My favorite part of “The Last Stand” (R, 107 min.) is the very end. After over-the-hill sheriff Ray Owens has fought off a small horde of Mexican gangsters invading his dusty border town, he rests on the sidewalk, bloodied and beat. He struggles to get to his feet, and a younger man offers a hand. Ray glares at that outstretched hand, peeved that it is seen as necessary. Then he gives up and accepts the help.

At 65, Arnold Schwarzenegger no longer resembles a superhero, just a tough old-timer with a few tricks left. After giving up superstardom for politics, Arnie attempted a comeback with this throwback action thriller. Audiences stayed away, perhaps because of recent revelations about his personal life.

Judged solely on its merits, “The Last Stand” is an effective if unoriginal action flick. It takes a while to get rolling, but after the 45-minute mark it’s an enjoyable orgy of gunfire and explosions.

The set-up is that a Mexican drug cartel kingpin (Eduardo Noriega) has escaped from federal custody and is zooming toward the border in a super-charged Corvette prototype. With the help of an elaborately planned escape, he’s gotten away clean, and only Sheriff Owens and a small passel of misfit deputies stands between him and freedom.

Johnny Knoxville is a hoot as a local gun-loving coot, while Luis Guzman is Ray’s overly cautious right-hand man. Rodrigo is the very recently deputized town drunk – and ex-Marine – while Jamie Alexander rounds out the cast as the lone, able female cop.

Korean director Jee-woon Kim knows how to stage action scenes so they’re exciting while still remaining grounded in the laws of physics.

And Schwarzenegger has a comfortable, easy grace playing a regular guy who becomes a reluctant hero. The box office receipts may disagree, but the Austrian Oak still has action-star bona fides.

Both the Blu-ray and DVD versions come with a decent amount of goodies. There’s a making-of documentary short and three other featurettes focusing on various aspects of production, plus a handful of deleted and alternate scenes.

Movie: B+
Extras: C+

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A grand, brave, often mesmerizing but just as often puzzling cinematic experience, “Cloud Atlas” (R, 172 min.) takes a book generally thought to be unfilmable and delivers something rather astonishing. The Wachowski siblings, best known for the “Matrix” movies, team up again (also joined by co-writer/director Tom Tykwer) to create a sprawling story that encompasses dozens of characters spread over several time spans, with a universal message about the sanctity of the soul.

If that sounds a little full-of-it grandiose, well, that’s because it is. But even as you struggle to understand the accents of Tom Hanks and Halle Berry or even figure out where and when you are, most observers should find the experience thrilling.

Hanks and Berry are joined by a number of other actors, each playing several roles – though it’s often a challenge to recognize them buried under layers of costume and prosthetic makeup. The action jumps from the 19th century Pacific Islands to America in the 1970s, and then to a dystopian future Korea and a post-apocalyptic time in which the Earth is nearly deserted.

Though it may not be up everyone’s alley, “Cloud Atlas” is an innovative and ambitious piece of science fiction drama that’s worth a look.

Extras are rather decent, though you have to upgrade to the Blu-ray edition to get the best stuff. The DVD version only comes with a making-of documentary.

It’s not surprising that the notoriously publicity-shy Wachowskis chose not to record a commentary track, but they make up for it with six more featurettes covering everything from casting to special effects, plus philosophical musings about reincarnation.

Movie: B
Extras: B+

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“Mama” (PG-13, 100 min.) is an environmentally creepy horror flick that features plenty of boo-gotcha scares, but also takes the time to build a pervasive feeling of dread. Rated PG-13, it’s not a particularly gory flick, though it contains a lot of disturbing CGI effects that add to the eerie atmosphere.

The set-up is two small girls who were abducted and lost in the woods following a tragedy. Five years later, their uncle tracks them down and adopts them. The sisters (Megan Charpentier Isabelle Nélisse, both very good) barely speak and go about on all fours like feral animals. But over time they start to reassimilate, even warming up to their uncle’s girlfriend Annabel (Jessica Chastain), a rock musician who gradually develops maternal instincts.

Unfortunately, the girls weren’t really alone all those years out in the forest, developing an obsessive attachment with a spectral creature they call “mama.” It soon becomes clear she has followed her wards to their new home, and is very jealous of anyone else presuming to care for “her” daughters.

The depiction of the Mama character is just terrific, an inky mass of roots, goo and insects that feels like it just burrowed up out of the raw earth. It combines motion-capture acting, visual effects and unnerving sound design. The fact that we only see bits and pieces of her till nearly the end only heightens the impact.

