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The latest complete list of Amazon promotional codes 2011 and Amazon discount codes 2011.

Top 10 BestSellers DVD of Amazon.com.

Harry Potter and the Deathly Hallows, Part I is a brooding, slower-paced film than its predecessors, the result of being just one half of the final story (the last book in the series was split into two movies, released in theaters eight months apart). Because the penultimate film is all buildup before the final showdown between the teen wizard and the evil Voldemort (which does not occur until The Deathly Hallows, Part II), Part I is a road-trip movie, a heist film, a lot of exposition, and more weight on its three young leads, who up until now were sufficiently supported by a revolving door of British thesps throughout the series. Now that all the action takes place outside Hogwarts–no more Potions classes, Gryffindor scarves, or Quidditch matches–Daniel Radcliffe (Harry), Emma Watson (Hermione), and Rupert Grint (Ron) shoulder the film almost entirely on their own. After a near-fatal ambush by Voldemort’s Death Eaters, the three embark on a quest to find and destroy the remaining five horcruxes (objects that store pieces of Voldemort’s soul). Fortunately, as the story gets more grave–and parents should be warned, there are some scenes too frightening or adult for young children–so does the intensity. David Yates, who directed the Harry Potter films Order of the Phoenix and The Half-Blood Prince, drags the second half a little, but right along with some of the slower moments are some touching surprises (Harry leading Hermione in a dance, the return of Dobby in a totally non-annoying way). Deathly Hallows, Part I will be the most confusing for those not familiar with the Potter lore, particularly in the shorthand way characters and terminology weave in and out. For the rest of us, though, watching these characters over the last decade and saying farewell to a few faces makes it all bittersweet that the end is near (indeed, an early scene in which Hermione casts a spell that makes her Muggle parents forget her existence, in case she doesn’t return, is particularly emotional). Despite its challenges, Deathly Hallows, Part I succeeds in what it’s most meant to do: whet your appetite for the grand conclusion to the Harry Potter series. –Ellen A. Kim

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Experience the event of a lifetime with this spectacular 25th anniversary celebration of one of the most popular musicals ever written, Les Misérables. Honoring 25 years of this incredible show, this momentous film captures the excitement of two magnificent sold-out performances that were watched live around the world. With a phenomenal all-star cast, including pop star Nick Jonas (Jonas Brothers), Tony® Award winner Lea Salonga (the voice of Disney’s Mulan and Princess Jasmine), and over 500 additional artists and musicians, revel in the songs of the unforgettable characters as they struggle for redemption and revolution.

As the triumphant start of a trilogy, The Lord of the Rings: The Fellowship of the Ring leaves you begging for more. By necessity, Peter Jackson’s ambitious epic compresses J.R.R. Tolkien’s classic The Lord of the Rings, but this robust adaptation maintains reverent allegiance to Tolkien’s creation, instantly qualifying as one of the greatest fantasy films ever made. At 178 minutes, it’s long enough to establish the myriad inhabitants of Middle-earth, the legendary Rings of Power, and the fellowship of hobbits, elves, dwarves, and humans–led by the wizard Gandalf (Ian McKellen) and the brave hobbit Frodo (Elijah Wood)–who must battle terrifying forces of evil on their perilous journey to destroy the One Ring in the land of Mordor. Superbly paced, the film is both epic and intimate, offering astonishing special effects and production design while emphasizing the emotional intensity of Frodo’s adventure, and ends on a perfect note of heroic loyalty and rich anticipation.

After the breaking of the Fellowship, Frodo and Sam journey to Mordor with the creature Gollum as their guide in The Two Towers. Meanwhile, Aragorn (Viggo Mortensen), Legolas (Orlando Bloom), and Gimli (John Rhys-Davies) join in the defense of the people of Rohan, who are the first target in the eradication of the race of Men by the renegade wizard Saruman (Christopher Lee) and the dark lord Sauron. Fantastic creatures, astounding visual effects, and a climactic battle at the fortress of Helm’s Deep make The Two Towers a worthy successor to The Fellowship of the Ring, grander in scale but retaining the story’s emotional intimacy.

