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1.The Dark Knight (Full-Screen Single-Disc Edition) (2008)
The Dark Knight arrives with tremendous hype (best superhero movie ever? posthumous Oscar for Heath Ledger?), and incredibly, it lives up to all of it. But calling it the best superhero movie ever seems like faint praise, since part of what makes the movie great–in addition to pitch-perfect casting, outstanding writing, and a compelling vision–is that it bypasses the normal fantasy element of the superhero genre and makes it all terrifyingly real. Harvey Dent (Aaron Eckhart) is Gotham City’s new district attorney, charged with cleaning up the crime rings that have paralyzed the city. He enters an uneasy alliance with the young police lieutenant, Jim Gordon (Gary Oldman), and Batman (Christian Bale), the caped vigilante who seems to trust only Gordon–and whom only Gordon seems to trust. They make progress until a psychotic and deadly new player enters the game: the Joker (Heath Ledger), who offers the crime bosses a solution–kill the Batman. Further complicating matters is that Dent is now dating Rachel Dawes (Maggie Gyllenhaal, after Katie Holmes turned down the chance to reprise her role), the longtime love of Batman’s alter ego, Bruce Wayne.

In his last completed role before his tragic death, Ledger is fantastic as the Joker, a volcanic, truly frightening force of evil. And he sets the tone of the movie: the world is a dark, dangerous place where there are no easy choices. Eckhart and Oldman also shine, but as good as Bale is, his character turns out rather bland in comparison (not uncommon for heroes facing more colorful villains). Director-cowriter Christopher Nolan (Memento) follows his critically acclaimed Batman Begins with an even better sequel that sets itself apart from notable superhero movies like Spider-Man 2 and Iron Man because of its sheer emotional impact and striking sense of realism–there are no suspension-of-disbelief superpowers here. At 152 minutes, it’s a shade too long, and it’s much too intense for kids. But for most movie fans–and not just superhero fans–The Dark Knight is a film for the ages. –David Horiuchi

2.Sex and the City – The Movie (Special Edition) (2008)

As light and frothy as the Vivienne Westwood wedding gown that’s an unofficial fifth star, the film version of Sex and the City is both captivatingly stylish and sweetly sentimental. Viewers who loved hanging with Carrie Bradshaw and her three pals during the series’ TV run will feel as though no time has passed. Except that it has: Carrie and Big are poised to make a Big Commitment; Miranda and Steve are facing the breakup of their wonderful family; Charlotte and Harry have added to their brood; and Samantha (are we sitting down?) has been devoted to hunky Smith for five full years. Still, in all that time, the women’s style, conviviality, and appetite for bons mots have only grown. When practical attorney Miranda learns that Carrie is considering moving in with Big (in possibly the coolest apartment in Manhattan), she can’t help but frown in that but-you-might-lose-everything way. Carrie’s retort: “For once, can’t you feel what I want you to feel–jealous?!” The cast is spot-on, as always. Sarah Jessica Parker is effortless as the angst-ridden yet practical, stylish yet vulnerable Carrie. Kim Cattrall is deliciously decadent as Samantha, but she’s wiser now and knows herself and her needs for a real relationship. Kristin Davis, as Charlotte, has quietly become the most gorgeous among the beauties, her sleek presence both winsome and sophisticated. And Cynthia Nixon (Miranda) shows nuance as a woman torn between betrayal and grudging hope. Supporting roles include Candice Bergen as the Vogue editor who anoints Carrie “The Last Single Girl in New York,” and Jennifer Hudson, as a starry-eyed, ambitious romantic who represents the new generation of SATC women. Through it all, New York is a benevolent cocoon that envelopes and nurtures the women and their friendships and careers. No matter that none of them appears to have any semblance of “real” family; as long as they have each other, and Manhattan, all will be right with their world. –A.T. Hurley

3.John Adams (HBO Miniseries) (2008)

