Join the four best friends as they finish their first year of college and dive into a summer of excitement. Bridget (Blake Lively) journeys to Turkey on an archeological dig. Carmen (America Ferrera) plunges into the hectic, creative world of summer theater in Vermont. Lena (Alexis Bledel) discovers new love and old heartbreak at the Rhode Island School of Design. And in the Big Apple, Tibby (Amber Tamblyn) takes a big step in her relationship with Brian. Romance, laughs, tears and that magical pair of jeans that keeps the girls together even when theyre far apart all here in a heart-lifting second film based on Ann Brashares bestsellers. Its a perfect fit.

It always comes up when people are comparing their most traumatic movie experiences: "the death of Bambi's mother," a recollection that can bring a shudder to even the most jaded filmgoer. That primal separation (which is no less stunning for happening off-screen) is the centerpiece of Bambi, Walt Disney's 1942 animated classic, but it is by no means the only bold stroke in the film. In its swift but somehow leisurely 69 minutes, Bambi covers a year in the life of a young deer. But in a bigger way, it measures the life cycle itself, from birth to adulthood, from childhood's freedom to grown-up responsibility. All of this is rendered in cheeky, fleet-footed style—the movie doesn't lecture, or make you feel you're being fed something that's good for you. The animation is miraculous, a lush forest in which nature is a constantly unfolding miracle (even in a spectacular fire, or those dark moments when "man was in the forest"). There are probably easier animals to draw than a young deer, and the Disney animators set themselves a challenge with Bambi's wobbly glide across an ice-covered lake, his spindly legs akimbo; but the sequence is effortless and charming. If Bambi himself is just a bit dull—such is the fate of an Everydeer—his rabbit sidekick Thumper and a skunk named Flower more than make up for it. Many of the early Disney features have their share of lyrical moments and universal truths, but Bambi is so simple, so pure, it's almost transparent. You might borrow a phrase from Thumper and say it's downright twitterpated. —Robert Horton

One of the brightest nuggets from Disney's golden age, this 1937 film is almost dizzying in its meticulous construction of an enchanted world, with scores of major and minor characters (including fauna and fowl), each with a distinct identity. When you watch Snow White's intricate, graceful movements of fingers, arms, and head all in one shot, it is not the technical brilliance of Disney's artists that leaps out at you, but the very spirit of her engaging, girl-woman character. When the wicked queen's poisoned apple turns from killer green to rose red, the effect of knowing something so beautiful can be so terrible is absolutely elemental, so pure it forces one to surrender to the horror of it. Based on the Grimm fairy tale, Snow White is probably the best family film ever to deal, in mythic terms, with the psychological foundation for growing up. It's a crowning achievement and should not be missed. —Tom Keogh

Disney favorites Donald and Daisy experience the ups and downs of friendship in this new collection of eight laugh-out-loud classic shorts. With nephews Huey, Dewey, and Louie frequently underfoot, Donald does his best to woo Daisy with some sweet-talking in "Donald's Dream Voice," fancy dance moves in "Mr. Duck Steps Out," and a dapper new demeanor in "Cured Duck," and "Donald's Double Trouble." Dive into fun and adventure with Donald, Daisy, and their best pals. You're sure to "quack up" at all their hilarious antics.

For Jimmy Smith, Jr. (Eminem), life is a daily fight just to keep hope alive. Feeding his dreams in Detroit?s vibrant music scene, Jimmy wages an extraordinary personal struggle to find his own voice ? and earn a place in a world where rhymes rule, legends are born and every moment? is another chance.

Maggie and Rose are both best friends and polar opposites when it comes to values, goals and personal styles. Maggie is a party girl who barely graduated from high school, recycles jobs as quickly as yesterday's newspapers and believes her biggest asset is her attractiveness to the opposite sex. Rose is a Princeton educated attorney at a top law firm in Philadelphia. Her low self-esteem regarding her physical appearance has left her dating life non-existent. Rose's one joy in life is shoes (because they always fit), but unfortunately she has few social opportunities to remove them from her closet. After a calamitous falling out, the two sisters travel a bumpy road toward true appreciation for one another—aided along the way by the discovery of the maternal grandmother they thought was dead. Through their re-connection with their grandmother, Ella, Maggie and Rose learn how to make peace with themselves and with each other.

Ante up for a sure entertainment bet from L.A. Confidential director Curtis Hanson, who co-wrote this charmer with fellow Academy Award winner Eric Roth (Forrest Gump). Pro gambler Huck Cheever (Eric Bana) meets irresistible Billie Offer (Drew Barrymore) and learns to treat love the way he treats cards: trusting his heart instead of his head. He also scrambles to raise the entry fee for the high-roller World Series of Poker, even though - or maybe because - the tournament may pit him against his estranged father (Robert Duvall), a two-time Series winner.

