This film is in the great tradition of Dude, Where's My Car? and The Lord of the Rings, which is to say that Harold & Kumar Go to White Castle is a quest film. The title characters are already high when a White Castle commercial comes on and suddenly the most important thing in the world is getting a bag of the mini-burgers to scarf down. However, this requires getting in a car and driving to the closest White Castle, which is not in the same town. In fact, exactly where the closest White Castle is becomes a major problem in the film, which makes sense because otherwise it ends up being about an hour shorter. In between getting into Harold's car and finding the Promised Land there are a gang of skateboarders, an entire department of racist cops, a tow truck driver with serious genetic problems, and, best of all, Neil Patrick Harris as Neil Patrick Harris.

Director Danny Leiner did Dude, Where's My Car? and the parallels between the two become really obvious once Harold's car gets stolen. But this movie really is twice as good.

Cho and Penn do a great job of keeping these characters real and quite different from what we usually find in such films, but I keep coming back to the ethnicity of the two stars, although the film does not go overboard on the Asian stereotypes (there is a scene where Harold has to deal with a group of other Korean-Americans that could be right out of "Gilmore Girls"). Would this film be as funny if the two leads were something other than Asian-American? It really matters that these two guys are smart and the film takes advantage of the stereotype that Asian-Americans are smart to make that point. Lots of stoners have been obsessed with the quest for weed and a bad case of the munchies, but Kumar is smarter than all of them put together, which makes his dream world involving a giant bag of pot that much funnier. Then there is Harold and his quest to at least speak to Maria (Paula Garces), the beautiful girl he keeps meeting in the elevator in his apartment building.

The other way in which Harold & Kumar Go to White Castle goes against type in the stoner movie genre is that there is actually a sense of personal growth for the boys after their experience. You do not expect stoners to grow up at the end of their quest (you expect them to spend all their reward money getting Van Halen to play at their birthday party), which just gets us back to the ethnicity of Harold and Kumar. It is rather difficult to walk that kind of a tightrope in a comedy, but this film manages to do it. It will also absolutely cure you of ever wanting to sneak into the girl's bathroom in a college dorm.

I picked up the DVD for only $5 at the 5 And Below store in Springfield! So you can get a great laugh at a super bargain price! It's also loaded with a lot of extras as well.

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When it aired in 2006-07, Lost's third season was split into two, with a hefty break in between. This did nothing to help the already weirdly disparate direction the show was taking (Kate and Sawyer in zoo cages! Locke eating goop in a mud hut!), but when it finally righted its course halfway through--in particular that whopper of a finale--the drama series had left its irked fan base thrilled once again. This doesn't mean, however, that you should skip through the first half of the season to get there, because quite a few questions find answers: what the Others are up to, the impact of turning that fail-safe key, the identity of the eye-patched man from the hatch's video monitor. One of the series' biggest curiosities from the past--how Locke ended up in that wheelchair in the first place--also gets its satisfying due. (The episode, "The Man from Tallahassee," likely was a big contributor to Terry O'Quinn's surprising--but long-deserved--Emmy win that year.)

Unfortunately, you do have to sit through a lot of aforementioned nuisances to get there. Season 3 kicks off with Jack (Matthew Fox), Kate (Evangeline Lilly), and Sawyer (Josh Holloway) held captive by the Others; Sayid (Naveen Andrews), Sun (Yunjin Kim), and Jin (Daniel Dae Kim) on a mission to rescue them; and Locke, Mr. Eko (Adewale Akinnuoye-Agbaje), and Desmond (Henry Ian Cusick) in the aftermath of the electromagnetic pulse that blew up the hatch. Spinning the storylines away from base camp alone wouldn't have felt so disjointed were it not for the new characters simultaneously being introduced. First there's Juliet, a mysterious member of the Others whose loyalty constantly comes into question as the season goes on. Played delicately by Elizabeth Mitchell (Gia, ER, Frequency), Juliet is in one turn a cold-blooded killer, by another turn a sympathetic friend; possibly both at once, possibly neither at all. (She's also a terrific, albeit unwitting, threat to the Kate-Sawyer-Jack love triangle, which plays out more definitively this season.) On the other hand, there's the now-infamous Nikki and Paulo (Kiele Sanchez and Rodrigo Santoro), a tagalong couple who were cleverly woven into the previous seasons' key moments but came to bear the brunt of fans' ire toward the show (Sawyer humorously echoed the sentiments by remarking, "Who the hell are you?"). By the end of the season, at least two major characters die, another is told he/she will die within months, major new threats are unveiled, and--as mentioned before--the two-part season finale restores your faith in the series.

