldiers and survive the downing. As with Glory, Director Edward Zwick's cast of unknown and famous faces always comes off as the real article. Walden's crew is especially convincing. Matt Damon as the medic comes off as the giddy scaredy-cat when telling his story to Washington. In battle he's a flawed, humorous soldier. The most surprising work in the movie is done by Lou Diamond Phillips (as the group's gunman), whose career had been headed to straight-to-video oblivion.

Then there's Ryan. She has done well with dramatic work in the past (When a Man Loves a Woman, Flesh and Bone) but has never been able to escape the romantic-comedy image. With dyed hair, a light accent, and the dramatics of the situation, Ryan finally has an enduring dramatic film. Even though she has half of Washington's screen time, her brave and ultimately haunting performance makes Courage something special, right down to its curious but rewarding final scene. --Doug Thomas

The movie focuses on an Explosive Ordnance Disposal team, the guys whose more or less daily job is to disarm the homemade bombs that have accounted for most U.S. casualties in Iraq. But even more, the film's extraordinary tension derives from the precision and intelligence of Bigelow's direction. She gets every sweaty detail and tactical nuance in the close-up confrontation of man and bomb, while keeping us alert to the volatile wraparound reality of an ineluctably foreign environment--hot streets and blank-walled buildings full of onlookers, some merely curious and some hostile, perhaps thumbing a cellphone that could become a trigger. This is exemplary moviemaking. You don't need CGI, just a human eye, and the imagination to realize that, say, the sight of dust and scale popped off a derelict car by an explosion half a block away delivers more shock value than a pixelated fireball.

The setting may be Iraq in 2004, but it could just as well be Thermopylae; The Hurt Locker is no "Iraq War movie." Bigelow and screenwriter Mark Boal--who did time as a journalist embed with an EOD unit--align themselves with neither supporters nor opponents of the U.S. involvement. There's no politics here. War is just the job the characters in the movie do. One in particular, the supremely resourceful staff sergeant played by Jeremy Renner, is addicted to the almost nonstop adrenaline rush and the opportunity to express his esoteric, life-on-the-edge genius.

The hurt locker of the title is a box he keeps under his bunk, filled with bomb parts and other signatory memorabilia of "things that could have killed me." That none of it has killed him so far is no real consolation. In this movie, you never know who's going to go and when; even high-profile talent (we won't name names here) is no guarantee. But one thing can be guaranteed, and that is that almost every sequence in the movie becomes a riveting, often fiercely enigmatic set piece. This is Kathryn Bigelow's best film since 1987's Near Dark. It could also be the best film of 2009. --Richard T. Jameson
<table cellpadding="0" cellspacing="0" border="0"><tr><td><img src="http://dvdsonsale.net/images/B00275EGWY/51i8FAmCg2L._SL75_.jpg" /><td></tr><tr><td>The making of honest action movies has become so rare that Kathryn Bigelow's magnificent The Hurt Locker was shown mostly in art cinemas rather than multiplexes. That's fine; the picture is a work of art. But it also delivers more kinetic excitement, more breath-bating suspense, more putting-you-right-there in the danger zone than all the brain-dead, visually incoherent wrecking derbies hogging mall screens. Partly it's a matter of subject. The movie focuses on an Explosive Ordnance Disposal team, the guys whose more or less daily job is to disarm the homemade bombs that have accounted for most U.S. casualties in Iraq. But even more, the film's extraordinary tension derives from the precision and intelligence of Bigelow's direction. She gets every sweaty detail and tactical nuance in the close-up confrontation of man and bomb, while keeping us alert to the volatile wraparound reality of an ineluctably foreign environment--hot streets and blank-walled buildings full of onlookers, some merely curious and some hostile, perhaps thumbing a cellphone that could become a trigger. This is exemplary moviemaking. You don't need CGI, just a human eye, and the imagination to realize that, say, the sight of dust and scale popped off a derelict car by an explosion half a block away delivers more shock value than a pixelated fireball. The setting may be Iraq in 2004, but it could just as well be Thermopylae; The Hurt Locker is no "Iraq War movie." Bigelow and screenwriter Mark Boal--who did time as a journalist embed with an EOD unit--align themselves with neither supporters nor opponents of the U.S. involvement. There's no politics here. War is just the job the characters in the movie do. One in particular, the supremely resourceful staff sergeant played by Jeremy Renner, is addicted to the almost nonstop adrenaline rush and the opportunity to express his esoteric, life-on-the-edge genius. The hurt locker of the title is a box he keeps under his bunk, filled with bomb parts and other signatory memorabilia of "things that could have killed me." That none of it has killed him so far is no real consolation. In this movie, you never know who's going to go and when; even high-profile talent (we won't name names here) is no guarantee. But one thing can be guaranteed, and that is that almost every sequence in the movie becomes a riveting, often fiercely enigmatic set piece. This is Kathryn Bigelow's best film since 1987's Near Dark. It could also be the best film of 2009. --Richard T. Jameson<td></tr></table>

Things change from routine into mayhem when an American helicopter is shot down. A "black hawk down" is the code for such an incident, and as the hostile locales swarm to overtake the downed ship, a rash rescue mission is undertaken.

The Black Hawk Down deluxe edition DVD is extremely entertaining but conversely can also be hard to watch because of how brutal the violence really is. It's something that really happened, it's the story of real American loss of life, of real American courage and much more.

The Black Hawk Down deluxe edition is loaded with fun and informational features. You'll learn more about the making of the movie as well as the real events. The movie took great care to make sure that everything shown is as realistic and true to form as possible, so you'll see a great deal abut how that was pulled off and all of the players behind the scene who made it happen.

So if you're looking for a great recent war movie, the Black Hawk Down deluxe edition DVD is one you have to pick up. Great acting with a strong cast all the way around, fantastic film making and a harrowing, true life story.

Purchasing the special edition DVD for Saving Private Ryan is something you'll never regret. In addition to the wonderful film, one of the best movies the world has seen in decades, you get a whole mess of extra features. See some of the process of how the film was made, get the actors' and director's take on the entire process, learn more  about the history of the war and much more.

Saving Private Ryan redefined the war genre, and set a standard for excellence that may never be met again. The movie brings you in from the opening seconds and doesn't let up until the credits roll. Part shockingly brutal, part surprisingly emotional and touching, a big part of excellent action sequences and long battles and on down the line.

The movie of course stars Tom Hanks, as he leads a small band of men through treacherous, hostile terrain to track down Private Ryan, played by Matt Damon. Damon is the last of 4 brothers still standing after being deployed, and the team is on a mission to bring him back home safely. Also starring are Tom Sizemore, Barry Pepper, Edward Burns Giovanni Ribisi, Vin Diesel and Jeremy Davies.

You can pick up your discount copy of the Saving Private Ryan special edition DVD right here. It's a movie you absolutely must own, and you will find yourself going back to watch it on many occasions. There may never be anything else quite like this movie, and the Saving Private Ryan special edition DVD takes it up a notch farther.