Ahhhh, Terminator 2. After countless DVD releases and a substandard Blu-Ray disc featuring only the theatrical cut, it's nice to see the film get it's proper double-dip. The SkyNET Edition of T2 is essentially the theatrical and special editions of the film on one Blu-Ray, packaged within some nice bonus materials. It isn't perfect though.

The mainmost reason to buy this particular edition of T2 is because of Blu-Ray's capabilities. Here, they're put to awesome use. The picture has never been cleaner or sharper than in 1080p, and the new audio tracks are flat out rockin'. It's nice to hear a 6.1 DTS-HD lossless audio track rumbling the walls. So, from a purely moviegoing standpoint, SkyNET wins big.

That being said, the movie flops on bonus features. Well, actually, if compared to the majority of Blu-Ray releases out there, the film might fare well, but I pitted the SkyNET Edition against the standard-def ULTIMATE EDITION DVD, and it didn't win. The tin-case Ultimate Edition is now and out-of-print collector's item, and it still remains the quintessential king of T2 releases, bar none. Where the SkyNET Edition does pack in some interesting features (including an audio commentary with 26 crew and cast members), most of them must be accessed during the actual movie playback. Only a few of the features can be accessed from an index, and the important ones (like behind-the-scenes footage) are crunched down to a small window at the top right-hand corner of the screen. ARGH!!!

Why they just didn't decide to incorporate ULTIMATE'S plethora of bonus features (which clock in at almost 11 hours, last I checked) is beyond me. In short, the SkyNET Edition was supposed to usurp the throne, but it ended up falling a bit flat.

Nevertheless, this is the best way to actually watch Terminator 2. It's so squeaky clean that I actually noticed a few things I hadn't noticed before, even after having seen this movie for the 100th time. Not bad! The audio is a surround sound lover's dream come true, and the extras....well, they get the job done. Barely.

Square's FINAL FANTASY series has been the reigning king of RPG videogames for the past 20 or so years. Each installment in the game is a completely separate storyline with absolutely no relation to any other, making the play experience fresh and new each time. However, no other chapter in the series managed to capture the hearts of millions of gamers around the world than the popular 7th installment in the series, released back in 1997. The tone of the game was exciting, and the characters were three dimensional beings who were woven into an intricate storyline. The game is best known for a tragic scene where one of the characters is killed, bringing a depth of emotion never before seen at that time which brought some players to tears.

Square decided to release a sequel to Final Fantasy VII, but instead of opting for the game treatment, they began work on a 100% CGI animated movie using the same technology as Final Fantasy: The Spirits Within. It was released in 2004 to critical fan acclaim, and then to DVD shortly thereafter. So how does the Blu-Ray release stack up?

First of all, this is the most complete and glorious version of Advent Children that you're ever going to get. It's on Blu-Ray, and the format is nothing but kind to animated movies, especially those done in CGI. FF comes alive with pristine, crystal-clear visual quality with over 20 minutes of added scenes to boot. Indeed, this "Complete" edition is the version that future releases will be stacked against.

The audio track doesn't seem any different from the one included on the standard-def DVD release. I bought the Japanese import way back when, and I noticed a significantly more powerful soundtrack, especially in music and thundering sound effects. I was slightly disappointed to see that the Blu-Ray version didn't match that brilliant track, but then again, I was watching the English dub. The Japanese dub has a bit more punch to it. With some tweaking to my equalizer and surround channels, I managed to satisfy my audio demands.

If there's a downside to the film, it lies in the story. If you haven't played the original Final Fantasy VII from beginning to end, you're going to be friggin' lost. I myself had played the game straight through from start to finish, and even stopped to find every single secret in the game. But, that was a while ago. Even I had a few "WTF" moments during the course of the film. Nevertheless, having played the game means everything. Characters like Barrett, Sephiroth, Tifa and Marlene aren't going to matter if you don't know their backstories. Of course, this movie is primarily about Cloud Strife, the main character, and his pangs of guilt at having been unable to save the life of Aerith, his companion from the game. To a first-time viewer who is completely new to the story, Aerith's very presence will be a head-scratching conundrum.