The extras are as well-stocked as a Dharma Initiative food pantry on this seven-disc set. Commentaries by producer Damon Lindelof, show writers, and numerous cast members reveal a whole lot of juicy trivia; plus, the DVDs even provide a subtitle track for the commentary (rarely seen other than on foreign-language director's commentaries) so you won't miss a thing. "Lost Book Club" goes through the parallels between what characters are reading and the show's storylines (The Wizard of Oz and Stephen King are heavily referenced). "Lost: On Location" gives a lot of insight to some of the biggest episodes, and "Lost in a Day" gives a 24-hour glimpse at the drama's arduous production. If you're a Lost fan who gave up during this season, the bonus features alone might lure you back for the next round.

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The Hardy Boys Mysteries and The Nancy Drew Mysteries began in 1977 as separate series alternating in the same time slot on ABC. Early the following year, the casts combined, and in the fall of 1978 the Nancy Drew thread was dropped and The Hardy Boys Mysteries continued on alone. This Season One boxed set captures the twin-series idea at its most ambitious, with adolescent brothers Frank and Joe Hardy, created by author Franklin W. Dixon, sleuthing for clues one week and Carolyn Keene's Nancy Drew investigating crimes the next.

Actually, as fans of the books know, Dixon and Keene were both pen names used by Edward Stratemeyer when he created those characters in 1927. Just as the young detectives have been updated in print every so often to accommodate successive generations of readers, so too did the TV show present Joe (Shaun Cassidy, brother of David Cassidy of The Partridge Family), Frank (Parker Stevenson), and Nancy (Pamela Sue Martin) as thoroughly 1970s kids. The boys are outfitted with motorcycles, Joe enjoys a retro-pop singing career, and Nancy has a certain freedom of movement only the hippest of dads in a permissive age would allow. Hardy Boys finds the always-amicable siblings following in the footsteps of their father, Fenton (Edmund Gilbert), a private detective, as they untangle capers that take them from haunted houses to Hawaii. The Hardy episodes make for brisk, family viewing, much better than the bubblegum reputation that built up, undeservedly, around the series. Slightly less interesting are the Nancy Drew programs (despite a more entertaining supporting cast), but only because the heroine is less focused and distractingly man-crazy, and the storylines are less exotic. An emphasis on the supernatural and science-fiction themes lends a Scooby-Doo vibe to several programs in both series, though the best stories are the ones with straightforward, meat-and-potatoes detective work. Among the directors on either series are Jack Arnold (The Creature from the Black Lagoon), Winrich Kolbe (Star Trek: The Next Generation), and actors Vince Edwards and Stuart Margolin.

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These four classic, 1938 black-and-white Nancy Drew hour-long films directed by William Clemens (not the 2007 movie starring Emma Roberts) feature Bonita Granville as Nancy Drew, John Litel as Carson Drew, and Frankie Thomas as Ted Nickerson. Based on the character from the book series first published in 1930, the headstrong teenager Nancy Drew has a knack for winding up right in the middle of a mystery, and neither her father nor friend Ted can talk Nancy into doing what they consider the sensible thing: letting the police handle the detective work. With a curious mix of early feminism and cultural chauvinism, a dichotomy representative of late-1930s society, Nancy investigates each mystery with fervor, usually dragging her friend Ted into the thick of the investigation and demonstrating a complete disregard for her personal safety or the safety of her friends and family in her determination to track down the perpetrator. Sharp-witted and quick to pick up on the smallest, seemingly insignificant details, Nancy often succeeds where the local Police Captain Tweedy (Frank Orth) fails. Nancy Drew, Detective presents the story of an elderly benefactress unscrupulously detained at a sanatorium, while Reporter and Trouble Shooter are murder mysteries, and Hidden Staircase deals with a combined murder and attempt to dupe two elderly women. While somewhat ponderously paced by modern standards, these original Nancy Drew adventures are quality suspense mysteries that deserve their classic designation. (Ages 10 and older)

The Original Nancy Drew Mystery Collection presents the four movie Nancy Drew series released by Warner Brothers in 1938-9. Nancy Drew (played by Bonita Granville), an enthusiastic, insightful teen, delights in solving crimes. Her successful lawyer father, Carson Drew (played by John Litel) tries to restrain and protect her, to little avail. Nancy's best friend is compliant, inventive Ted Nickerson (played by Frankie Thomas), who takes frequent tumbles in Nancy's behalf. Each film is a separate story and lasts from 60 to 69 minutes. The principals are all excellent and are supported by fine character actors.