With The Return of the King, the greatest fantasy epic in film history draws to a grand and glorious conclusion. The trilogy could never fully satisfy those who remain exclusively loyal to Tolkien’s expansive literature, but as a showcase for physical and technical craftsmanship it is unsurpassed in pure scale and ambition, setting milestone after cinematic milestone as Frodo and Sam continue their mission to Mordor to destroy the soul-corrupting One Ring. While the heir to the kingdom of Men, Aragorn, endures the massive battle at Minas Tirith with the allegiance of Legolas, Gimli, and Gandalf, Frodo and Sam must survive the schizoid deceptions of Gollum, who remains utterly convincing as a hybrid of performance (by Andy Serkis) and subtly nuanced computer animation. Jackson and cowriters Fran Walsh and Philippa Boyens have much ground to cover; that they do so with intense pacing and epic sweep is impressive enough, but by investing greater depth and consequence in the actions of fellow hobbits Merry (Dominic Monaghan) and Pippin (Billy Boyd), they ensure that The Return of the King maintains the trilogy’s emphasis on intimate fellowship and remains faithful to Tolkien’s overall vision. By ending the LOTR trilogy with noble integrity and faith in the power of imaginative storytelling, The Return of the King, like its predecessors, will stand as an adventure for the ages. –Jeff Shannon and David Horiuchi

It would be a mistake to confuse The Fighter with the story of Mark Wahlberg, though the similarities are striking. Completely convincing as a boxer, Wahlberg plays welterweight Micky Ward, who grew up in working-class Massachusetts. Like the actor-producer, he had eight siblings, one more famous than the rest. Ward’s half-brother, Dicky Eklund (a gaunt, crazy-eyed Christian Bale), turned to boxing first, just as Mark’s brother, Donnie, preceded him as a performer (first by singing, then by acting). The similarities end there: Dicky, once known as “The Pride of Lowell,” traded his promising pugilistic career for a crack pipe (Sugar Ray Leonard cameos as his best-known opponent). As David O. Russell’s film begins, the smothering Alice (Frozen River‘s Melissa Leo) manages Micky’s career, while the unpredictable Dicky attempts to train him. Despite his talent in the ring, though, Micky can’t catch a break until he meets Charlene (Amy Adams), a spitfire of a bartender who encourages him to stand up for himself. When Dicky ends up in prison, and Micky takes on a more experienced manager, his fortunes start to improve, but it isn’t in his nature to abandon the people who raised him, so he attempts to unite the various factions in his life before his shot at the world championship slips away. Though Russell paints Micky’s mother, brother, and sisters with a broad brush, Wahlberg anchors the scenario with his patient, level-headed performance. Rescue Me‘s Jack McGee also deserves notice as his diplomatic dad, George. –Kathleen C. Fennessy.

Disney’s 50th full-length animated feature film, Tangled is a visually appealing, music-filled adventure full of romance and humor. The movie focuses on Rapunzel, a girl with long magical hair who’s lived her entire life imprisoned in a tower by her greedy mother. Naturally optimistic and acquiescent, Rapunzel (Mandy Moore) rarely complains about her circumstances, but for her 18th birthday she longs to leave the tower to see the floating lights that appear every year on her birthday. Her mother (Donna Murphy) refuses her request, but when thief Flynn Ryder (Zachary Levi) climbs the tower to escape his pursuers, Rapunzel (once she’s conked him on the head with a skillet multiple times) impulsively decides to trust the young man and convinces him to help her escape to see the floating lights. Thus begins a journey that alternates quite schizophrenically between optimistic excitement and guilty remorse that will ultimately change Rapunzel’s and Flynn’s lives forever. Tangled is a masterful blend of humor, adventure, passion, and drama combined with a great musical score and top-notch animation. The Real 3-D effects add to the experience but probably won’t really be missed in other formats. Best of all, Disney presents a princess who matures from a meek and compliant girl into a spunky young woman who’s not afraid to pursue her dreams and risk it all for love–now that’s a Disney princess worth emulating. (Ages 6 and older) –Tami Horiuchi