But, that's beside the point. This movie was created by Square, exclusively for the diehard fans of the game. It really is a labor of love on Square's part, and a testament to their connection with the game. They're giving the fans what they want, even if it means that a large chunk of the human population won't have any idea what this film is about. There's passion in the creation of the film, and the action sequences are flat out breathtaking (if not totally unrealistic). It gets the adrenaline pumping, especially during the final act which is straight action for almost a half-hour, non-stop.

Advent Children is a masterpiece. It's animation is flat-out incredible, and rivals anything seen by Pixar to this day, and it has the advantage (and disadvantage?) of being tied to such a beautiful and standard-changing backstory. I loved it.

To those who aren't FF7 veterans.....download it onto your PS3 or PSP from the PlayStation store and play it straight through from beginning to end before evening THINKING about picking this film up. It's worth it, trust me.

Disregard the other reviews posted here, as they are reviews copied by Amazon for the original standard-def DVD release.

Ghost In The Shell 2 comes alive on Blu-Ray. After an abysmal DVD release that featured no English dub and horrid subtitles, the folks at Bandai went back and ported the film over to true HD glory. It is the best reason to pick up the film if you have a Blu-Ray player.

The first noticeable difference is the inclusion of a full-fledged English dub. For folks who can't stand English subtitles (myself included), this is a breath of fresh air and a great way to watch the film without broken concentration. The dub is surprisingly well voice-acted and atmospheric. There are still some instances where Japanese is overlaid into the film with an accompanying subtitle option that will only translate those particular sentences. One minor gripe is that this particular subtitle option will also give you the English translation of many of the film's Japanese songs as well.

A completely reworked English subtitle option for the Japanese audio track is present here, and omits the ridiculous work of the original DVD, which featured closed captioning instead of true subtitle work.

There are a few bonus features, including a grungy looking behind-the-scenes documentary detailing the themes and creation of the film. Interesting, but not really relevant unless you're dead curious.

The real shine comes in the video playback. The movie is bursting with crystal clear video and vivid, saturated color. I compared the Blu-Ray release to the standard def DVD, and the differences were alarming. Blu-Ray capabilities are utilized so well that I couldn't think of watching this movie any other way, from now on.

The actual movie itself is hit or miss. "Innocence" focuses a lot more on philosophical dilemma instead of blistering action. While the first film balanced soul-searching with some spectacular action sequences, the sequel is more of a detective story set against the backdrop of a world that has lost its mind. As a result, the storyline as a whole can become a wee bit preachy for my tastes, but it's still a fascinating expedition into a vitally important issue: at what point does mechanization and cyberization begin to de-humanize mankind, and what does it truly mean to be human in the first place?

This is a smart movie for smart people. If you're looking for a hyper-edited explosion-fest, you'd best look elsewhere. But if you're looking for a movie that's a cut above the norm in terms of narrative structure and imaginative conception, Ghost In The Shell 2: Innocence is a definite masterpiece.

Capcom is well known for its Resident Evil franchise, and subsequent sequels and spinoffs have either been hit or miss. Resident Evil 4 was a completely reworked (and heartily welcome) vision of the series, equipping the player with a completely overhauled game engine and set of play mechanics. Those changes instantly raised the bar for the series, prompting players to wait earnestly for the next iteration of the series: Resident Evil 5.

It's here, but for all intents and purposes, it isn't that impressive. I'll make no apologies for that statement. An officially numbered Resident Evil sequel is not immune to bad programming and direction, and the latest chapter missteps on more than one occasion.

RE5 takes advantage of next-generation HD hardware to produce some amazing visuals, I'll admit. I found myself impressed by the wonderful art direction and level design of the game. For the most part, environments feel natural and well thought out. Character models and facial expressions are visually striking and definitely a high point of the title. Things aren't perfect, however. Some environments seem to be coated in a thick reflective gloss that looks artificial. Other environments are bogged down by surprisingly low-resolution textures for a HD game.

There's nothing wrong with the sound of the game. There's a great surround sound track that accompanies all the shooting, growling and screaming, but most sound effects have been lifted directly from Resident Evil 4. Nothing bad there, I'll admit, but it would have been nice to hear deeper and more pronounced gunshots, explosions, etc. That's nitpicking by far, but Resident Evil is a series that should be banging its head solidly against the glass ceiling at every opportunity. Music is stock Resident Evil fare, which isn't going to knock your socks off, but it gets the job done. One Resident Evil 4 gripe that has found its way into this sequel is the never-failing tendency for ominous music to start playing whenever an enemy enters the environment, regardless of whether you've seen them or not. It doesn't leave much room for sudden scares.