Based on David McCullough’s bestselling biography, the HBO miniseries John Adams is the furthest thing from a starry-eyed look at America’s founding fathers and the brutal path to independence. Adams (Paul Giamatti), second president of the United States, is portrayed as a skilled orator and principled attorney whose preference for justice over anti-English passions earns enemies. But he also gains the esteem of the first national government of the United States, i.e., the Continental Congress, which seeks non-firebrands capable of making a reasoned if powerful case for America’s break from England’s monarchy. The first thing one notices about John Adams‘ dramatizations of congress’ proceedings, and the fervent pro-independence violence in the streets of Boston and elsewhere, is that America’s roots don’t look pretty or idealized here. Some horrendous things happen in the name of protest, driving Adams to push the cause of independence in a legitimate effort to get on with a revolutionary war under the command of George Washington. But the process isn’t easy: not every one of the 13 colonies-turned-states is ready to incur the wrath of England, and behind-the-scenes negotiations prove as much a part of 18th century congressional sessions as they do today. Besides this peek into a less-romanticized version of the past, John Adams is also a story of the man himself. Adams’ frustration at being forgotten or overlooked at critical junctures of America’s early development–sent abroad for years instead of helping to draft the U.S. constitution–is detailed. So is his dismay that the truth of what actually transpired leading to the signing of the Declaration of Independence has been slowly forgotten and replaced by a rosier myth. But above all, John Adams is the story of two key ties: Adams’ 54-year marriage to Abigail Adams (Laura Linney), every bit her husband’s intellectual equal and anchor, and his difficult, almost symbiotic relationship with Thomas Jefferson (Stephen Dillane) over decades. Giamatti, of course, has to carry much of the drama, and if he doesn’t always seem quite believable in the series’ first half, he becomes increasingly excellent at the point where an aging Adams becomes bitter over his place in history. Linney is marvelous, as is Dillane, Sarah Polley as daughter Nabby, Danny Huston as cousin Samuel Adams, and above all Tom Wilkinson as a complex but indispensable Ben Franklin. –Tom Keogh

4.Iron Man (Two-Disc Special Collectors’ Edition) (2008)

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

5.Stargate: Continuum (2008)

If Continuum, the second feature length, made-for-DVD film spun off from the long-running Stargate SG-1 television series, marks the end of this wing of the franchise–and it is hardly a certainty, given the show’s Lazarus-like history–then all involved, including the viewer, should be well satisfied. Continuum commingles all the elements that have made Stargate so eminently watchable over the years, including engaging characters and storyline, plenty of action, impressive sets, and first-rate special effects. This time the whole gang is on hand, as the most recent SG-1 contigent (Ben Browder as fearless leader Lt. Col. Cameron Mitchell, Amanda Tapping as the brainy Lt. Col. Samantha Carter, Christopher Judge as the implacable alien Teal’c, Michael Shanks as the ever-resourceful Dr. Daniel Jackson, and Claudia Black as the irreverent, motor-mouthed Vala) is joined by characters whose roles had been reduced or eliminated along the way; principal among the latter is Richard Dean Anderson, whose Major General Jack O’Neill makes a welcome return after sitting out The Ark of Truth, the first post-series film (both of Stargate Command’s head honchos, played by Beau Bridges and the late Don S. Davis, are also back). The villain is familiar as well: Ba’al (Cliff Simon), the last of the “Goa’uld system lords,” who’s scheduled to be executed–or, more specifically, “extracted,” whereby the bad mojo inside him will be exorcised. Things don’t quite go as planned, of course. Ba’al has managed to manipulate time, creating a situation where Mitchell, Jackson, and Carter find themselves caught in a paradox, an alternate timeline in which the Stargate program never even existed, making it easy for the bad guy and his gigantic space brigade to launch an all-out attack on Earth (though long-threatened throughout the series, such an invasion never actually happened until now). Our heroes’ intrepid efforts to thwart Ba’al’s dastardly scheme take them from the Arctic (for real) to the cockpits of F-15 jets and even the hold of a 1930s cargo ship (built specially for the occasion). All this, and Browder portraying his own grandfather too? Yo, Stargate: Continuum rocks! –Sam Graham