Director Andrés Muschietti is a feature film rookie who co-wrote the screenplay with his sister, Barbara Muschietti, and Neill Cross, based on a short film they made a few years ago. It’s an auspicious debut, from filmmakers who know how to balance organic frights with special effects.

Video extras are quite good. They include a number of deleted scenes, the original short film with an introduction by executive producer Guillermo del Toro, a making-of documentary and feature-length commentary by the filmmakers.

On Blu-ray only, you also get “Matriarchal Secrets: The Visual Effects of Mama,” which shows step-by-step how they achieved the portrayal of this memorable phantom.

Movie: B
Extras: B+

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“Silver Linings Playbook” (R, 122 min.) pulled off something that hadn’t been done in more than three decades: Academy Award nominations for best picture, screenplay, director and all four acting categories. This heartwarming but sobering drama from writer/director David O. Russell (“The Fighter”) showcases his ability to pull maximum effort from his cast.

Much like professional athletes will refer to their leader as a players’ coach, Russell is an actors’ director. Consider: his last two films have garnered seven Oscar acting nominations, with three wins.

The movie itself doesn’t live up to the strength of its performances, but it’s still an ambitious and largely successful picture. Bradley Cooper and Jennifer Lawrence play Pat and Tiffany, two young people struggling with serious mental health issues. Pat has just been released from an institution, while Tiffany lives in the garage behind her parents’ house.

They’re also both single – he through divorce, she a widow – and set about on a tentative, combative romance. Pat is still obsessed with his ex-wife, and Tiffany comes up with the off-kilter idea of entering a dance contest to help them bond.

Robert De Niro and Jacki Weaver have strong, authentic roles as Pat’s long-suffering parents, while Chris Tucker shines as his best friend and fellow ex-patient. One of the film’s strengths is that it doesn’t ignore the impact of the main characters’ craziness on those around them.

Funny, touching and wry, “Silver Linings Playbook” is a cracked-mirror reflection of the classic love story.
Video extras are pretty good, though lacking a commentary track. The DVD comes with deleted scenes and a making-of documentary, plus featurettes on rehearsing the couple’s big dance scene and “Going Steadicam With Bradley Cooper.”

Upgrade to the Blu-ray/DVD combo, and you had a Q&A with the cast and another feature, “Learn To Dance Like Pat & Tiffany.”

Movie: B
Extras: B

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“Hyde Park on Hudson” (R, 95 min.) exists in that nether realm floating somewhere between history, biography and legend. Its central characters are none other than Franklin D. Roosevelt, the King and Queen of England, and FDR’s contingent of relatives and retainers. But the film is not so much about the real people as our modern conception of them.

It’s now well known that Roosevelt, despite being trapped in a body crippled by polio, was a serial philanderer. Bill Murray, hardly anybody’s first thought for the actor who should embody FDR, nonetheless creates a distinct and compelling character that, if he is not reflective of the actual president, at least makes us want the real person to resemble his portrait.

The movie’s central problem is that it’s not really about FDR or the monarchs, but about Daisy, Roosevelt’s sixth cousin played by Laura Linney, who acts as the audience’s eyes and ears. A desperately lonely spinster, Daisy is thrilled by an unexpected invitation to join Roosevelt at the familial estate, where she and the president form a queer relationship that navigates somewhere beyond friendship but does not quite make landfall with romance.

After occupying the bulk of the first half of the film, the relationship between Daisy and FDR recedes into the background during the latter portion. The story’s point of view shifts from Daisy to the British royals, who fret about being insulted and demeaned by American provincialism. Dancing somewhere in between is Roosevelt, a cheery spider playing the strings of his webs.

In the end, we’re not really sure if the movie is about the president, his quasi-affair with Daisy, the king and queen or some amorphous combination of them all.

The film is enjoyable in its parts, even if they don’t quite fit together satisfactorily.

If you’re hoping for a sumptuous set of extras to go with the video release of “Hyde Park on Hudson,” I’m afraid you’re bound for disappointment. The DVD edition comes with absolutely zero features, and even the Blu-ray/DVD combo only has a digital copy of the film, and nothing else.

Movie: B-
Extras: E

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Daniel Day-Lewis gives a mesmerizing, nontraditional performance as the 16th president of the U.S. in “Lincoln” (PG-13, 149 min.), a biopic that makes its own bold choice. In narrowing the scope of that epic life to focus on only a single month of Lincoln’s presidency, director Steven Spielberg and screenwriter Tony Kushner manage to reveal something of the man’s enormity while upending our conceptions of him.