The control scheme from Resident Evil 4 is back 100%. That's a good thing, but unfortunately Capcom didn't bother to tweak the control scheme one single bit. You can only dodge certain heavy attacks by pressing a button at the opportune moment, but there's no sudden side, backstep, or forward lunge to get you out of the way of the merciless attacks you'll be facing. In short, it doesn't feel that realistic in terms of controlling a Special Forces expert like Chris Redfield, who should be able to adequately balance agility and strength in a firefight. There's no strafe option, either, which could have easily been implemented by using the X button to activate a strafing mode, while using L3 exclusively for running. I realize that many people would prefer to use X for running, but doubling up the same function on two different buttons is not only redundant, but pointless.

The biggest gripe I have with RE5 is the implementation of a partner system. While the character of Sheva is pure digital eye candy, she's absolutely useless in a fight. To be fair, I personally cannot stand a game where I have to babysit an NPC, even for a few minutes. To go through the entire game with a poorly executed character hanging onto your leg is just ridiculous. The advantages to having Sheva by your side are not worth the actual experience. Sure, she's got your back. The problem is that she's so outrageously trigger happy that she'll whittle down what little ammo you pick up through the course of the game in no time flat. Frequent checks of my inventory showed all of my ammo counters at 0, with no extra cartridges to spare. That meant having to rely on absolutely worthless backup weapons like the macheté (don't bother, trust me). The game is sparse on ammo to begin with, but a single character traversing the environment would be in a far better position to conserve and expend cartridges. Sure, having Sheva by your side means an extra 6 inventory slots, but give me 8 as a single player character and I'll find a way to make it work.

If things weren't bad enough, Sheva has an unfailing tendency to walk straight into your line of fire. While retreating from multiple pursuing enemies, I quickly did a 180 degree turn to face my attackers and take a few out. Unfortunately, there was Sheva, standing directly in my line of fire with the red laser dot of my weapon pointed straight between her eyes. It takes her a few moments to get the hell out of the way, at which point your enemies have already closed in far more than you would have liked. Worse, Sheva will frequently try to help you with the firefight, only to inexplicably and obliviously shoot you in the back over and over again until you move out of her way.

I'm not crazy about the combat system this time around, either. RE4 was set up extremely well, allowing you to put your back against the wall and fight it out, or use more tactically sound methods like blocking doors, diving through windows, etc. Those abilities are all here, but more often than not, I felt swarmed. There are far more enemies coming at you this time, and they come from all directions. It's a constant run n' gun, which of course is the point, but battles feel mismatched and unfair. When you're trying to gun down a load of approaching enemies, only to get blown up by dynamite that an enemy tossed from out of your field of vision, the experience becomes frustrating and cheap. Similarly, there are so many cramped areas in the game that it becomes difficult to navigate and fight back. One such level involves Chris and Sheva teaming up with another Special Forces operative, trying to escape using elevators. On a narrow walkway, your third operative attempts to hack the elevator console while you and Sheva are responsible for protecting him. Not only do dozens of enemies come flooding the walkway, but you're treated with an extra problem: the chainsaw-wielding foe that can absorb 10-15 direct headshots with a high powered rifle, despite only having a bag over his head. Couple this dilemma with the aforementioned shortage of ammo thanks to a sod of an NPC partner, and the game becomes tiresome.

In fact, I put down the controller halfway through the game and decided to quit for good, completely unhindered by the thought of finishing the game or revealing more of the story. The frustration had become too much to bear, which I found incredibly surprising given my continuing adoration for Resident Evil 4. If there was an option to play strictly as Chris Redfield, or politely give Sheva the heave-ho, I wouldn't have been as critical of the game. As it stands, I believe I played through enough of Resident Evil 5 to score the game accordingly.

