The Artist Oscars Winners DVD

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A murder mystery rife with suspense, scandal, sexual abuse, and several supremely intriguing characters, The Woman with the Dragon Tattoo is definitely an excellently crafted film adaptation of Stieg Larsson's equally fascinating book from the same name. Larsson's book was also the cornerstone of the 2009 Swedish film (also with all the same title), even though the Swedish film was good, this American version is way superior, thanks to fantastic cinematography and livelier pacing that results in a very constant, electric tension that drives every second in the movie. The breathtaking footage of the snowy, remote island in Sweden thoroughly exudes bitter cold, along with the attention towards the smallest details, just like the whistling from the wind through a door left ajar, makes all the hairs about the back of viewers' necks absolutely prickle. Like the book, the film is long (158 minutes), there's an abundance of dialogue that is never awkward and try to efficient, and there are lots of false endings. The suspense along with the intricacy from the mystery are stellar, as well as viewers who know the story well will quickly realize themselves sucked into the riddle being investigated by journalist Mikael Blomkvist (Daniel Craig). The casting is great, as include the performances coming from all the real key actors, but undoubtedly the smartest thing about it film is Rooney Mara, that is utterly believable as the incredibly strong, extremely disturbed Lisbeth Salander, Blomkvist's unlikely assistant. Mara's performance is chillingly real and completely riveting. Yorick van Wageningen is perfectly despicable as Nils Bjurman (though his scene with Salander is guaranteed to prove highly disturbing to many viewers), Christopher Plummer is definitely an effective Henrik Vanger, and Stellen Skarsgård is eerily frightening as Martin Vanger. Viewers can only hope that director David Fincher, screenplay writer Steven Zaillian, and actors Craig and Mara continue their collaboration to produce films based around the final two books of Larsson's Millennium trilogy. --Tami Horiuchi

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In resourceful orphan Hugo Cabret (Asa Butterfield, an Oliver Twist-like charmer), Martin Scorsese finds the perfect vessel for his silver-screen passion: this can be a movie about movies (fittingly, the 3-D effects are spectacular). After his clockmaker father (Jude Law) perishes in a very museum fire, Hugo goes to call home regarding his Uncle Claude (Ray Winstone), a drunkard who maintains the clocks with a Paris train station. When Claude disappears, Hugo carries on his work and fends for himself by stealing food from area merchants. In his free time, he attempts to repair an automaton his father rescued from your museum, while attempting to evade the station inspector (Sacha Baron Cohen), a World War I veteran without having sympathy for lawbreakers. When Georges (Ben Kingsley), a toymaker, catches Hugo stealing parts for his mechanical man, he recruits him being an assistant to repay his debt. If Georges is guarded, his open-hearted ward, Isabelle (Chloë Moretz), introduces Hugo with a kindly bookseller (Christopher Lee), who directs them to a motion-picture museum, where they meet film scholar René (Boardwalk Empire's Michael Stuhlbarg). In helping unlock the key of the automaton, they learn regarding the roots of cinema, starting using the Lumière brothers, and offer a forgotten movie pioneer his due, thus illustrating the value of film preservation, a cause to that the director has dedicated his life. If Scorsese's adaptation of The Invention of Hugo Cabret isn't his most autobiographical work, it just could be his most personal. --Kathleen C. Fennessy

Welcome with a magical realm of spectacular adventure! When wily and resourceful Hugo discovers a secret left by his father, he unlocks a mystery and embarks over a quest which will transform those around him and lead to a safe and loving place he is actually able to call home. Academy Award®-winning filmmaker Martin Scorsese invites one to experience a thrilling journey that critics are calling “the stuff that dreams are manufactured of.” *Peter Travers, Rolling Stone