Disney’s 50th full-length animated feature film, Tangled is a visually appealing, music-filled adventure full of romance and humor. The movie focuses on Rapunzel, a girl with long magical hair who’s lived her entire life imprisoned in a tower by her greedy mother. Naturally optimistic and acquiescent, Rapunzel (Mandy Moore) rarely complains about her circumstances, but for her 18th birthday she longs to leave the tower to see the floating lights that appear every year on her birthday. Her mother (Donna Murphy) refuses her request, but when thief Flynn Ryder (Zachary Levi) climbs the tower to escape his pursuers, Rapunzel (once she’s conked him on the head with a skillet multiple times) impulsively decides to trust the young man and convinces him to help her escape to see the floating lights. Thus begins a journey that alternates quite schizophrenically between optimistic excitement and guilty remorse that will ultimately change Rapunzel’s and Flynn’s lives forever. Tangled is a masterful blend of humor, adventure, passion, and drama combined with a great musical score and top-notch animation. The Real 3-D effects add to the experience but probably won’t really be missed in other formats. Best of all, Disney presents a princess who matures from a meek and compliant girl into a spunky young woman who’s not afraid to pursue her dreams and risk it all for love–now that’s a Disney princess worth emulating. (Ages 6 and older) –Tami Horiuchi

Candidates for president and prime minister choose to run, but kings rarely have a choice. Such was the case for Prince Albert, known by family members as Bertie (Colin Firth), whose stutter made public speaking difficult. Upon the death of his father, George V (Michael Gambon, making the most of a small part), the crown went to Bertie’s brother, Edward VIII (Guy Pearce), who abdicated to marry divorcée Wallis Simpson. All the while, Bertie and his wife, Elizabeth (Helena Bonham Carter, excellent), try to find a solution to his stammer. Nothing works until they meet Australian émigré Lionel Logue (Geoffrey Rush), a failed actor operating out of a threadbare office. He believes Bertie’s problem stems from emotional rather than physiological issues, leading to a clash of wills that allows the Oscar®-winning Rush (Shine) and the Oscar-nominated Firth (A Single Man) to do some of their best work (in a neat bit of casting, Firth’s Pride and Prejudice costar, Jennifer Ehle, plays Logue’s wife). All their efforts, from the tense to the comic–Bertie doesn’t stutter when he swears–lead to the speech King George VI must make to the British public on the eve of World War II. At a time when his country needs him the most, he can’t afford to fail. As Stephen Frears did in The Queen, Tom Hooper (HBO’s Elizabeth I) lends vulnerability to a royal figure, showing how isolating that life can be–and how much difference a no-nonsense friend like Logue can make. –Kathleen C. Fennessy

Harry Potter and the Deathly Hallows, Part I is a brooding, slower-paced film than its predecessors, the result of being just one half of the final story (the last book in the series was split into two movies, released in theaters eight months apart). Because the penultimate film is all buildup before the final showdown between the teen wizard and the evil Voldemort (which does not occur until The Deathly Hallows, Part II), Part I is a road-trip movie, a heist film, a lot of exposition, and more weight on its three young leads, who up until now were sufficiently supported by a revolving door of British thesps throughout the series. Now that all the action takes place outside Hogwarts–no more Potions classes, Gryffindor scarves, or Quidditch matches–Daniel Radcliffe (Harry), Emma Watson (Hermione), and Rupert Grint (Ron) shoulder the film almost entirely on their own. After a near-fatal ambush by Voldemort’s Death Eaters, the three embark on a quest to find and destroy the remaining five horcruxes (objects that store pieces of Voldemort’s soul). Fortunately, as the story gets more grave–and parents should be warned, there are some scenes too frightening or adult for young children–so does the intensity. David Yates, who directed the Harry Potter films Order of the Phoenix and The Half-Blood Prince, drags the second half a little, but right along with some of the slower moments are some touching surprises (Harry leading Hermione in a dance, the return of Dobby in a totally non-annoying way). Deathly Hallows, Part I will be the most confusing for those not familiar with the Potter lore, particularly in the shorthand way characters and terminology weave in and out. For the rest of us, though, watching these characters over the last decade and saying farewell to a few faces makes it all bittersweet that the end is near (indeed, an early scene in which Hermione casts a spell that makes her Muggle parents forget her existence, in case she doesn’t return, is particularly emotional). Despite its challenges, Deathly Hallows, Part I succeeds in what it’s most meant to do: whet your appetite for the grand conclusion to the Harry Potter series. –Ellen A. Kim