For the RE diehard, there are obvious reasons to play through the game. There are unlockables galore, as always, including a mode where you can play through the game solely as Sheva (why, I have no idea), and unlock and upgrade multiple weapons and items. As it stands, Resident Evil 5 is a beautiful game that trips on its own shoelaces thanks to poor A.I., a shoddy combat system, unbalanced enemies and an NPC partner that is the complete polar opposite of Elika from Prince of Persia. Unfortunate, indeed.

GRAPHICS: 8.5/10
SOUND: 9/10
CONTROL: 8/10
GAMEPLAY: 6/10
FUNFACTOR: 7/10
OVERALL: 7/10

"Saving Private Ryan" was a film that pulled no punches in its take on the events of World War II. It was an unglamorous film that freely showed us the horrors of high intensity warfare without playing up the glory and honor of such a seemingly noble event. When Steven Spielburg and Tom Hanks announced the mini series "Band Of Brothers," the speculation as to whether this would be a "mini-Ryan" soon began flooding in.

And for good reason. "Band of Brothers" is absolutely the spiritual successor to "Saving Private Ryan." The grainy, washed out camera work is in full effect here, giving the series the same gritty realism as its big budget movie brother. Stylistically, the mini series is shot much the same way. Hand held shaky-cams and genuine set pieces are everywhere. For all intents and purposes, the series tries to serve as bonus material to an already epic Hollywood movie.

Don't let the statement fool you. "Band Of Brothers" is just as epic and powerful as "Ryan" ever was. Instead of focusing on the logical controversy of risking the lives of a handful of soldiers to extract just one, the series focuses more on the historical events that surrounded the battle-weary Easy Company paratroop regiment of the 101st Airborne Division.

B.O.B. takes a few liberties for the sake of dramatic play up, but never fails to pay homage to the incredibly taxed veterans of that very division. The series actually follows the accounts of the book of the same name, written by Stephen Ambrose. Depending on who you speak to (Ambrose or the actual 101st veterans), some events were grossly misrepresented, or entirely true. It would be far more plausible to say that past Hollywood takes on WWII have been far more lenient with their historical accuracy, however. Actually, every episode of the mini series contains short interviews with actual 101st Airborne soldiers who give first-hand accounts (some very emotional) of their experiences.

The series begins on a relatively light note, showcasing Easy Company's grueling training under the inept Captain Sobel. The entire episode is a prelude to the actual warfare that takes place in subsequent episodes. The infamous mis-drop of D-Day is shown, as is Operation Market Garden, Operation Pegasus, the Battle of the Bulge, the first discovery of a German concentration camp by American forces (the most emotionally gripping episode of the series), and the taking of the Eagle's Nest and the end of the German presence in the war.

Despite each episode being helmed by a different director, they all flow together so seamlessly that it becomes an instantly free flowing mini series. Battle sequences are not quite as detailed (or graphically violent) as "Saving Private Ryan," but the harsh realism of war is no less effectively portrayed. This has much to do with the emotional fragility of the soldiers portrayed in the series. The phrase "there are no atheists in foxholes" is proven with Episode 6 which shows the Battle of the Bulge in great detail. Similarly, the horrifying realities of German concentration camps are shown with absolutely no regard for the viewer or the strength of their stomach, nor should they be. The series definitely suffers by having to cram a huge amount of historical events into a handful of hour-long episodes (again, liberties were taken), but it's a minor gripe for such an ambitiously well thought out project. If anything, "Band Of Brothers" is an extremely important piece of film-making, if for no other reason than because it refuses to glorify war at any time. It does not bother to get political, or even philosophical. It does not detract away from what these soldiers had to endure, but does not necessarily vindicate them either. Instead, it pays tribute and respect to those who went through the worst war in history, and were forever changed because of it. Even the bravery and valor of these WWII veterans is overshadowed by the harsh reality that no man escapes war without harsh wounds...be they physical or psychological. War truly is Hell.

Naturally, Blu-Ray is the best excuse to watch the mini-series, bar none. The original DVD tin-case release of B.O.B. was already a great hit and a wonderful way to experience this masterpiece, but Blu-Ray ups the ante tenfold with truly High-Definition video and masterful audio thanks to an altogether proper DTS soundtrack. The casing is pretty much the same as the standard-def DVD release, and comes in a slightly modified tin can version (with some "Blu" thrown in for good measure). I was one of the folks who watched the standard-def release, and always meant to pick it up, only to be overjoyed when the Blu-Ray release was announced. This is the best way to take it home. If you haven't had a chance to experience this gripping series yet, you really have no excuse now.