In Nancy Drew - Detective, wealthy alumna Mary Eldredge wants to leave $250,000 to Nancy's school but suddenly disappears. Nancy's doctor reports being kidnapped to treat an old woman in a secret place, to gain entry to which, one must use the password `Blue Bells'. An injured carrier pigeon shows up with a message containing the password. Nancy goes to work to find out what happened to the alumna and to get the money for the school. Nancy and Ted disguise themselves. The story is based on `Password to Larkspur Lane'.

In Nancy Drew - Reporter, Nancy, entered in a newspaper's reporting contest, visits a coroner's inquest and decides the likely defendant is innocent. The key to the case is finding the tin can the poison came in because the can preserves all fingerprints, including the real murderer's. Ted has to box, and a hotel sign provides fun.

In Nancy Drew - Trouble Shooter, a family friend at Sylvan Lake is accused of murder. When a dead man is found under a rare, tropical flower in a field, Nancy starts to snoop. She is not happy that her father enjoys the company of a woman neighbor. Nancy and Ted get to ride in a biplane.

In Nancy Drew and the Hidden Staircase, two elderly sisters intend to donate their property to a hospital once they own it in two weeks. By their father's will, at least one sister has to sleep in the large house each night in order to inherit. The problems are that people are trying to steal the proof the sisters met the terms of the will, that the sisters' chauffeur is found shot, and that small sounds and thefts are going on at night inside. Should the sisters flee their home? Nancy and Ted find a passageway in the basement that clarifies matters. The film is based on "The Hidden Staircase".

All four black & white films look good, although there are some brief segments of `Detective' that don't and at times `Reporter' looks viewed through a very thin waterfall. (The picture is still far ahead of Alpha Video's.)

There are no sex or language issues. There are no skin scenes, other than a boxing match in `Reporter' between Ted and an older, bad guy. Nancy and Ted are pals and don't even kiss. The chemistry is good.

The characters often say '23 80', which refers to the $23.80 fixed weekly payment to WPA workers; so if you bet '23 80', you are betting a lot.

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Once intended as a feature for Johnny Depp, the long-germinating feature film adaptation of Marvel Comics' cult title Ghost Rider stars Nicolas Cage as motorcyclist Johnny Blaze, who transforms into a skull-faced angel of vengeance to battle the forces of evil. Though perhaps a bit too mature for the role, Cage brings a degree of humor to the outrageous proceedings; he's well matched by the Easy Rider himself Peter Fonda, amusingly cast as Mephistopheles, the demon with whom Blaze strikes a bargain to save his father, and in turn, causes his transformation into Ghost Rider. Wes Bentley is also fine as Blackheart, the rebellious offspring of Mephistopheles, and Blazes' chief opponent in the film. They're joined by a solid supporting cast which includes Donal Logue, Eva Mendes, and Sam Elliott, but their participation and a relentless barrage of CGI effects can't hide the fact that the story itself, though largely faithful to its comic origins, is rife with clichéd characterizations and glum B-movie dialogue. Fans of the venerable title may cry foul over this adaptation (as they did over helmer Mark Steven Johnson's previous comic-to-movie feature, Daredevil), but less stringent viewers may enjoy the fiery visuals and Cage's typically quirky performance.

Sometimes a flaming skull can be the mask of an avenging angel.

First of all I admit that I am a long time fan of the Ghost Rider comic series. I waited for this movie to get made for years- through all the delays. Now that it has been made I am not disappointed. I thought that this was a very good job of writing, acting, casting, and special effects.

The first thing you have to realize is that this is a morality play. The Rider is the Spirit of Vengeance. He instantly knows the guilty from the innocent. His greatest weapon is his ability to make criminals feel their victims pain through his "penance stare." He is supposed to be disturbing, upsetting, frightening. If you have a problem with paying for your crimes then you are going to have a problem with the Rider...

I especially liked the tribute to the original western Ghost Rider (excellently played by Sam Elliot) and his tie in to the mythos of the Johnny Blaze incarnation. It was so appropriate to use the old "Ghost Riders in the Sky" theme here for it was the original inspiration for the character.

