For the longest time, I felt like I was the only person watching Hell On Wheels. I don’t know why I would receive blank stares when I mentioned the show, which had quickly become my favorite on television after only the second or third episode, but I would try and convince anyone who would listen that there were other worthwhile shows on TV other than The Walking Dead and Breaking Bad. On the same network, even. A few listened, a few had their eyes glaze over at the lack of zombies, bald drug dealers or 50’s-era advertising executives making snide quips, however; the few who listened were mighty pleased they did.

What I loved about 1997’s Men in Black was it embraced its own corniness. The aliens were over-the-top and blew up like jello molds; the sets had a distinct comic book feel to them; and the story balanced workplace comedy with fantastical backdrops. The style worked, propelling the film to financial and critical greatness. But I lost all hope when a sequel dropped in 2002 and turned out to be just a cash grab. However, this summer's Men in Black III is a surprise return to form that, while flawed, breathes new life to a franchise none expected to make a comeback. 

I truly believe that when the book is written on Diablo 3 that one word will sum up the game better than anything else: frustration.

Like so many of millions of other gamers, I have waited more than a decade for the next title in the Diablo library.  I understood a long time ago that Blizzard was a developer that never rushed a product, and that required patience as a fan.  It doesn't help that on the night of the launch of their product that their servers were completely overwhelmed, leaving people like me who have been anxiously waiting thinking that their patience had been reward staring at a screen that basically said, “Sorry, game ain't working yet.”  Within a single night, Blizzard proved that the constant internet connection is a terrible idea. 

It's been ten years since Come Away With Me was released and it seems like now, more than ever, that Norah Jones will forever live in the shadow of her debut album. Jones may be most famous for her sultry voice, but her overnight success is one of the best pop music stories of the new century. From virtually unknown to Grammy darling, Jones shed her backup singer job to become both an actress and a pop superstar. Her inconspicuous debut was released quietly on Blue Note Records in '02, but would go on to sell tens of millions of copies world wide (it's been certified Diamond in three countries). With so much acclaim and fandom to live up to, it's really no wonder that Jones has struggled to regain the relevance that was bestowed upon her a decade ago.

There may be no official secret to success in the music industry, but if the ongoing stream of biopics is to be believed, there's a pretty sure pattern: develop a serious drug habit, have a testy relationship with your father, and have at least one popular song that reflects your life story that could be played over closing credits. Worried About The Boy doesn't do anything to break that trend, but it's not an especially poor example of it, at least for television.

When a movie’s packaging boldly advertises “From the Producer of Ghost Rider: Spirit of Vengeance and The Director of The Thirteenth Floor,” a movie from 1999 that most people won’t even recognize, it should seem pretty clear that you’re embarking on a movie that will be down the middle of the road at best. Beyond is exactly that, despite a stellar cast that includes Academy Award-Winner Jon Voight, the endearing Dermot Mulroney, and Teri Polo in the only role she’s immediately recognizable in outside of the Meet the Parents trilogy.

John Koski (Voight) is a detective in Anchorage, Alaska who happens to specialize in missing children; a convenient fact when his boss, the Chief of Police’s (Mulroney) niece up and disappears. What begins as a routine investigation is quickly railroaded by the Chief’s overzealous wife (Polo), who enlists the help of a tabloid psychic (Julian Morris), who dubiously claims that he’s in touch with the child thanks to the involvement of a ghost.

His name is Michael Weston. He used to used to be a spy. No, that's not a typo but rather a little bit of proof that even Burn Notice's writers tired of the "client-per-episode" formula and decided that Michael's quest to be reinstated  meaning he was disavowed, but he's back again. Unfortunately for him, getting back in the CIA doesn't make his life easier. At least when he was out from under the CIA's wing the bright Miami sun made it clear who were his friends and who were his foes, but back in the ranks of the shadowy organization, everything is a shade of grey. The fifth season is a noticeable change for the show, but it remains as solid a television spy thriller as ever.

With the sixth season set to start on June 14th, the 5th season hits DVD on June 5th and we've got three copies to give away. To find out how you can win one, just keep reading.

Anders (Anders Danielsen Lie) is a thirty-four-year-old recovering drug addict. Soon to complete his rehabilitation in the countryside, he’s allowed to go into the city for a job interview. Using the opportunity to explore Oslo, he’s confronted by the ghosts of his troubled past.

Directed by Joachim Trier (whose 2006 debut, Reprise, made a splash in European markets and amongst critics), Oslo, August 31st opens with a series of individuals sharing their memories of the Norwegian capital city. They recall pleasant experiences with friends and family—a huge leap from the loneliness that follows. We don't see them onscreen, but hear their stories through voice-overs. They're disembodied fixtures in Anders's journey to adapt back into everyday life. Loosely based on Pierre Drieu La Rochelle's novel "Le feau follet," the movie makes it a point that, despite his personal pains, August 31st is just another day for Oslo and its citizens.

It’s hard to say exactly when it happened, but the general level of analysis featured in The Universe has taken a considerable dip from its first season to its sixth. At the start, the explanations featured CG imagery to simulate the concepts the highly learned talking heads were discussing each episode, but now it comes closer to the Bill Nye the Science Guy or Beakman’s World level of explanation. Instead of catering to the audience that got them this far and which understood concepts like quasars and hadron colliders without a corny hands-on example, The Universe now cuts to “hands-on” demonstrations that dumb down concepts in comparisons to things like two remote controlled cars colliding head on or a cannon ball being fired at a model of Mercury.