Start with the high-pitched, quavering voice Day-Lewis uses. By all accounts it matches contemporaneous descriptions of Lincoln’s actual speech, but runs counter to most depictions of him as deep-throated and steady. In a sense, the cast and filmmakers have to rip aside the legend of Lincoln to uncover the truth of him.

The story covers the push to the pass the 13th Amendment outlawing slavery, even as the Civil War reaches its bloodiest stage. Other key players in the tale include Mrs. Lincoln (Sally Field), whose mental anguish threatens her husband’s public life; their son Todd (Joseph Gordon-Levitt), who yearns to prove himself in battle; and Thaddeus Stevens (Tommy Lee Jones), the fiery emancipator who wants to go further than Lincoln and declare equality between the races.

The script is a little uneven at times, as Kushner offers too-clever winks to the audience as the characters reminisce about how they will be perceived in posterity. I think the reason the film didn’t fare better at the Academy Awards is that most people viewed it as a terrific performance with only a pretty-good movie around it.

That’s too harsh an assessment. Though it sometimes indulges in wonky political discussions, “Lincoln” strives to reach the essence of a great man, and largely succeeds.

Video extras are pretty good, though Spielberg maintains the unfortunate tradition of most high-profile directors in eschewing a commentary track.

The DVD comes with “The Journey to Lincoln,” a pretty standard making-of documentary. Upgrade to the two-disc Blu-ray/DVD combo, and you add a featurette on the historical tapestry of Richmond, Va.

Go for the four-disc set and you add a host of goodies. There’s a feature all about Day-Lewis’ meticulous construction of his character, and three more featurettes about the production design and costumes, a shooting diary and John Williams’ Oscar-nominated music score.

Movie: B+
Extras: B

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Too much or too little? When it comes to Tolkien screen adaptations, there seems to be little agreement in how much material to stuff into these movies.

The choice by director Peter Jackson and his team to divide “The Hobbit” into three films may be a bridge too far for many viewers. There certainly is enough story in J.R.R. Tolkien’s slim novel (273 pages in my paperback version) to justify splitting it in twain. But the filmmakers chose to go further, layering in all sorts of material from extended Tolkien lore to pad out what was a simple children’s tale into something as grand – and grim – as “The Lord of the Rings.”

The result is languidly paced and overstuffed. The iconic “Unexpected Party” dinner that opens the tale, with meek hobbit Bilbo Baggins being invited by dwarves to go on a great adventure, overstays its welcome by at least 10 minutes.

They also bring in all sorts of figures who weren’t in the book, including Galadriel and a flighty colleague of Gandalf named Radagast. It sometimes feels like a “Greatest Hits” retread of “LotR.”

I still enjoyed the movie, while recognizing that people less enamored with Tolkien’s dense fantasy mythology won’t like it nearly as much. And several sequences, such as Bilbo’s deadly game of riddles with the creature Gollum, are positively thrilling.

“The Hobbit: An Unexpected Journey” (PG-13, 169 min.) shows it is possible to have too much of a good thing.

It’s being released with a decent amount of extras, including 10 making-of videos that cover a broad range of production topics, from initial conception to the decision to shoot in 3-D with a special frame rate of 48 fps (which reportedly turned off some viewers).

If Jackson & Co. hold to form, though, expect to see a special edition come out in the next year or so with even meatier goodies and possibly an extended version that pushes the run time past three hours.
For some hardcore Tolkienites, more is never enough.

Movie: B
Extras: B+

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The rap on “Rise of the Guardians” (PG, 97 min.) sure is nasty.

It didn’t get nominated for an Academy Award for animated feature, while lackluster fare like “The Pirates! Band of Misfits” did. And DreamWorks Animation recently announced layoffs after “Rise of the Guardians” underperformed at the box office. (Though it made $300 million worldwide, which is hardly bomb territory.)

Don’t buy the bunk. “Guardians” is easily the best animated movie from last year.

It might seem silly and superficial at first: Santa Claus, Jack Frost and other holiday icons band together into a super-powered group to battle evil – think “The Avengers” in rainbow-hued costumes. But they’ve got butt-kicking superpowers; for instance, the Easter Bunny is now a martial arts expert, while Santa wields a pair of swords.

Also on the team are the Tooth Fairy and Sandman. They’re up against Pitch Black, aka the bogeyman, who wants to blanket the world in darkness and bad dreams.

The animation is wonderfully detailed and crisp, and the action scenes well-staged. Alec Baldwin, Chris Pine, Hugh Jackman, Jude Law and Ilsa Fisher make up a terrific voice cast.