I wouldn't hesitate to allow children to watch this, but I would watch with them and explain it. Blaze made a deal with the devil, but he did it for unselfish, sacrificial reasons. And while the devil got his soul, he didn't get his spirit. The Ghost Rider is darkness in the service of light. He willed himself from the devil's bounty hunter to his greatest nemesis on earth. He owned his curse and turned the devil's power against him. And the Rider never, ever harms the innocent.

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Every year sees the release of at least one film just lovably wacky enough to draw the adulation of both critics and viewers alike. Last year, that film was Little Miss Sunshine. After creating a huge buzz following its debut at the Sundance Film Festival, Sunshine became the Little Indie That Could, racking up Oscar nominations and raking in the green stuff at the box office. Now that the film’s been released onto DVD, this reviewer can’t help but think Little Miss is a little lame.

The film follows a family of six as it travels cross-country in a busted VW van (how cooky!). The plan: To get the precious but gangly little Olive into the finals of the Little Miss Sunshine beauty pageant. Laughs, life lessons, and more cookiness ensue. Co-directed by married music video masters Jonathan Dayton and Valerie Faris, the film’s strongpoint is its chuckle-inducing script, written by newcomer Michael Arndt. Also worth checking out are Oscar-nominated Alan Arkin, as sweet but hilariously blunt (and libidinous) Grandpa, and the repeat scene-stealing offender Steve Carell, as melancholy Uncle Frank, who’s just been released from a mental hospital.
Little Miss Sunshine likes to think it’s a cut above the average “cooky family dramedy,” but aside from a couple standout performances, it’s pretty standard fare. DVD extras are on par as well, with a director/writer commentary and four alternate endings

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Unable to come up with any major criticisms, 'Charlotte's Web' is a five-star family movie. With enough updates to the script (Thanks to screenwriters Susannah Grant and Gary Winisk) version 2006 gets more than a whole new look.

The casting is impeccable. Dakota Fanning plays a fiesty Fern, and the voice overs fill every bill: Steve Buscemi as Templeton the Rat, almost makes us forget the late Paul Lynde's enduring performance. And the rest of the barnyard animals are no small (tail) shakes, either. (Oprah Winfrey and Cedric the Entertainer make great geese. Rheba McIntyre gives the proper color for Betsy, the Cow, and Robert Redford portrays, Ike, the horse, with enough steadfast cynicism. And John Cleese is proper and right as the sheep.

The only element reminiscent in this rendition is Dominick Scott Kaye's perfect performance as Wilbur, even if it seems to borrow from the family classic, 'Babe'. Julia Roberts suits Charlotte aptly, and reminds us that beauty can transmit itself in voice as well as screen presence. How she manages to make us believe Charlotte is beautiful is a miracle like the ones in the movie. The human characters play their roles fittingly-- not overdone, but certainly how we would imagine them from the book.

Besides a perfect cast, the look of the movie is "stunning". Between the expert lighting and computer enhanced images, we are given a feast like Wilbur's slop trough. Clocking in just before an hour and a half shows prudence, especially for the youngest viewers, and the story spins its way just like reading the book. Add "fabulous" to the list of adjectives for this must see (and have) family film.

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NBC committed one of the great crimes of the last decade when it cancelled the critically adored yet bizarrely unwatched Freaks and Geeks after a single season. The high school dramedy, which aired in 1999-2000 but was set in the early ‘80s, starred a long list of talented up-and-comers. Cast members included Linda Cardellini (ER, Brokeback Mountain), Jason Segel (How I Met Your Mother), James Franco (James Dean, Spider Man) and Rashida Jones (The Office).

What set Freaks apart from its fellow network shows was its poignancy and its adherence to real life. Perhaps that’s what turned it off to viewers, as well. The hour-long show didn’t always have a Brady Bunch-like happy ending or cause incessant cackling like, say, Family Guy, but it left its audience satisfied nonetheless. Cardellini starred as Lindsay Weir, a high school senior who becomes a hippie “freak” after the death of her grandmother. John Daley played Lindsay’s freshman brother Sam, a self-professed geek whose greatest achievement in life was having seen Star Wars 27 times. The series revolved around each sibling’s small circle of friends, as well as their hilariously realistic parents.

