Twenty-four hours of an agent's attempt to stop a terrorist plot while caught up in a conflict between government agencies.
Genre: Television
Rating: NR
Release Date: 5-DEC-2006
Media Type: DVD

Oh boy. Here we go again! Just another exciting day in the life of 24 super-agent Jack Bauer (Kiefer Sutherland). The season kicks off with a deadly terrorist strike resulting in the kidnapping of his new boss, the U.S. Secretary of Defense James Heller (William Devane). Although a fired, ex-employee of the Counter Terrorist Unit (CTU), it is no surprise who is going to shift into full gear to bring the terrorists to justice. However, it doesn't take the super-agent long to discover the kidnapping of his boss is part of a much larger plan, master-minded by Habib Marvan (Arnold Vosloh) the middle eastern terrorist cell leader the US government has been trying to track down for years. Considered by many to be the best season of the first four, 24 - Season 4 is a definite departure from the first three seasons. First, the cast is almost entirely new. Second, the pacing of each episode does not seem as frantic. There appears to be a shift from the reliance on plot-shifting cliff hangers (which in some ways dragged down the quality of Season 3), to a focus on complex, over-arcing, multiple storylines, albeit very violent. What may be missing in superficial action clichés is definitely compensated for in a richer plot. That's not to say the show has slowed down; it's still amped up beyond anything else on TV, but compared to the previous seasons, 24 has gotten a lot smarter, and in turn, better. —Rob Bracco

Such a simple idea—yet so fiendishly complex in the execution. 24, as surely everyone knows by now, is a thriller that takes places over 24 hours, midnight to midnight, in 24 one-hour episodes (well, 45-minute episodes if you subtract the commercials). Everything takes place in real time, which means no flashbacks, no flash-forwards, no handy time-dissolves. Every strand of the plot has to be dovetailed and interlocked so things happen just when they should, in the right amount of time. Not that easy.

Creator Robert Cochran and his team of writers and directors have done an impressive job of putting the jigsaw together and keeping the tension ratcheted up high, as federal agent Jack Bauer (Kiefer Sutherland) runs around L.A. trying to stall an assassination attempt on an African American presidential candidate and rescue his wife and daughter from the clutches of the Balkan baddies. Twists, turns, revelations, and cliffhangers are tossed at us with satisfying regularity. It's not perfect: we get some hokey plot devices (instant amnesia, anybody?); the final twist makes no sense whatsoever; there are altogether too many huggy family moments; and as for Dennis Hopper's "Serbian" accent....

Even so, this is undeniably mold-breaking TV. Sutherland, rescuing his career from the doldrums in one heroic leap, fully deserves his Golden Globe. Sets and locations are artfully deployed, and Sean Callery's score is a powerful, brooding presence. Like Murder One and The Sopranos, 24 is one of those series that future TV thrillers will be measured against. —Philip Kemp

There's not one cougar to be found in 24's dynamic third season, and that's good news for everyone. After Jack Bauer's daughter Kim (Elisha Cuthbert) survived hokey hazards in season 2, she's now a full-time staffer at CTU, the L.A.-based intelligence beehive that's abuzz once again—three years after the events of "Day Two"—when a vengeful terrorist threatens to release a lethal virus that could wipe out much of the country's population. Jack (Kiefer Sutherland) attempts to broker a deal for the virus involving drug kingpin Ramon Salazar (Joaquim de Almeida), whose operation Jack successfully infiltrated at high personal cost: to maintain his cover, he got hooked on heroin. That potentially deadly triangle—drug lords, addiction, and bioterrorism on a massive scale—sets the 24-hour clock ticking in a tight, action-packed plot involving a potential traitor in CTU's midst; the return of TV's greatest villainesses in Nina Meyers (Sarah Clarke) and former First Lady Sherry Palmer (Penny Johnson Jerald); a troubled romance between Kim and Jack's new partner Chase (James Badge Dale); and a scandalized reelection campaign by president David Palmer (Dennis Haysbert), who monitors CTU as they struggle to (literally) save the day.