But what pushes “Rise of the Guardians” over the hump from good to great is its surprising emotional resonance. There’s a great subtext about finding your place in the world as seen through Jack Frost’s struggle to learn the origin of his powers.

This one’s a family-friendly treat.

Extras are decent, bending more toward the fun than the substantial. The DVD comes with a featurette on the cast and crew, filmmakers’ commentary track and “Sandy’s Dream Guide,” which helps interpret your dreams. There’s also a DVD-ROM function with printable Eastern-themed egg holders and coloring sheets.

Upgrade to the Blu-ray edition, and you add “Behind the Magic,” a comprehensive making-of documentary, plus a feature on author William Joyce. You also get two interactive games: “Rock, Paper, Scissors with Sandy” and “Jack Frost Snowball Showdown!”

Movie: B+
Extras: B

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Ambitious, vexing, jubilant and depressing, “The Master” (R, 144 min.) is a film that neither Hollywood nor audiences quite knew what to do with.

It was first touted as “the Scientology movie,” received respectful but somewhat puzzled reviews, and was then largely ignored by ticket buyers. But it scored three Oscar nominations for its wonderful acting, including Joaquin Phoenix, who I think gave the performance of the year.

It is writer/director Paul Thomas Anderson’s first film since “There Will Be Blood,” and if there’s any mainstream filmmaker today who deserves to be called an auteur, it’s him.

The tale is about Freddie Quell (Phoenix), an unhinged, alcoholic veteran struggling to assimilate back into society after World War II. He stumbles into the den of Lancaster Dodd (Philip Seymour Hoffman), the charismatic leader of a quasi-religious order called “The Cause,” and the two men each discover the other satisfies a yearning in themselves they didn’t even recognize.

Freddie is a twitchy wreck, a guy who suspects that his mind isn’t right and is constantly trying to fake normalcy so he can fit in with those around him. Dodd is bombastic and slithery, a guy who’s been deluding others with notions of his self-importance for so long, he’s even fooled himself. In Freddie he sees a perfect test case for his odd theories.

“The Master” is less concerned with plot than the strange, spinning dance between this pair, with other characters such as Dodd’s wife (Amy Adams) forced to resentfully orbit around the gravitational pull they share.

It’s not always a smooth cinematic ride, but one worth taking.

Video extras are decent without being terribly expansive. There are three making-of featurettes, including “Back Beyond,” a 20-minute collection of outtakes and additional scenes set to music. It also comes with “Let There Be Light,” a 1946 documentary directed by John Huston about mentally wounded WWII veterans returning from war.

Movie: B
Extras: B

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When it comes to cinematic adaptations of monstrously huge fantasy literary franchises like “Harry Potter” and “The Lord of the Rings,” there are two schools of thought. On the one hand are people who think they run too long and are self-indulgent – the sort of folks who joke about “LOTR” having five endings.

Then there are those like myself who love to see every subplot and nuance of our beloved books captured onscreen with a slavish devotion to detail. For those, HBO’s “Game of Thrones” is the nirvana of sword & sorcery fealty.

HBO is taking each book of George R.R. Martin’s series, “A Song of Fire and Ice,” and turning it into an entire season of shows. Ten hours may seem like a lot of screen time, but brevity is not in Martin’s wheelhouse – the books average around 1,000 pages apiece.

(In fact, the especially plot-heavy third book is going to be split up into two seasons, starting with Season 3 debuting in March.)

Season 2 saw a considerable ramping up in the world war overtaking the land of Westeros, as the death of King Robert Baratheon left the succession to the throne in dispute. Space and the enormity of the narrative prohibits describing it in its entirety. Suffice to say it comes down to the competing claims of three clans: the rich and power-hungry Lannisters, the gruff but noble Stark northmen and the Baratheon brothers.

Characters slide into the foreground and then recede with the ebb and flow of the plot. The key figures in season 2 are Tyrion Lannister (Peter Dinklage), the brilliantly devious dwarf whose loyalty to his clan goes unappreciated; Catelyn Stark (Michelle Fairley), widow of murdered Ned and mother of rebel leader Robb; Daenerys Targaryen (Emilia Clarke), scion of a deposed monarchy who bides her time across the sea gathering power, including three dragon hatchlings; and Jon Snow (Kit Harington), a young Stark bastard who finds purpose battling an ancient evil in the northern hinterlands as part of the Night’s Watch.

The show does deviate from the book in ways both big and small, such as Robb Stark’s speedy romance and marriage. But the story takes on a grandiose, epic feel as it builds toward the huge battle of Blackwater.