Freaks and Geeks is worth a shot even if you’d never heard of it until having read the title of this review. The pilot episode accomplishes the rare task of truly sucking the viewer into the characters’ lives, and each episode is even better than the last. Once you’ve made your way through all eighteen episodes and the depression sets in, knowing that there aren’t anymore seasons awaiting DVD release, take solace in the fact that there are enough satiate any withdrawal pains. Each of the six discs features entertaining (if not always revealing) cast and crew commentaries, deleted scenes, audition tapes, and behind-the-scenes footage.

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There was never any doubt in my mind that Daniel Craig would make a sterling James Bond as I have seen most of his edgy, out of the box film roles in "Layer Cake," The Mother," Sylvia," "Munich," "Road to Perdition" to name several. Craig is and has always had weight, focus and importance on the screen. And as James Bond he brings all of these qualities to bear and "Casino Royale" is the better for it.

Many actors were rumored to have been considered for the re-inventing of James Bond and Daniel Craig was not a popular choice but his interpretation here should put all the naysayers at bay for Craig more than re-invents...he makes this part his own.

Martin Campbell ("Goldeneye," "Beyond Borders") stays clear of all the wham-bam, thank you M'am special effects of all the former James Bond films and concentrates on the things that make all films important: character, relationships and emotional commitment.

The James Bond of "Casino Royale" (it was the first in Ian Fleming's series of books on Bond) has just been given the so-called honor of the "007" impranteur and, though he has been an operative for a time, he is still considered the odd man out, the dangerous one, the one who will stop at nothing to solves his cases. On the surface this would seem like the ideal government spy but the operative word here is "government," the biggest block of bureaucracy there ever is or was and as such "it" requires Bond to follow procedure as M (Judi Dench) reminds him time and again.

The Bond of "Casino Royale"is physical, violent, without too much conscience, sexy, fit: more likely to kick you in the groin than serve you a glass of White Burgundy. But this Bond also has a heart and, though he has a couple of dalliances with women, he makes a real connection to one in particular, Eva Green as Vesper Lynd. Though I would have liked somone with a warmer, cushier screen presence than Green, this romance also sets up what is to become of Bond, romance-wise for the rest of the Bond series of novels and, I assume....films.

The action sequences are personal and physical (the kind that you never saw Brosnan do) as well as excitingly staged and produced. "Casino Royale" marks a change of direction and focus of the Bond franchise and from the evidence on the screen, I would have to say it looks like the producers have a winner in Daniel Craig and a homerun in their first outing with him.

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White teacher inspires inner city students, who in turn inspire white teacher. Who hasn’t seen this movie before? While Half Nelson admittedly fits the stereotype, it manages not only to cut the fat off of the genre but also to raise the dramatic stakes considerably. These kids don’t just have dangerous minds; they’re numbed to the point where witnessing the beloved teacher’s crack-induced meltdown only makes one student love him more.

Ryan Gosling, in a role that earned him a much-deserved Oscar nomination, portrays “cool” junior high school history teacher and girls’ basketball coach Dan Dunne. Gosling may be best known to audiences as the dreamy star of teen tearjerker The Notebook, but he’s at his best here, though, playing an otherwise normal young educator who happens to go home at night and light up the ol’ crack pipe. Gosling doesn’t just get the shakes and roll his eyes back into his head like anyone who’s ever recited movie lines into a mirror could do. Every muscle in his body screams “addiction,” even in a seemingly sober moment encouraging his girls on the basketball court.

Equally impressive is newcomer Shareeka Epps, an unbelievably natural actress, who seems wise beyond her seventeen years but not in that creepy, precocious, Dakota Fanning kind of way. Epps, as middle schooler Drey, radiates maturity while also exuding the innocence and emotional neediness of a kid, following Dunne around on his lunch breaks and even pretending to have forgotten her house keys in the hopes that she’ll get a pity invite back to her teacher’s apartment. Drey is clearly smitten, but she’s equally protective and concerned for Dunne when, in a key scene, she discovers her role model in the girls’ locker room after a basketball game, vulnerable and pathetic in a crack haze. Drey, whose brother is in prison for dealing drugs and whose neighborhood friend tries to draw her into the business as well, isn’t fazed by the incident so much as she is drawn even more into her crush/admiration for her teacher. The otherwise emotionally neglected kid now finds herself with a purpose, someone to keep an eye on other than herself.

As the movie progresses, we see the ups and downs of a relationship involving a young girl and the idol who’s just fallen hard from his pedestal. But the real winner in all of this is the viewer. Gosling, Epps, and neighborhood dealer Anthony Mackie are truly remarkable, lifting Half Nelson way out of this well-worn genre and into a dangerous mind of its own.

