Albert Finney and Carol Burnett are not up to their usual shining excellence (Burnett hams unfunnily, Finney tries too hard to be a musical comedy charmer, which he isn’t), 11-year-old Aileen Quinn is a decent Annie and there’s good support by Ann Reinking, Bernadette Peters and Geoffrey Holder. The Blu-ray image isn’t bad; extras include Quinn’s reminiscence.

The gloriously simple visuals are enhanced by hi-def, and if the extras leave something to be desired—featurettes, alternate opening, unneeded new short, Tangled Ever After—it’s the original film that counts.

Michelle Pfeiffer and Johnny Depp come off best; Eva Green, Jonny Lee Miller, Helena Bonham Carter and talented young Chloe Grace Moritz are wasted. Subtle color changes look terrific on Blu-ray; extras are featurettes and deleted scenes.

Moore and a blistering rhythm section tear through a dozen classic Hendrix tunes, from the opening “Purple Haze” to the encore “Voodoo Child (Slight Return),” which features Jimi’s bandmates Mitch Mitchell on drums and Billy Cox on bass. The hi-def image is clear, the surround sound audio is exemplary.

For those viewers who favor pulchritude, one of the most glamorous actresses I’ve ever seen, Chanokporn Sayoungkul, shows off her ample histrionic talents. The hi-def transfer is stunning; there’s an English language dub.

The prosthetic nose helps, but Nicholson plays Hoffa as a real man, not a “character,” and the film—whose epic scale is handled well by director Danny DeVito, who also decently enacts Hoffa’s right-hand man—is all the better for it, despite a draggy 140-minute running time. There’s a good hi-def transfer; extras include DeVito’s commentary, interviews, deleted scenes and DeVito’s 2011 Teamsters convention speech.

The dark, shadowy visuals have been faithfully transferred to Blu-ray; extras include interviews, featurettes, deleted scenes, audio commentary and gag reel.

As the movie marches to a predictably happy conclusion, the actors led by Pine, Michelle Pfeiffer (mom) and Elizabeth Banks, fantastic as his half-sister keep things percolating despite a morass of clichés. The Blu-ray image is quite good; extras include deleted scenes, gag reel, audio commentary and making-of featurette.

The guest star quotient is less interesting than the previous season: the likes of Kristen Wiig and Eddie Vedder don’t cut it. The hi-def image is solid; extras include featurettes, commentaries and director’s cuts of episodes.

Spiced up by formidable acting by Jackson, Tom Wilkinson as a chilling head gangster and Ruth Negga as the gal helping Jackson escape his former life, David Weaver’s movie is recommendable, even if it’s ultimately the same wine in new bottles. The hi-def image is excellent.

Beatles, director Seth Swirsky’s pet project, includes interviews with celebrities about their brush with greatness—meeting one or more of the Beatles. Aside from the usual suspects (producer George Martin and engineer George Smith), fond memories from the likes of Henry Winkler, Susanna Hoffs, Ben Kingsley and Art Garfunkel are included. Plymptoons extras are deleted scenes and featurettes; Beatles extras are additional interviews.

Throughout the 22 episodes, Bilson contends with Southern stereotypes of the laziest sort; she’s adorable as always; Jobeth Williams and Nancy Travis and Tim Matheson and Jaime King compensate. Extras include gag reel, deleted scenes and interviews with cats and creators.

Hilarious cameos by Katie Holmes as the slutty pumpkin and Chris Elliott as Allyson’s father help. Extras include commentaries, deleted scenes, featurettes and a gag reel.

For anyone with an open mind, Wright explains our own complicity in the rise of fundamentalist terrorism, but only points fingers at those killing in the name of jihad.

Surviving is an eye-opening expose about our planet’s ability—and possible inability—to sustain life for billions of people. Both documentaries are, despite their explosive content, even-handed and sober explorations. Extras include interviews.

The music is negligible, but personality clashes provide priceless entertainment, and Bree Olson, the band’s porn star manager—and infamous paramour of Charlie Sheen—is a true on-camera star, and makes up for a loathsome cousin who becomes Tight’s assistant manager. Extras include videos, concert footage, and deleted scenes.

Although Lucy Punch and Toby Stephens have good back-and-forth chemistry, the show is otherwise routine, and efforts at clowning are more in bad taste than punchy black comedy. The first series comprises three episodes; Punch left after it finished, so Stephens gets another partner for the next season.

Hawke is fine in a bilingual role and Scott Thomas is always superb, but the movie—a mere 85 minutes—is less fully-realized than a barebones outline. The lone extra is a making-of featurette.

The two books of keyboard pieces, even more so than The Art of the Fugue and The Goldberg Variations, are a veritable encyclopedia of Bach’s easy mastery of different styles. Schiff plays with authority, and his balance of majestic sweep and intimate feel brings out these immortal works’ innate musicality.