For true fantasy fans, “Game of Thrones” is a must-see.

It is being released with a host of video extras, including 12 commentary tracks, character profiles, interviews with cast and crew, making-of featurettes and more on the DVD. The Blu-ray edition adds animated histories of Martin’s world, an in-episode guide, hidden “dragon eggs” and more.

Series: A-
Extras: A

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"The Perks of Being a Wallflower"

I’ve never attempted a double video review before, but the simultaneous release of “The Perks of Being a Wallflower” (PG-13, 102 min.) and “The Sessions” (R, 95 min.) make for a perfect opportunity. Both are small, heartfelt, exquisitely acted dramas about people living on the margins of their community. And each film was virtually ignored in the Academy Award nominations.

In “The Sessions,” John Hawkes plays Mark, a man in his late 30s who is paralyzed and lives inside an iron lung. Frustrated with his virginity, he retains a sex therapist named Cheryl (Helen Hunt) to help bring him into adulthood, as he puts it.

Their story goes on from there, with unintended emotional attachments growing. The film contains a lot of flesh, but writer/director Ben Lewin grabs the audience in the heart, not clutches the loins.

“Perks” may just be the best high school movie of the last two decades. Writer/director Stephen Chbosky, who adapted the film from his own novel, perfectly captures the moods and fears of the teenage soul.

Charlie (Logan Lerman) is a smart, outcast underclassman who gets taken under the wing of Patrick (Ezra Miller) and Sam (Emma Watson), a pair of popular but misfit seniors.

Charlie slowly starts to come out of his shell, while Sam and Patrick are beset by their own respective problems. "Perks" is a wonderfully observant portrait of young people forging their identity in the crucible of high school.

In a film year of highs and lows, these two stood head and shoulders above the crowd … despite Oscar’s snub.

Video extras for "Perks" are decent, including a making-of featurette, deleted scenes and some unedited footage. It also boasts two separate commentary tracks, one with Chbosky alone and a second joined by his cast. Commentaries with both the principle actors and filmmakers tend to be the most engaging.

Video details for "The Sessions" were unavailable at press time.

Movie (both films): A-
Extras ("Perks"): B

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Even in an extraordinarily weak year for animation, “Hotel Transylvania” (PG, 91 min.) did not receive an Academy Award nomination for best animated feature. And it’s no surprise: this derivative monster tale featuring Adam Sandler is a Frankenstein-like assemblage of bits ‘n’ pieces from other movies.

Actually, Frankenstein himself is here (voiced by Kevin James), along with Dracula (Sandler), the Wolfman (Steve Buscemi), the Mummy (CeeLo Green) and a rogues’ gallery of every other creature feature from the past 80 years. The set-up is that they’ve all come to the hotel for their once-a-year celebratory bash, centered around the birthday of Dracula’s daughter, Mavis (Selena Gomez).

Mavis is in her rebellious teenage phase -- it happens around age 118 for vampires -- and wants to venture forth and see the world. But Drac and the rest of the gruesome crew say it’s too dangerous, what with all the humans out there with their torches, pitchforks and paranoia. Then the red-blooded problem arrives on their doorstep in the form of Jonathan (Andy Samberg), a dim-witted backpacker dude. Dracula dresses him up as a Frankenstein cousin, and door-slamming farce ensues.

The animation is truly wonderful, a cartoony (non-scary) take on the nightmarish creatures of legend. I loved how the Wolfman wears a short-sleeved shirt and tie like a middle manager on holiday, and Frankenstein has a tendency to lose his stitching and fall to pieces.

But the story plays out with all the predictability of a werewolf needing a haircut on a full moon. Jonathan and Mavis start making gooey eyes at each other, dear dead dad isn’t very happy about it, and the scary humans turn out to be not so scary after all.

The animators did their job creating a visually vibrant world, but the script has all the life of a vampire with a stake through its heart.

Video extras are decent without being extravagant. The DVD comes with deleted scenes, feature-length commentary, music video and a short film, “Goodnight Mr. Foot.”

Upgrade to the Blu-ray version, and you get three making-of documentaries covering the voice cast and animation process.

Movie: 2 stars out of four
Extras: 3 stars

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File “End of Watch” (R, 109 min.) under the list of best movies of 2012 that you probably haven’t seen … or maybe even heard of.

This terrific, gritty, and surprisingly funny portrait of a pair of LAPD officers patrolling South-Central Los Angeles is one of the best cop dramas in recent memory. Michael Peña and Jake Gyllenhaal play Mike and Brian, a pair of young cowboys who, as one boasts “get into more capers in a single deployment shift than most cops do in their entire career.”