The extras are considerably more boring than the movie itself. Included are outtakes, deleted scenes, and a commentary.

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All Superman Fans Must Own! As a movie fan I own plenty of boxed sets (Star Wars, Indiana Jones, Matrix...just to name a few) but none of them compare to the Superman Ultimate Collector's Edition. The detail and depth that has been put into this collection is unbelievable. Even the keepsake tin that the set comes in feels & looks special!

Everything that a true Superman fan would want is in this Collection. Witness the best of the early films (1 & 2) completely re-mastered and see the true Superman Christopher Reeve in action. Be amazed with the Superman for the new generation in Superman Returns.

With over 20 hours of Special Features, it doesn't get more comprehensive than this! My personal pick of the special features is Look,Up In The Sky! This DVD charters you through Superman's history from his past, present and to the future...You will learn of his beginning as a comic book character, the success of Superman 1&2, the disappointment of 3&4, the 2001 re-awakening of Superman in the acclaimed TV show Smallville and the success of the well-made Superman Returns. Legends Christopher Reeve and Marlon Brando are also rightfully honored.

I have nothing but praise for this Collector's Set. This is true 5-Star Entertainment! This box set is a fitting tribute for a superhero, so prepare to be amazed!

14 disc-set includes:
Superman: The Movie (Four-Disc Special Edition)
Original 1978 theatrical version with soundtrack in Dolby Digital 5.1 Commentary by producer Pierre Spengler and executive producer Ilya Salkind Theatrical trailers and TV spot 2000 expanded edition movie with commentary by director Richard Donner and creative consultant Tom Mankiewicz Music-only audio track

Three documentaries:
-Taking Flight: The Development of Superman -Making Superman: Filming the Legend -The Magic Behind the Cape Restored scenes Screen tests Audio-only bonus: additional music cues Vintage TV special "The Making of Superman: The Movie" 1951 movie Superman and the Mole-Men, starring George Reeves Nine Fleischer Studios Superman cartoons mastered from superior vault elements: Superman, The Mechanical Monsters, Billion Dollar Limited, The Arctic Giant, The Bulleteers, The Magnetic Telescope, Electric Earthquake, Volcano, Terror on the Midway

Superman II: The Richard Donner Cut
Richard Donner's cut includes footage shot but never used, including a never-before-seen beginning, a never-before-seen resolution, 15 minutes of restored footage of Marlon Brando as Jor-El, and more All-new introduction by Richard Donner Commentary by Donner and creative consultant Tom Mankiewicz New featurette "Superman II: Restoring the Vision" Additional scenes

Superman II (Two-Disc Special Edition)
The theatrical cut of the film Commentary by executive producer Ilya Salkind and producer Pierre Spengler Theatrical trailer Vintage TV specials "The Making of Superman II" and "Superman 50th Anniversary" New featurette "First Flight: The Fleischer Superman Series" Eight famous studios Superman cartoons mastered from superior vault elements: Japoteurs, Showdown, Eleventh Hour, Destruction Inc., The Mummy Strikes, Jungle Drums, The Underground World, Secret Agent

Superman III (Deluxe Edition)
Commentary by executive producer Ilya Salkind and producer Pierre Spengler Vintage TV special "The Making of Superman III" Additional scenes Theatrical trailer

Superman IV: The Quest for Peace (Deluxe Edition)
Commentary by screenwriter Mark Rosenthal Additional scenes Theatrical trailer

Superman Returns (Two-Disc Special Edition)
"Requiem for Krypton: Making Superman Returns": a comprehensive 3-hour documentary including: -Secret Origins and First Issues: Crystallizing Superman -The Crystal Method: Designing Superman -An Affinity for Beachfront Property: Shooting Superman (Superman on the Farm, Superman in the City, Superman in Peril) -The Joy of Lex: Menacing Superman -He's Always Around: Wrapping Superman Resurrecting Jor-El Deleted scenes: The Date, Family Photos, Crash Landing/X-Ray Vision, Old Newspapers, Are You Two Dating?, Martinis and Wigs, I'm Always Right, Jimmy the Lush, Language Barrier, Crystal Feet, New Krypton Easter egg: "Wrong!" Theatrical and video game trailers

Bryan Singer's Journals (Extended Edition) Look, Up in the Sky!: The Amazing Story of Superman You Will Believe: The Cinematic Saga of Superman

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In Season Five, Clark Kent found himself without his most beloved "guiding light" when his father died. The feelings of loneliness grew as his relationship with Lex Luthor crumbled, rebuilt as a bitter rivalry, and Clark was forced to push the love of his life, Lana Lang, away. To make matters worse, Lana took refuge in Lex's open arms. By the end of the season, Clark had learned to deal with his grief and had a better sense of who he was, but he still had a long way to go before becoming the Man of Steel.