Tackling a big-budget movie franchise like the Terminator and turning it into a syndicated weekly TV show is ambitious indeed. The phrase "biting off more than one can chew" certainly comes to mind, but the team behind Fox's "Terminator: The Sarah Connor Chronicles" proves that they're more than able to handle the project.

SCC is a show that picks up where the events of Terminator 2: Judgment Day left off. Sarah Connor and her son John have been living a relatively obscure life under the radar, moving from place to place to avoid any potential retaliation from the supercomputer SkyNET, which previously sent Terminators back through time to eliminate them both. As we all know, John Connor will grow up to lead the human resistance against the dominant machines controlled by SkyNET in a future Earth that has been decimated by a nuclear holocaust. August 29th, 1997 has passed, and Judgment Day did not occur, leaving John Connor to surmise that they are effectively in the clear. Sarah is less convinced, however, and that prompts them to leave their somewhat stable home (and a man Sarah has grown to fall in love with) for a fresh start.

Things soon become complex when John Connor enrolls for high school classes under a different name, yet soon becomes the target of a new, more advanced Terminator assassin posing as a substitute teacher. Barely escaping the classroom alive, John inadvertently bumps into the mysterious Cameron, a female Terminator who comes to his rescue. It soon becomes apparent that Judgment Day has merely been postponed. By altering the events of the future, Sarah and John must now contend with SkyNETS new and advanced Terminator model, the T-888, which is battle-hardened and much more effective at infiltration and assassination. Sarah realizes that the destruction of the CyberDyne building in Terminator 2 was merely a wound against SkyNET. She decides to set out and stop SkyNET's creation once and for all by following every possible lead to its eventual birth.

Skeptics would do themselves a favor by sitting down and following this series from the start. Interestingly, the TV show manages to follow the original style and feel of the first two Terminator films even better than Terminator 3: Rise of the Machines. SCC attempts to play up the events of Terminator 3 as an alternate timeline, and its clear that the writers of the show were deadly serious on making their particular train of events part of official Terminator mythology. It's a highly ambitious and cocky goal, and they manage to pull it off beautifully. Never have I seen such bulletproof writing in all my life! I consider myself a huge Terminator buff, having known the mythology inside and out for almost 2 decades. From the very first episode, I could not spot one continuity flaw, mistake, goof or misstep. Actually, I found myself amazed at how the writers of the show continually drew from elements and plotlines of the first two Terminator films, digging into the rich history to give amazingly subtle cues and nods to those very films.

Plot elements range from references to the work done at CyberDyne systems under the deceased Miles Dyson (Sarah and John visit Dyson's widowed wife in the very first episode), to the introduction of Kyle Reese's brother Derek who has sent himself back through time to eliminate those who he thinks may have inadvertently helped create SkyNET. Furthermore, the series attempts to shed much more light on the future war, suggesting that it is far from the simple "man vs. machine" fight for survival suggested in the movies. There are torn loyalties, suspicions, and complex psychological issues going on throughout the entire war, giving its key characters plenty of emotional scarring to make them a threat in both future and past timelines.

As expected, SCC is more of a story-driven show, as opposed to the movies with their blistering, technical action sequences. Some episodes of the show have almost little to no action, instead relying on more complex social and narrative structure to get their point across. If one can let go of this fact and embrace the show for what it is, they're in for a huge treat. SCC continually rivets me to my seat with a solid foundation of just what is happening in the semi-future world of the early 21st century. The first season has everything: excellent characters, a truly terrifying Terminator villain, and multiple story arcs which have been thought out wonderfully. Lena Headey is talented enough to portray Sarah Connor as a fragmented, paranoid mother who possesses enough bravery and strength to go up against the A.I. that will eventually try to kill her and her son. Thomas Dekker is absolutely wonderful as John Connor, giving the character a much more hardened, mature edge which would be typical of a young man who went through the harrowing events of Terminator 2 and emerged with full realization of his destiny. Summer Glau makes for an eerie Terminator protector, attempting to strike a balance between the cold logic of a machine, while learning and expanding beyond her programming as she learns more about the complexity and fragility of human emotions. Richard T. Jones is an excellent wild card as FBI agent James Ellison, a man whose religious faith is tested by the realization that Sarah Connor's doomsday predictions are all too frighteningly real. Brian Austin Green eschews his pretty-boy "90210" days as Derek Reese, a battle-hardened soldier from the future who straddles the questionable line of ethics and morality on more than one occasion.