Writer/director David Ayer fills his movie with lots of harrowing scenes of fistfights, gunplay and other brutality. Yet it’s the humanity of the relationship between these two guys that breathes life into the film. They crack jokes on each other, make fun of their ethnic heritage, and exchange advice about the women in their lives.

But when the gangbangers bring the heat, they instantly shift into soldier mode, becoming one mind with two guns. Ayer often films from a first-person perspective down the barrel of a pistol, putting the audience right in the thick of it.

America Ferrera, Anna Kendrick, Natalie Martinez, David Harbour and Frank Grillo make up an outstanding supporting cast as the fellow cops and family members who have to deal with the carnage left behind in the destructive duo’s wake.

The humor may strike some viewers as out of place, but the cast and crew show how it’s just part of their defense mechanism the cops use to keep from going crazy. Some of the scenes they encounter are just horrendous and traumatizing. Cutting up is how they get by.

But don’t mistake all the laughing for a lack of sobriety. “End of Watch” is a serious examination of life on the thin blue line in one of the toughest beats in America. Especially revealing is a scene after the pair have been given awards for pulling kids out of a fire, and Brian asks Mike, “Do you feel like a hero?” The answer may surprise you.

Don’t miss this one.

Extra features, which are identical for Blu-ray and DVD editions, are a bit underwhelming. Director Ayer provides a feature-length commentary. Plus there are several deleted scenes, and a handful of rather short making-of featurettes.

Movie: A-
Extras: B-

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During a slow week for new video releases, you might want to take a timeout from mainstream fare to see “The Other Dream Team” (not rated, 91 min.) a scrappy little documentary about the Lithuanian national basketball team.

Playing in the 1992 Olympics in Barcelona, the Lithuanians did not prove much of an actual challenge to the better-known Dream Team, which consisted of American NBA stars like Michael Jordan, Larry Bird and Magic Johnson. (The U.S. beat them 127-76.)

But the team from Lithuania, which had for decades been absorbed as part of the Soviet Union, made history representing themselves as a sovereign nation – winning the bronze medal and defeating the Russian team in the process.

Director Marius A. Markevicius keeps the pace zippy, mixing archival footage of basketball games, news reels of Lithuanians marching for their independence as the Iron Curtain fell, plus contemporaneous interviews with the players and their opponents. Some are familiar faces – like Arvydas Sabonis and Sarunas Marciulionis, who both went on to productive NBA careers – while many others we’re meeting for the first time.

Particularly interesting is the portion about the 1988 Olympics, in which a USSR team with four Lithuanian starters beat the heavily-favored American squad. It led directly to the creation of the U.S. Dream Team. And it helped Lithuanians see that, despite being a tiny nation of 3 million, they could compete against the best teams from across the globe.

One misstep is repeatedly returning to the tale of Jonas Valanciunas, a Lithuanian player who ended up being drafted by the Toronto Raptors in 2011. Valanciunas isn’t a very compelling screen presence, and Markevicius doesn’t adequately tie in his story to that of the ’92 national team.

Still, “The Other Dream Team” is an often thrilling portrait of young men who were playing for their country at a time when it was shrugging off the shackles of totalitarianism. They were living the real hoops dream.

Video extras are fairly measly. There’s an audio commentary track by the director and his co-writer/producer, Jon Weinbach, plus a Q&A segment with the same pair.

Movie: B
Extras: C

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As a filmmaker, Tim Burton's mostly been working on reanimation projects lately -- taking old movies and making them rise from the dead as remakes crammed with computer-generated imagery. The results have been up and down, generally scoring at the box office but leaving lovers of his earlier work (I count myself) feeling disappointed.

If "Frankenweenie" (PG, 86 min.) has a fresher feel than most of his recent movies, that's because it's a remake of his own short film.

The original was live action, a black comedy about a boy who zombifies his pet pooch using Frankenstein-esque science. The spiffy new version is stop-motion animation, which suits the material well -- a mix of heartfelt pathos and creepy-crawly horror movie elements.

Victor (voiced by Charlie Tahan) is crushed when his beloved dog Sparky is, er, crushed in a car accident. Indirectly inspired by his eccentric science teacher, Victor jolts the canine alive with electricity. But then the other kids in the neighborhood discover the trick, and soon the whole town is overrun with zombie pets.

The animation is truly spectacular, dark in palette but joyful in its intricacy and attention to detail. I loved how many of the individual children resemble horror-flick denizens, like the blonde girl who looks like she stepped out of "Village of the Damned."