As he did with the occupation of Iraq in No End in Sight, Charles Ferguson shines a light on the global financial crisis in Inside Job. Accompanied by narration from Matt Damon, Ferguson begins and ends in Iceland, a flourishing country that gave American-style banking a try–and paid the price. Then he looks at the spectacular rise and cataclysmic fall of deregulation in the United States. Unlike Alex Gibney’s fiscal films, Enron: The Smartest Guys in the Room and Casino Jack, Ferguson builds his narrative around dozens of players, interviewing authors, bank managers, government ministers, and even a psychotherapist, who speaks to a culture that encourages Gordon Gekko-like behavior, but the number of those who declined to comment, like Alan Greenspan, is even larger. Though the director isn’t as combative as Michael Moore, he asks tough questions and elicits squirms from several participants, notably former Treasury secretary David McCormick and Columbia dean Glenn Hubbard, George W. Bush’s economic adviser. Their reactions are understandable, since the borders between Wall Street, Washington, and the Ivy League dissolved years ago; it’s hard to know who to trust when conflicts of interest run rampant. If Ferguson takes Reagan and Bush to task for tax cuts that benefit the wealthy, he criticizes Clinton for encouraging derivatives and Obama for failing to deliver on the promise of reform. And in the category of unlikely heroes: former governor Eliot Spitzer, who fought against fraud as New York’s attorney general (he’s the subject of Gibney’s documentary Client 9). –Kathleen C. Fennessy

Arguably the biggest hit of the 2010 television season, the apocalypse drama The Walking Dead pulls the zombie subgenre out of its overexposed doldrums and finds, ironically enough, the humanity and emotion beneath its rotting shell. Produced by Frank Darabont (The Shawshank Redemption) and Gale Anne Hurd (Aliens) and based on the acclaimed graphic novel by Robert Kirkman, The Walking Dead follows a band of Atlanta-based survivors of a viral outbreak that has caused the dead to rise up and consume the living. The group’s nominal leader is a sheriff’s deputy (Andrew Lincoln) who wakes from a gunshot-induced coma to find the world in disarray and his wife (Sarah Wayne Callies, Prison Break) and son missing. His search for his family and the survivors’ attempts to make sense of their lives in the wake of the outbreak is handled with intelligence and sensitivity, which helps to elevate the show beyond the grindhouse take on zombies, which favors spilled guts over character development. That’s not to say that the blood doesn’t flow plentifully here: the special effects are on par with zombie-movie mayhem, but again, they aren’t the show’s raison d’être. Solid performances, including Jon Bernthal as Lincoln’s partner, Jeffrey DeMunn as the group’s leading rationalist, and Michael Rooker and Norman Reedus as a pair of trouble-making rednecks, and gripping suspense make each of the first season’s six episodes compelling from start to finish for both horror fans and those who dislike the genre as a whole.

The two-disc set of Walking Dead‘s first season includes all six episodes, as well as a number of making-of extras, including the show’s conception and production, a talk with Robert Kirkman (he’s a fan), a look at the makeup by KNB Studios, and the show’s panel at the 2010 ComicCon. All of the principal players on both sides of the camera are given adequate screen time to discuss their vision for the show, its influences (George Romero, naturally), and the challenges of depicting the end of civilization on a budget. –Paul Gaita

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