Perhaps the most scene-stealing character of the show however, is Garret Dillahunt, playing a relentless T-888 killing machine who continually tracks John Connor while posing as an FBI agent. If you thought Schwarzenegger's first T-800 Terminator and the T-1000 were relentless killers, you ain't seen NOTHING yet!

One could go on and on about just how relevant and vital this show really is. We're living in a time when serialized shows like LOST and HEROES keep writing themselves into a corner while constantly fumbling with the ball. Similarly, previous epics like 24 have become either too unrealistic or unbelievable, or just downright depressing in their tone and subject matter. Terminator: the Sarah Connor Chronicles is a refreshingly fun dose of incredibly smart writing and slick production values. It isn't the unstoppable action juggernaut that its two big movie brothers are so well known for. Instead, it is a perfectly constructed piece of well written psychological drama that fleshes out its characters right down to their bone marrow, while weaving a complex and thought-provoking storyline where nothing is as it seems. Season 2 of the series would misstep a little with unbalanced episodes and a few jittery plot twists, but all in all, the series has managed to tie FRINGE for the best written dramatic sci-fi television we've seen since the Battlestar: Galactica remake.

Oh, and in case you're wondering, the HD content of the TV show transmits beautifully onto Blu-Ray! There really is no excuse not to pick it up!

Anyone who discovered The Prodigy in 1997 would undoubtedly be shocked at their humble, sugarcoated beginnings. EXPERIENCE was the first Prodigy release, and a powerful one at that. Unleashed in the early 90s when the world was still relatively on a happy-go-lucky kick, EXPERIENCE manages to capture the spirit of the times, and the underground rave scene in general. Crafted by Liam Howlett, a musical genius by birthright, EXPERIENCE takes everything you know about dance and injects methamphetamine straight into your bloodstream by sheer press of the Play Button.

Howlett's relative youth and inexperience hold no sway here. On EXPERIENCE, he crafts dance tunes with the suddenness of tachycardia, and expertly layers multiple beat samples to produce a flurry of rapid fire dancehall smashes. No joke about it. Mainstream dance could not hold a candle to the technical complexity of Howlett's compositions, and rightfully so. Tracks like 'Music Reach 1,2,3,4', the infectious 'Wind It Up,' 'Out of Space,' and 'Ruff In The Jungle Bizniss' are all acid n' marijuana fueled party fodder. Howlett's most interesting track is 'Charly,' where he blends a drum n' bass beat with audio samples from Charly, a talking cat who warns children to always 'tell their mommy before they go off somewhere.' It's a zany and ridiculously adorable combination that goes hand in hand with glow sticks, body paint and massive amounts of drug use.

It is interesting to note that the songs on EXPERIENCE are actually subpar when compared to their respective remixes. The Prodigy are known for their extensive catalog of singles which, although hard to find, are well worth the investment and search. Thankfully, the 2nd disc solves this problem by bringing the best of the remixes into the forefront. The Rewound remix of 'Wind It Up' is epic, atmospheric and beautifully happy. Similarly, the Fairground Remix of 'Everybody In The Place' is a definite contrast to the rather bland and singular version found on the original EXPERIENCE pressing. At the time, this seemed a bit ironic.

No matter. The 2 disc Expanded Edition of EXPERIENCE is an instant classic. It may not exactly prove popular for those who sunk their teeth into the violently angry sounds of 'Breathe' and 'Firestarter,' but it is an interesting glimpse into the past when the members of The Prodigy all had regular haircuts, clothes fit for a high school kid, and very few cares in the world. This all changed with MUSIC FOR THE JILTED GENERATION, but this, folks, is where it all started.

When 1997 hit, it was led by The Prodigy. Liam Howlett's genius blending of punk and electronic dance music was a surefire smash from the early 90s, right up to 97's FAT OF THE LAND. While it represented the finest pinnacle of The Prodigy's massive dancehall success, it also set the bar so high that no one, not even Howlett himself, could surpass it.