DVD Features:
Deleted Scenes
Featurette

Ante up for a sure entertainment bet from L.A. Confidential director Curtis Hanson, who co-wrote this charmer with fellow Academy Award winner Eric Roth (Forrest Gump). Pro gambler Huck Cheever (Eric Bana) meets irresistible Billie Offer (Drew Barrymore) and learns to treat love the way he treats cards: trusting his heart instead of his head. He also scrambles to raise the entry fee for the high-roller World Series of Poker, even though - or maybe because - the tournament may pit him against his estranged father (Robert Duvall), a two-time Series winner.

DVD Features:
Deleted Scenes
Featurette

"Brace yourself" (Rolling Stone) for a raw, revealing insight into urban adolescence that's so intense and realistic, "it's possible to turn away (Interview Magazine). Anxiously trying to fit into the peer-pressure cooker environment of junior high, thirteen-year-old Tracy (Evan Rachel Wood) goes to shocking lengths in order to befriend Evie (co-writer Nikki Reed), the most popular girl in school. Now the two are inseparable - and incorrigible - leaving Tracy's desperate mom (Academy Award winner Holly Hunter) powerless to rescue her from a whirlwind of drugs, sex and crime.

Bella Swan (Kristen Stewart) doesn’t expect much when she moves to the small town of Forks, Washington, until she meets the mysterious and handsome Edward Cullen (Robert Pattinson)—a boy who’s hiding a dark secret: he’s a vampire. As their worlds and hearts collide, Edward must battle the bloodlust raging inside him as well as a coterie of undead that would make Bella their prey. Based on the #1 New York Times best-selling sensation by Stephenie Meyer, Twilight adds a dangerous twist to the classic story of star-crossed lovers.

DVD features:
Presented in widescreen format onlyAudio commentary by Catherine Hardwicke, Kristen Stewart, and Robert PattinsonMuse music video: "Super Massive Black Hole"Paramore music video: "Decode"Linkin Park music video: "Leave Out All the Rest"Five extended scenes with director introductionsFive deleted scenes with director introductionsSeven-part documentary: "The Adventure Begins: The Journey from Page to Screen"Comic-Con "fandom" pieceComic-Con NY sizzle reel
Three trailersPenelope trailer

In 1692, in the Ipswich Colony of Massachusetts, five families with untold power formed a covenant of silence. One family, lusting for more, was banished, their bloodline disappearing without a trace. Until now.

Four young students at an elite private school who are descendants of the original families who settled in Ipswich Colony in the 1600s, are bound by their sacred ancestry and special powers. When the body of a dead student is discovered after a party, secrets begin to unravel that threaten to break the covenant of silence that has protected their families for hundreds of years.

Gregory McDonald's lightweight mystery novel about an undercover newspaper reporter cracking a police drug ring is transformed by screenwriter Andrew Bergman (Blazing Saddles, and writer/director of The Freshman and Honeymoon in Vegas) into a fairly sarcastic and occasionally very funny Chevy Chase vehicle. Enjoyment of the film pivots on whether you find Chase's flippant, smart-ass brand of verbal humor funny, or merely egocentric. If you don't like Chase, there's really no one else worth watching (Geena Davis is sadly underused). Chase seems born to play I.M. "Fletch" Fletcher, a disillusioned investigative reporter whose cynicism and detached view on life mirrors the actor's understated approach to comedy. Fletcher offers Chase the opportunity to adopt numerous personas, as his job requires numerous (bad) physical disguises, and much of film's humor centers on the ridiculous idea that any of these phony accents or bad hairpieces could fool anyone. These not-so-clever disguises are put to use when Fletch becomes involved in the film's smart but continually self-mocking two-part mystery. As well as trying to gather drug-smuggling evidence against the LAPD for a long-overdue newspaper story, a rich and apparently terminally ill stranger also offers Fletch a large payoff to kill him. While the film does a fairly good job juggling both of these plots, not to mention tossing in a love interest as well, it's subservient, for better or worse, to Chase's memorable one-liners and disguises. Followed by two forgettable sequels that lack both the original's wit and Chase's attention span. —Dave McCoy

Before his movie career completely tanked, Chevy Chase made one of the few films that gave him a chance to display his comic versatility: 1985's Fletch, the Michael Ritchie-directed comedy about an investigative reporter who specializes in going undercover on big stories. Lightning, however, didn't strike twice when Ritchie and Chase went back to Gregory MacDonald's novels for a second helping. This sequel features Chase once again as Fletch, super-reporter, who heads from L.A. to the South, where he supposedly has inherited an estate. Before long, he's become involved in a murder plot and is trying to stay out of the killer's sights himself. The material is considerably weaker, revealing Chase's shortcomings as an ad lib comic. —Marshall Fine

Before his movie career completely tanked, Chevy Chase made one of the few films that gave him a chance to display his comic versatility: 1985's Fletch, the Michael Ritchie-directed comedy about an investigative reporter who specializes in going undercover on big stories. Lightning, however, didn't strike twice when Ritchie and Chase went back to Gregory MacDonald's novels for a second helping. This sequel features Chase once again as Fletch, super-reporter, who heads from L.A. to the South, where he supposedly has inherited an estate. Before long, he's become involved in a murder plot and is trying to stay out of the killer's sights himself. The material is considerably weaker, revealing Chase's shortcomings as an ad lib comic. —Marshall Fine