Despite the subject matter, "Frankenweenie" is sweet-natured and should be suitable for all but the smallest children. And adults will enjoy the references to classic horror creatures, especially the classic Universal Studios menagerie.

The film comes with a decent array of video extras, though you'll have to shell out for a higher price point Blu-ray edition to get the best stuff. The DVD comes only with one featurette, a "Touring Exhibit" of the Frankenweenie world, plus a music video.

Upgrade to the two-disc Blu-ray/DVD combo pack, and you add Burton's original "Frankenweenie" live-action short, the making-of doc "Miniatures in Motion: Bringing 'Frankenweenie' to Life" and an original animated short, "Captain Sparky vs. The Flying Saucers."

The four-disc combo pack also includes 3-D and digital copies of the film.

Movie: B
Extras: B

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Ambitious but not entirely successful, “Looper” (R, 119 min.) is much more than your standard science fiction action flick.

Writer/director Rian Johnson (“Brick”) has crafted a film that’s less concerned with the mechanics of time travel than with the ramifications it has on its characters. It also has one of the boldest casting movies of the year, with Bruce Willis and Joseph Gordon-Levitt playing the same man separated by 30 years in age.

Joe is an assassin, or “looper,” living in Kansas City circa 2044. The loopers kill victims sent back in time by a crime syndicate that runs everything in the future. Their careers are prosperous but brief – retirement comes when the victim who shows up to be assassinated is themselves, three decades into the future.

Unfortunately for Young Joe, Old Joe has apparently been preparing carefully for this day and manages to escape. This sets off a nasty temporal snafu, as well as pitting the two of them against each other and the entire looper operation.

Eventually, the story leads to a lonely farm where a protective young mother (Emily Blunt) guards her son Cid (Pierce Gagnon) from the world at large – for good reason, as it turns out.

“Looper” is bursting with originality, but the movie seems to spin sidewise from itself and lose focus. Eventually it all gets tied up in a satisfying way, even if the journey getting there isn’t always a smooth one.

The film is getting a terrific video release piled high with cool features, and you don’t have to pay top dollar for the Blu-ray edition to get lots of goodies.

The DVD comes with a feature-length commentary track by Johnson, and also includes Gordon-Levitt and Blunt. The best commentaries usually include both filmmakers and cast. The DVD also boasts an animated trailer, five deleted scenes with commentary, and two making-of featurettes about creating the story and the musical score.

Go for the Blu-ray, and you receive 17 more deleted scenes with commentary and another featurette, “The Science of Time Travel.”

Movie: B
Extras: A-

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A zippy, looper thrill ride of a movie, "Premium Rush" (PG-13, 91 min.) overcomes its paper-thin premise to deliver an enjoyable and well-crafted piece of entertainment.

The plot is silly to the point of absurdity: A maverick bike messenger named Wilee (Joseph Gordon-Levitt) is pursed all over New York City by a corrupt detective (Michael Shannon) who's after the documents he's transporting across town. Wilee may have a low-paying, no-respect job, but he takes it seriously and refuses to give in, even as the stakes are steadily ratcheted up into deadly territory.

"Once it goes in the bag, it stays in the bag," is his credo.

Director David Koepp, who also wrote the screenplay with John Kamps, shows a flair for action sequences as the bicycles weave perilously in and out of traffic that's constantly on the move. One of the coolest bits is Wilee's ability to analyze a situation and plot different outcomes on the fly. He's like the Rain Man of traffic patterns.

Shannon is both funny and frightening as the bad guy, a cop so underwater in gambling debts that lashes out like a man struggling for air. He's like a one-man circle of victimization, inflicting and receiving punishment in turn.

The really astonishing thing is that the cast and crew manage to engage us in this ridiculous potboiler on wheels, and actually care about the characters.

"Premium Rush" may not be a great film, but it goes to show that filmmakers can approach even the lightest material with devotion and come out ahead of the pack.

Alas, video extras are quite skimpy. They're limited to two making-of featurettes: "The Starting Line -- Meet The Cast" and "Behind The Wheels -- Featurette on the Action, Stunts and Chases."

Movie: B
Extras: D

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Fair warning: I'm much higher on "Trouble with the Curve" (PG-13, 111 min.) than most film critics, and apparently hold a loftier opinion of it than audiences did.

This drama starring Clint Eastwood as an aging baseball scout losing his eyesight only garnered modest interest at the box office, and only scored 52 percent on Rotten Tomates' aggregation of critic opinions. But I found it one of the most emotionally satisfying journeys I experienced in 2012, even if the screenplay is a little shaky in the details.