What followed was 5 years of dead silence, with Howlett refusing to release any new material for fear of it sounding too much like a rehash of previous efforts. After the shaky single release of 'Baby's Got A Temper,' Howlett scrapped all work done on the forthcoming new album, ALWAYS OUTNUMBERED, NEVER OUTGUNNED. The album finally dropped in 2004, but it was a definite switchup from the window-shattering sonic boom that was FAT OF THE LAND.

In fact, the only song on the album which truly pays homage to its predecessor is 'Spitfire,' the very first song. What follows afterward is a creative collection of tunes that never seem sure of their own footing. 'Girls' is a catchy enough number, but it best belongs in the back catalog of a lesser electronic band. 'Memphis Bells' is an annoyingly mundane offering that smacks of writer's block. 'Get Up, Got Off' and 'Hotride' attempt to bring Howlett's dark dance grooves to the forefront, but both fall short of what would be considered excellence from a man so uniquely talented. It's unfortunately very true: AO,NO is an album that waited far too long to hit turntables, and it shows. Howlett is quite clearly stuck between a rock and a hard place...unable to conjure up the delicious happy rave of EXPERIENCE, the viciously rebellious MUSIC FOR THE JILTED GENERATION, or the rich sonic tapestries of FAT OF THE LAND.

If there is one thing to be noted, it's Howlett's undying love for all things funk, hip-hop, and rave. He doesn't shy away from trying to incorporate the best of all the genres, but that doesn't guarantee success. One can almost feel the excruciating labor pains that were undoubtedly a part of this most mixed up musical delivery. Everything from the cover art, to the lack of a decent Prodigy logo (seriously Liam, pick one and stick with it!!) suggests a man trying to do something entirely new, while putting far too much attention into what the music world will think of him. If 'Baby's Got A Temper' was a simple cookie-cutter rendition of 'Diesel Power,' then AO,NO is a perfect example of what happens when a musical genius runs blindly paranoid in the exact opposite direction.

Let's face it: it has been 12 years since the last great Prodigy album was released. 12 years is a very long time. It was well before 9/11. E/R was in its infancy. The Internet was an underdeveloped child. We were still playing the original PlayStation. It puts things in perspective. FAT OF THE LAND was an undisputed masterpiece, and The Prodigy were suddenly plastered on every magazine cover and TV screen across the world.

With so much success however, inevitably comes trouble. Frontman Liam Howlett had contracted a severe and acute case of writer's block, and was forced to take 5 years off to recoup and regain his sense of composition. After the derivative 'Baby's Got A Temper' in 2002 (a single release for a supposed new album), Howlett abandoned The Prodigy altogether to re-focus once again. The comeback didn't arrive until 2004, when Howlett released ALWAYS OUTNUMBERED, NEVER OUTGUNNED, an attempt to return to his Happy Rave roots. It didn't exactly pan out however, with hardcore Prodigy fans disappointed at the lack of punch and punk influences on the album.

Ever the architect of patience, Howlett once again retreated from the limelight to focus on his next release. It is perhaps the most honest and strongest album since FAT OF THE LAND.

INVADERS MUST DIE is a dynamic hybrid of early 90s Rave and the more aggressive Prodigy heard on MUSIC FOR THE JILTED GENERATION. It doesn't possess the snarling aggression of FAT OF THE LAND, but it does give a sense that the band has grown up and let go of the bad boy negativity and punk demeanor. Howlett opens the album with the title track 'Invaders Must Die,' which won't blow the socks off of a seasoned Prodigy fan, but does manage to get things going right from the word Go. 'Omen' begins to liven things up with some catchy vocals and a stronger sense of urgency. From there, Howlett proceeds back into JILTED GENERATION territory with the more serious 'Thunder.'

It isn't until track 4 that the album truly starts to shine. 'Colours' is a drum n' bass fueled explosion of sonic variety, carried beautifully by digital videogame tunes that sound like they were lifted straight out of a Sega Genesis game. Indeed, I found myself thinking about Streets of Rage 2 throughout the entire length of the song. It's happy, it's vibrant and intense, and it's a song that you can't help but pump up the volume to.