The intricately woven subplots that are 24's greatest strength are masterfully developed here, and character arcs are equally strong, especially among CTU staffers Tony (Carlos Bernard) and his wife Michelle (Reiko Aylesworth); CTU director Ryan Chappelle (Paul Schulze), who is season 2's tragic bargaining chip; and the annoying but well-intentioned Chloe O'Brian (Mary Lynn Rajskub), who makes pivotal contributions with by-the-book efficiency. It's 24's superior casting that overcomes the series' occasional lapses in credibility, and season 3's twists make marathon viewing a nerve-wracking delight. By the time it's all over, 24 once again leaves you gratefully exhausted. As always, Sutherland anchors the series in the role he was born to play. When Jack takes a private moment to release 24 hours' worth of near-fatal tension and psychological anguish, Sutherland proves that 24's dramatic priorities are as important as its thriller momentum. DVD extras include behind-the-scenes featurettes (about the prison break sequence, climactic F-18 Hornet air-strike, and real-life bio-weaponry) that pay welcome tribute to the series' hard-working crew, who create Emmy-worthy television under pressures as intense as 24 itself. —Jeff Shannon

Jack Bauer is having another one of his "very bad days" in the second season of the groundbreaking real-time thriller 24. Once again the hours are ticking by with more guaranteed cliffhangers than a convention of mountain climbers. Holed up in a Los Angeles condo and estranged from his daughter, Jack is no longer on the government payroll; unfortunately for him, this small fact doesn't seem to matter to President David Palmer and the NSA, who call him back in to the CTU and give him 24 hours to infiltrate a terrorist organization that is planning to detonate a dirty bomb in the city of angels. All Jack wants is to get his daughter out of the city, unfortunately Kim's new employer, the abusive father of the child she is nannying, has other ideas.

Fans of the original won't be disappointed, as there are more than enough shock moments in the first few hours to hint at the climactic build-up to come, while newcomers can quickly get involved in the lives of Jack and his family. There are some new characters to bolster the veteran cast and, interestingly (although not surprisingly), Jack's character has taken an altogether darker, more psychopathic turn. The danger the characters find themselves in also has a much more global, not to mention topical, impetus, grounded as it is in the war against terrorism. Although the territory is more familiar this time around, this second season is just as much a high-tension, taut, adrenalin-fuelled ride as the first, and one that will have you glued to your TV for the next 24 hours. —Kristen Bowditch

Back in 1961, Walt Disney got a little hip with 101 Dalmatians, making use of that flat Saturday morning cartoon style that had become so popular. The result is a kitschy change in animation and story. Pongo and Perdita are two lonely dalmatians who meet cute in a London park and arrange for their pet humans to marry so they can live together and raise a family. They become proud parents of 15 pups, who are stolen by the dastardly Cruella De Vil, who wants to make a fur coat out of them. Cruella has become the most popular villain in all of Disney; she's flamboyantly nasty and lots of fun. But it's the dalmatians who shine in this endearing classic, particularly those precocious pups. Telling the story from the dogs' point of view is a clever conceit, a fundamental flaw of the live-action remake. —Bill Desowitz

ABOUT A BOY - DVD Movie

Across the Universe, from director Julie Taymor, is a revolutionary rock musical that re-imagines America in the turbulent late-1960s, a time when battle lines were being drawn at home and abroad. When young dockworker Jude (Jim Sturgess) leaves Liverpool to find his estranged father in America, he is swept up by the waves of change that are re-shaping the nation. Jude falls in love with Lucy (Evan Rachel Wood), a rich but sheltered American girl who joins the growing anti-war movement in New York's Greenwich Village. As the body count in Vietnam rises, political tensions at home spiral out of control and the star-crossed lovers find themselves in a psychedelic world gone mad. With a cameo by Bono, Across the Universe is "the kind of movie you watch again, like listening to a favorite album." (Roger Ebert, Chicago Sun-Times)