It's perhaps Eastwood's most sensitive performance, in which he shows real vulnerability and weakness. Gus Lobel may be ornery, but he loves the game like gospel and has the ability to see things others can't -- at least he could, before macular degeneration set in.

His daughter Mickey (Amy Adams) agrees to follow him on a big scouting trip to act as his eyes, and they struggle to reconnect after years of estrangement. Meanwhile, a former pitching prospect named Johnny (Justin Timberlake) who blew his arm out and became a scout, tags along as a rival and a love interest.

The storytelling wavers a bit here and there. Director Robert Lorenz and screenwriter Randy Brown, both rookies, try to wedge in some elements that don't really fit -- a confusing allusion to a harrowing experience in Mickey's childhood being a prime example.

But if the windup isn't always textbook, the delivery is right down the plate. "Trouble with the Curve" was one of my favorite films of 2012.

Alas, video extras are rather skimpy. The DVD comes with a single making-of featurette, "For the Love of the Game." Upgrade to the Blu-ray/DVD combo pack, and all you add is another featurette titled "Rising Through the Ranks."

Movie: B+
Extras: D+

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Jason Bourne is back! ...well, sorta.

The superspy franchise returns for a fourth outing, "The Bourne Legacy" (PG-13, 134 min.), but the amnesiac hero played by Matt Damon is nowhere to be found. Instead, it's about a new agent named Aaron Cross (Jeremy Renner). Like Bourne, he was an elite member of a CIA assassin squad that the bureaucrats have now decided is too dangerous to exist.

So all of the spook outfit's energies are devoted toward taking out their own spies, with new, even more dangerous wetboys assigned to do the dirty work. Based on the Bourne movies, apparently all the CIA does is kill its own agents, with each new batch taking out the last. It's a wonder they ever found bin Laden.

Director Tony Gilroy, who also co-wrote the screenplay, sets up a movie that is almost nonstop chases.

Maybe that's a good thing, because whenever the action stops long enough for the characters to talk to each other, it's pure death.

Rachel Weisz plays a doctor whose job it was to keep Cross and his chums doped up on pills that dramatically boosted their intelligence and physical abilities. He swoops into save her, and soon both are on the run.

"The Bourne Legacy" isn't boring, but it is pretty brain dead.

The video does come nicely stocked with extras. If you choose either the solo DVD or Blu-ray edition, you get deleted scenes, feature-length commentary by Gilroy and his production team, a making-of documentary and a breakdown of the motorbike chase sequence.

Upgrade to the combo pack, and you add a number of cool featurettes, including one about Cross' battle with wolves, and a digital copy of the film.

Movie: C
Extras: B

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The conclusion of the Batman collaboration between director Christopher Nolan and star Christian Bale is a big, ambitious film just like "The Dark Knight." And also like its predecessor, "The Dark Knight Rises" (PG-13, 165 min.) is overburdened with too many supporting characters and secondary plot lines.

As the story opens, it has been eight years since Bruce Wayne last donned the caped crusader's cowl. Peace has reigned throughout the land, but then a mysterious terrorist named Bane (Thomas Hardy) arrives. He handily defeats Batman in personal combat and takes the reins of Gotham City.

Meanwhile, super-thief Selina Kyle (Anne Hathaway) plays the lines of loyalty between the two, whispering ominously about a storm brewing to wipe the city's veil of security away.

The biggest problem with Bane, other than the fact that he pales in comparison to Heath Ledger's Joker, is that his motivations never really come into clear relief. Hardy's choice to play him with an odd speech cadence, coupled with Bane's metallic face mask, also make him difficult to understand.

Familiar faces return, including police commissioner James Gordon (Gary Oldman), loyal Wayne family butler Alfred (Michael Caine) and weapons guru Lucius Fox (Morgan Freeman). New on the block is Joseph Gordon-

Levitt as a young police detective whose importance becomes clearer late in the going.

It's still a worthy piece of filmmaking, especially for those who like their superhero tales in the dark-and-portentous mode. But I can't help thinking the finale would've been better stripped down and sleeker.

In terms of extras, Blu-ray is the only way to go for the serious videophile. The DVD comes only with a single featurette chronicling Bruce Wayne's journey from zero to hero.

The highlight of the Blu-ray edition is "Ending the Knight," a comprehensive making-of documentary examining virtually every aspect of the filmmaking process, from the story concept to special effects. It also includes a gallery of images and a documentary on the Batmobile, chronicling all five of the dark knight's motorized chariots.

Movie: B
Extras: B+

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