Howlett does hit and miss through the rest of the album. 'Take Me To The Hospital' is primarily a filler track that brings back memories of early 90s EXPERIENCE without sound too derivative. 'Warriors Dance' attempts to kick into the same high gear as 'No Good (Start The Dance),' complete with female vocals and a complete disregard for the band's tough guy punk persuasion. 'Run With The Wolves' tries to blend straightforward Electronic Hip Hop with Heavy Metal, right down to a standard 4/4 time. It is largely an excuse to unleash Keith Flint's vocal work, but even he sounds largely restrained when pitted against his trademark tune 'Firestarter.'

'Omen Reprise' is a simple intermission based off the 2nd track of the album, and seems to serve as a gateway to the latter half of the album which suggests a 'Narcotic Suite Pt. 2' from JILTED GENERATION. 'World's On Fire,' and 'Piranha' are classic examples that Howlett does tend to run out of steam towards the end of his albums. They're both largely repetitive and indulgent, bringing to mind the chaotically abstract 'The Heat, The Energy' and 'Claustrophobic Sting.' I was impressed by the final track on the album, 'Stand Up,' where Howlett does a complete 180 and focuses on his love and admiration for 70s Funk and Hip Hop. He puts his own digital spin on things, enough to make it sound fresh and spunky, but the song is too slow to dance to, and will mostly serve as a method to get windows rattling via subwoofer.

Whatever. The Prodigy deliver, and that's the main thing. Although Howlett has struggled for years to regain his footing on the heels of massive financial success, he does come through this time. It isn't as earth-shattering as FAT OF THE LAND, but it's not as gentle and safe as ALWAYS OUTNUMBERED, NEVER OUTGUNNED. Instead, INVADERS MUST DIE falls comfortably into the middle. Let's just hope we don't have to wait 5 years for another follow up.

Thanks to the death of the HD wars, Blu-Ray fans now have the opportunity to enjoy Michael Bay's TRANSFORMERS the way it was meant to be seen. How does it stack up against a standard DVD release?

First off, it should be noted that the movie itself is a wonderfully brainless summer action flick based off of an old 80s cartoon. That being said, TRANSFORMERS is a movie that wasn't necessarily targeted towards young children and teenagers. No, the demographic for this movie is targeted solely on those 25-35 years old, who were young enough to appreciate the Transformers cartoons for all of their glory. Michael Bay has wisely taken his cues from the mythology of the TF universe, while injecting a healthy dose of real-world physics and believability to an otherwise unbelievable premise.

The result is a movie that succeeds as a vehicle which pays homage to the wonderfully passionate cartoon series. The Autobots and Decepticons are rendered in painstaking detail, adding to the element of believability in the film. In fact, I was quite shocked to see just how much fire and energy flows throughout the film.

On Blu-Ray, the experience just gets better. The picture is crystal clear, as is expected from the majority of Blu-Ray releases. The standard-def DVD release looked fine by itself, but there is truly no substitute for a glossy HD, 1080p picture. Colors leap from the screen, blacks are deep and detailed, and there isn't a speck of grain or smudge on the entire print. However, the movie truly shines in its audio presentation.

The 5.1 Dolby TrueHD soundtrack is brilliant. Explosions will rumble the walls of your house, while character voices shine through brilliantly. I noticed a huge difference between the standard-def release and the Blu-Ray release after two respective viewings. It was immediately noticeable during the air force base attack at the beginning of the film. The sound was simply awe-inspiring, taking advantage of its HD capabilities to surround the viewer with a tremendously entertaining audio barrage. I noticed quite a few things missing from the standard-def soundtrack, including the omission or dampening of several significant sound effects, such as Blackout's transformation from Helicopter to Decepticon (the 'classic cartoon' transforming sound was almost drowned out). Not so with the Blu-Ray release.

There are extras in the package, but they don't necessarily give TRANSFORMERS a "Special Edition" feel. It will be interesting to see what Michael Bay cooks up for future (and inevitable) double-dip releases. All concerns aside, TRANSFORMERS on Blu-Ray represents the current pinnacle of home theater enjoyment. It's a wonderful film that pays respect to its cartoon lineage without drifting too far away from the source material. Repeated viewings only make the experience better.