In Season Six, Clark's destiny grows a lot nearer. Season Six revolves around Clark's discovery of who he is through two major storylines: 1) the tormented relationship between he and Lana Lang (which should have ended seasons ago and has now reached the point of absurdity), as well as Lana's potentially strong affections for Lex, and 2) Lex Luthor's rapid loss of morality and Clark's realization that he alone can stop him.

There is a third major storyline as well, dealing with a number of alien ghosts which escape from the Phantom Zone in the season premiere; Clark must round them up before they wreak too much havoc.

There are a number of subplots too. The largest and most popular involves Oliver Queen, played by Justin Hartley, who was cast in the title role of "Smallville"'s failed spinoff "Aquaman." Queen is a young, attractive businessman who arrives in Metropolis with a dark secret: he is the Green Arrow (one of DC's most popular heroes), a hooded rogue who protects those who need protection. He is also a sort of Robin Hood - which is bad news for Clark, whose mother is now a full-fledged, popular politician. Queen also has a checkered past with Lex Luthor, which makes for one of the season's more interesting subplots.

Others include Chloe's relationship with spunky young photographer Jimmy Olsen (played by Aaron Ashmore) and Lois Lane's beginnings in journalism.

As far as the episodes go, this season holds a variety of standouts. The season premiere, "Zod," is great. It's not as epic as the fifth season premiere, but it's very cool anyway. Though I still find the producers' failure to cast an actor as Zod downright despicable, Rosenbaum plays his possession of Lex very well. Hearing Rosenbaum deliver "Superman II"'s classic "Kneel before Zod!" is really a delight, and the splitting resemblance between the disembodied Zod and Terence Stamp in "Superman II" is sure to please fans of the films. "Sneeze" introduces a new power for Clark: super breath. "Justice" is a very fun episode and has been called the best episode of the series by many. I don't agree in that aspect, but it is very neat to see all the show's past superheroes gathered together. The inevitable "It's All In Your Head" episode comes in the form of "Labyrinth," surprisingly a very enjoyable episode (in a twisted sort of way). "Freak" puts forth the revelation that Chloe herself has some sort of meteor power and has become a meteor freak after being exposed to so much kryptonite. That's an interesting and tense episode. "Promise" is a painful, dramatic episode, but its successor, the super-violent "Fight Club"-inspired "Combat," is a real blast. It's probably one of the show's weaker episodes, but it's also one of its most fun. Personally, I loved it: seeing Clark dress up in leather and kick the s--- out a jacked-up wrestler, seeing Lois in tight red leather - grand fun to be sure.

"Nemesis" is one of the series' strongest episodes, in which Clark and Lex are trapped in an underground tunnel and forced to deal with their issues which each other. Kudos to the writers for thinking this one up. The dramatic confrontation between Welling and Rosenbaum, Clark and Lex, good and evil, is just superb. "Noir," unfortunately, is not. What seemed like a brilliant idea - play the show as though it were a film noir in the 1940s - is interesting, but little more than that, and the final product falls flat on its face. As always, the season goes out with a bang, a lot of them, with "Phantom," which leaves one character on his way to jail, three characters possibly dead, one superpower revealed, and introduces a character I have long awaited but thought I would never seen on "Smallville." It also featured a much-advertised "death" of a major character. I would like little more than to see that character actually be killed, but the fact that she's not is ridiculously clear.

At its finish, the sixth season of "Smallville" is a wonderful surprise. It's quite possibly the best season since the show's outstanding first, and it's the first season to truly reach its potential since the series' early years. I have no idea what happened between the end of Season Five and the premiere of Season Six, but everything that was so wrong with the show was drastically improved. Season Six is quality, comic-bookish, fun television, and although the second half of the season is rather lopsided ("Progeny," which features a guest appearance by Lynda Carter, is arguably the most dull episode of the entire show), it's a spectacular season. Clark has yet to fly, and the show hadn't really flown since the beginning of Season Three, but with Season Six "Smallville" soars as it, like its young hero, seemed destined to from the start.

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