6.Heroes: Season 2

Don’t believe the hype: though some critics and viewers decried the sophomore season of the hit fantasy series Heroes, the core of the program remained as strong as in its debut network run. To be sure, the 2007-2008 Writers Guild strike hobbled the show, and producers stumbled by stranding two of its most intriguing characters: Super-charged Peter Petrelli (Milo Ventimiglia) is taken out of the action after being struck with amnesia, while Hiro (Masi Oka) is sent to feudal Japan, where he encounters his own idol, Takezo Kenzei (David Anders). Both are overcomplicated story arcs, even by Heroes standards, and their connection to the rest of the season occasionally requires some mental gymnastics. But the crux of the season–the Company’s development of the power-draining Shanti virus and its potentially devastating effects on both average citizens and superhumans like Niki Sanders (Ali Larter), The Haitian (Jimmy Jean-Louis) and primary villain Sylar (Zachary Quinto)–is solid, gripping material. The introduction of new characters like the lethal Maya (Dania Ramirez) and Kristen Bell as the electrically charged (in both the literal and figurative sense) Elle Bishop also up the dramatic stakes, even if their presence may require a scorecard for some viewers. In short, the few kinks in the armor of Heroes: Season 2 ultimately don’t detract from the show’s drive and vision. Season two spreads its supplemental features across all four of its discs; chief among these are commentary tracks by the cast and crew on all eleven episodes. The participating talent ranges from creator Tim Kring and stars Ventimiglia, Oka, Quinto and Greg Grunberg to composers Lisa Coleman and Wendy Melvoin, which helps to provide a wide variety of information about almost every aspect of the show’s production. Featurettes cover everything from the history of Takezo Kenzei to in-depth looks at scenes from the season, while “Untold Stories” explores storylines that were left unfinished due to the writers’ strike. The key extras are, of course, the alternate ending to the season finale (which is unfortunately revealed by the rear cover-art text) and an info-heavy sneak peek at Season 3. –Paul Gaita

7.The Office: Season Four (2008)

Is a season of The Office with less episodes still a great season? That seems to be the debate among the Emmy-winning sitcom’s faithful audience in regard to season four, which like every program in 2007 and 2008 suffered due to the Writers Guild strike. But even a truncated season can’t dispel the fact that The Office remains one of television’s funniest and most consistently inventive programs. If a theme can be grafted upon season four, it’s Things Fall Apart: former temp Ryan (writer-producer B.J. Novak) is promoted to executive position and then squanders that power, while Dwight (series MPV Rainn Wilson) attempts to recover from his breakup with Angela (Angela Kinsey) and her apparent relationship with the hapless Andy (Ed Helms). Elsewhere, HR’s Toby (writer-director Paul Lieberstein) finally flees Dunder Mifflin for that long-threatened vacation to Costa Rica (and is replaced by Oscar nominee Amy Ryan), and Stanley (Leslie David Baker) reaches his own breaking point in “Did I Stutter?” The center of office entropy is, of course, boss Michael Scott (Steve Carell), who is knocked off his pedestal throughout the season; his sweetly naïve television spot is disparaged in “Local Ad,” he’s passed over for the executive outing in “Survivor Man,” and in the season’s highlights, he is forced to twice endure humiliation at the hands of his own girlfriend Jan (Melora Hardin), first in the heartbreaking “Deposition,” and then immediately after in the Emmy-nominated “Dinner Party,” which puts their disintegrating relationship in sharp focus. Even office lovebirds Jim (John Krasinski) and Pam (Jenna Fischer) experience some rocky moments as Jim anguishes over the right time to propose to her. But don’t let that laundry list of disasters fool you into thinking that season four is a downer; if anything, many of the episodes are among the funniest the show has produced to date. Most notable among these are the opener “Fun Run” (the Scranton team participates in Michael’s charity race for rabies prevention), “Job Fair” (Michael attempts to hawk Dunder Mifflin to high schoolers, while Jim struggles to land a client), and the aforementioned “Dinner Party” and “Goodbye, Toby.” Longtime viewers may wince at some of the broader gags in the season, like Michael and Dwight driving into the lake in “Dunder Mifflin Infinity,” but the best episodes are so strong–and Carell and his fellow players so dead-on in their performances–that it’s hard to make a case against the season for those relatively few low points. Extras in the season-four set are fewer than in previous releases, though that may have to do with the reduced number of episodes. Deleted scenes are offered for every episode, and many are real gems, most notably those in “Dinner Party” and “Goodbye Toby.” A smattering of commentaries is also included; Carell and Krasinski are noticeably absent, but Wilson, Fischer and the writing and directing staff more than make up for their absence. And the featurette “Writer’s Block,” which includes footage of the writers’ panel at an Office convention, gives an amusing alternate to the usual behind-the-scenes coverage. Michael’s complete ad for Dunder Mifflin, a battery of amusing faux PSAs for rabies, and a gag reel do much to fill out the supplemental features. –Paul Gaita

8.Indiana Jones and the Kingdom of the Crystal Skull (Single Disc) (2008)

