Current Best Selling DVDs

The delirious sight of Meryl Streep leading a river of multigenerational women singing "Dancing Queen" is one of the high points of Mamma Mia!, the musical built around the songs of the hugely popular pop group ABBA. The plot sets in motion when Sophie (Amanda Seyfried, Mean Girls), daughter of Donna (Streep), sends a letter to three men, inviting them to her wedding--because after reading her mother's diary, she suspects that one of them is her father. When all three arrive at the Greek island where Donna runs a hotel, Donna flips out and finds that passions she thought she'd laid aside are coming back to life. But let's face it, the plot is not the point--it's a ridiculous contrivance that provides an excuse for the characters to sing the massive hits of ABBA. Regrettably, first-time film director Phyllida Lloyd (who directed the original stage production) has drawn over-the-top performances from everyone involved, even Streep; every production number hammers its exuberance into your eyeballs. Which is too bad, because Mamma Mia! is a rarity: A middle-aged love story. The kids start things off, but the story is really about Streep and the three guys (former James Bond Pierce Brosnan, former Mr. Darcy Colin Firth, and Swedish star Stellan Skarsgard), as well as Donna's best friends (Christine Baranski, best known from the TV show Cybill, and Julie Walters, Calendar Girls). It's a romantic comedy aimed at the people who were around when all these songs were new, and that's an age group Hollywood largely ignores. For that alone, Mamma Mia! deserves to find an audience. --Bret Fetzer

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

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

Television really doesn't come much better than this. Criminally ignored by far, far too many people, The Wire has proven itself to be that rarest of things: an intelligent, clever, character-driven show, that's lasted more than one season.

This boxset brings together all the episodes from the maiden series of The Wire, spread across thirteen episodes. Yet those episodes, unlike many in the police genre where the show spends a good deal of its time, are dedicated to just one case. Furthermore, it follows both sides of the case. Thus, there's the Baltimore police department, with its statistics to manage, its internal politics to manage and its chain of command to respect, set against a highly organised drug gang, who too have more than their fair share of problems.

The Wire is a slow burn show, taking time to delicate put its pieces in place. Rarely do you get a dramatic end to an episode, and it's not afraid to humanise and blur the lines between good and bad. But, bluntly, there's nothing--not even The Sopranos--that US TV has broadcast in the last ten years that can hold a torch to it. This first series is genuinely outstanding television, and really deserves your attention. And the good news? Excellent as it is, this first series isn't even the best that The Wire has to offer…--Simon Brew

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 paralysed 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/co-writer 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

It's borderline tragic that one of American television's finest shows of recent times comes to an end with season five of The Wire. Long-praised for its astonishing mix of character, grit and outstandingly scripted drama, the upside is that the show sure goes out with some style.

As with every season of The Wire, there's an underlying theme running alongside the exploration of both sides of Baltimore's drug problem, and this time it's the media. Fighting cutbacks, yet trying to maintain quality, the staff of The Baltimore Sun prove to be a compelling addition to the mix. On top of that, there's also Mayor Carcetti's battles at City Hall with the budget, a stretched police force looking for easy statistics, and fractions among the city's main drug dealers. Desperate times, ultimately, call for desperate measures, and it turns to McNulty to come up with a plan that threads through each of the city's factions.

That The Wire has maintained its standards for five straight seasons is surely something to be celebrated all by itself. Yet what's even more remarkable is the way that it leaves our screens, seemingly forever. No character is safe and nothing is black and white, right up to the quite wonderful final episode. And what a way to go that last instalment proves to be. Giving nothing away, it's a superb fanfare to a genuinely stunning--and unequalled--piece of television drama. If you've not already, you really should find out what all the fuss about. --Simon Brew

Picking up after the dramatic events of its maiden season, the second series of The Wire achieves something really rather special: it even manages to outclass the first.

For those fresh to the show, surely the best, most intelligent piece of scripted drama to emerge from America in the last decade, the actual premise is fairly simple. Across the thirteen episodes of its season, it charts one case, and the numerous influences upon it. So it devotes roughly equal time to those committing the crimes as it does to those chasing them.

This time, the Baltimore Police Department have twin worries. There's the continuing, festering narrative of events from the season before, along with a new problem when a container of dead bodies turns up at the nearby docks. After initial battles over whose statistics the bodies will be attributed to, a fresh case begins for the embattled officers of the Major Crimes Unit.

Yet season two is about much more than the case itself. Bubbling under the surface are characters with real problems, that take their toll on the day-to-day, while at the docks themselves there are union struggles underway, which also have a part to play. Thanks to, frankly, superb scripting, these various narrative threads are woven together quite brilliantly, and the result is perhaps the finest series of The Wire to date. And that's no small feat.

If you're one of the many who have let The Wire fly under their radar thus far, then you're urged to rectify that. Clearly season one is the logical starting point, but begin your adventure in the knowledge that this second series is simple exceptional. For the rest of the US television industry, this is the standard to aim for. --Simon Brew

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 paralysed 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/co-writer 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