Nearly 20 years after riding his last Crusade, Harrison Ford makes a welcome return as archaeologist/relic hunter Indiana Jones in Indiana Jones and the Kingdom of the Crystal Skull, an action-packed fourth installment that’s, in a nutshell, less memorable than the first three but great nostalgia for fans of the series. Producer George Lucas and screenwriter David Koepp (War of the Worlds) set the film during the cold war, as the Soviets–replacing Nazis as Indy’s villains of choice and led by a sword-wielding Cate Blanchett with black bob and sunglasses–are in pursuit of a crystal skull, which has mystical powers related to a city of gold. After escaping from them in a spectacular opening action sequence, Indy is coerced to head to Peru at the behest of a young greaser (Shia LaBeouf) whose friend–and Indy’s colleague–Professor Oxley (John Hurt) has been captured for his knowledge of the skull’s whereabouts. Whatever secrets the skull holds are tertiary; its reveal is the weakest part of the movie, as the CGI effects that inevitably accompany it feel jarring next to the boulder-rolling world of Indy audiences knew and loved. There’s plenty of comedy, delightful stunts–ants play a deadly role here–and the return of Raiders love interest Karen Allen as Marion Ravenwood, once shrill but now softened, giving her ex-love bemused glances and eye-rolls as he huffs his way to save the day. Which brings us to Ford: bullwhip still in hand, he’s a little creakier, a lot grayer, but still twice the action hero of anyone in film today. With all the anticipation and hype leading up to the film’s release, perhaps no reunion is sweeter than that of Ford with the role that fits him as snugly as that fedora hat. –Ellen A. Kim

9.Jillian Michaels – 30 Day Shred (2007)

This is a really good workout. It’s geared a little more to advanced exercisers, but the choreography is fairly basic and you will definately feel this the next day.
There are three workouts that combine toning and aerobics together which are about a half an hour each. This way, you’re burning fat and toning muscles at the same time. It’s a little challenging, but fun and effective. The first workout is the easiest of the three and from there it gets more challenging. The most challenging workout is tough like she shows on The Biggest Loser (ie travelling pushups and tough jumps etc). It’s a good idea if you’re intermediate to begin either at the start or middle and stick to that for a while and then move on. Each workout uses toning, kickboxing and ab work.
I found this really good to do. It’s absolutely a good idea to not go too quickly with it and begin at the lower of the three levels even if you do it only a couple of times – you can always advance as soon as you’re ready for your next workout. She may not be the best cuer, but she is certainly encouraging and motivating. This is fun and I highly recommend it. I’ve only done it twice so far since it’s so new, but I can still feel my muscles thanking me. This is great.

10.House, M.D. – Season Four

For Dr. Gregory House (Hugh Laurie), there’s nothing like a good, tension-filled competition to pick his new team of doctors when his old trio of Chase (Jesse Spencer), Cameron (Jennifer Morrison) and Foreman (Omar Epps) leave his fold. Among the 40 newbies vying to earn the coveted spots in the fourth season of House, M.D. are Dr. Lawrence Kutner (Kal Penn, the Harold & Kumar films), Dr. Chris Taub (Peter Jacobson, Transformers) and Dr., uh, Thirteen (Olivia Wilde, The O.C.). Taking a cue from Flavor Flav, House dubs the latter with that nickname simply because he can. Though frequently politically incorrect, House is almost always spot on when it comes to diagnosing rare diseases and ailments. His boss Cuddy (Lisa Edelstein) puts up with his unorthodox quirks, which include antagonizing patients, berating his colleagues, and being an overall pain in the butt, because he’s brilliant. The addition of the new doctors adds a bit of chaos early on. But once the contingent is whittled away to the select few, the storylines grow stronger and the chemistry between the old and new cast members gels. Originally shown during the 2007-2008 television season, House aired only 16–rather than its usual 24–episodes, due to the Writers Guild strike. Though a bit of momentum is lost in the last third of the season, the writers do an admirable job of piecing together loose ends without sacrificing plot or structure. In a nice homage to the Prescription Passion, the General Hospital-esque soap opera he loves, House at one point is afflicted with amnesia. The humorous aspect of the story is offset by urgency as he tries to remember what needs to be done to save a patient. On a separate episode, House kidnaps the star of the daytime drama (played by Sex and the City hunk Jason Lewis) because he’s convinced the actor is dying. The season finale is heartbreaking, as one of House’s 40 candidates is in a life-and-death situation that even the good doctor may not be able to cure. –Jae-Ha Kim

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