In the Underworld, Vampires are a secret clan of modern aristocratic sophisticates whose mortal enemies are the Lycans (werewolves), a shrewd gang of street thugs who prowl the city's underbelly. Noone knows the origin of their bitter blood feud, but the balance of power between them turns even bloodier when a beautiful young Vampire warrior and a newly-turned Lycan with a mysterious past fall in love. Kate Beckinsale and Scott Speedman star in this modern-day, action-packed tale of ruthless intrigue and forbidden passion ­ all set against the dazzling backdrop of a timeless, Gothic metropolis.

Destiny and love collide in this charming romantic comedy starring John Cusack (2012, AMERICA'S SWEETHEARTS) and Kate Beckinsale (PEARL HARBOR, UNDERWORLD). In the course of one magical evening, Jonathan (Cusack) and Sara (Beckinsale) meet unexpectedly, but part when she decides that fate must determine their future together. Years later, they are both engaged to others but cannot give up the dream that they will one day meet again. With a stellar supporting cast including Jeremy Piven and Molly Shannon, you're destined to fall for the surprising charms of this delightful big-screen romance.

Like a roller coaster ready to fly off its rails, Van Helsing rockets to maximum velocity and never slows down. Having earned blockbuster clout with The Mummy and The Mummy Returns, writer-director Stephen Sommers once again plunders Universal's monster vault and pulls out all the stops for this mammoth $148-million action-adventure-horror-comedy, which opens (sans credits) with a terrific black-and-white prologue that pays homage to the Universal horror classics that inspired it. The plot pits legendary vampire hunter Van Helsing (Hugh Jackman) against Dracula (the deliciously campy Richard Roxburgh), his deadly blood-sucking brides, and the Wolfman (Will Kemp) in a two-hour parade of outstanding special effects (980 in all) that turn Sommers' juvenile plot into a triple-overtime bonus for CGI animators. In alliance with a Transylvanian princess (Kate Beckinsale) and the Frankenstein monster (Shuler Hensley), Van Helsing must prevent Dracula from hatching his bat-winged progeny, and there's so much good-humored action that you're guaranteed to be thrilled and exhausted by the time the 10-minute end-credits roll. It's loud, obnoxious, filled with revisionist horror folklore, and aimed at addicted gamers and eight-year-olds, but this colossal monster mash (including Mr. Hyde, just for kicks) will never, ever bore you. A sequel is virtually guaranteed. --Jeff Shannon

Better action, a bit of sex, and gorier R-rated violence make Underworld: Evolution a reasonably satisfying sequel to 2003's surprise hit Underworld. Looking stunning as ever in her black leather battle gear, Kate Beckinsale is every goth guy's fantasy as Selene, the vampire "death dealer" who's now fighting to stop the release of the original "Lycan" werewolf, William (Brian Steele) from the prison that's held him for centuries. As we learn from the film's action-packed prologue, William and his brother Marcus (Tony Curran) began the bloodline of vampires and werewolves, and after witnessing centuries of warfare between them, their immortal father Corvinus (Derek Jacobi) now seeks Selene and the human vampire/lycan hybrid Michael (Scott Speedman) to put an end to the war perpetuated by Victor (Bill Nighy), the vampire warrior whose betrayal of Selene turns Underworld: Evolution into an epic tale of familial revenge. This ambitious attempt at Shakespearean horror is compromised by a script (by Danny McBride and returning director Len Wiseman, Beckinsale's real-life husband) that's more confusing than it needs to be, with too many characters and not enough storytelling detail to flesh them all out. Aspiring to greatness and falling well short of that goal, Underworld: Evolution succeeds instead as a full-throttle action/horror thriller, with enough swordplay, gunplay, and CGI monsters to justify the continuation of the Underworld franchise. If you're an established fan, this is a must-see movie; if not, well... at least it's better than Van Helsing! --Jeff Shannon

Kenneth Branagh's 1993 production of Shakespeare's Much Ado About Nothing is a vigorous and imaginative work, cheerful and accessible for everyone. Largely the story of Benedick (Branagh) and Beatrice (Emma Thompson)--adversaries who come to believe each is trying to woo the other--the film veers from arched wit to ironic romps, and the two leads don't mind looking a little silly at times. But the plot is also layered with darker matters that concern the ease with which men and women fall into mutual distrust. Branagh has rounded up a mixed cast of stage vets and Hollywood stars, among the latter Denzel Washington and Michael Keaton, the latter playing a rather seedy, Beetlejuice-like version of Dogberry, king of malapropisms. The DVD release has optional full-screen and widescreen presentations, Dolby sound, optional Spanish and French soundtracks or subtitles.--Tom Keogh

To call Pearl Harbor a throwback to old-time war movies is something of an understatement. Director Michael Bay's epic take on the bombing that brought the United States into World War II hijacks every war movie situation and cliché (some affectionate, some stale) you've ever seen and gives them a shiny, glossy spin until the whole movie practically gleams. Planes glisten, water sparkles, trees beckon--and Bay's re-creation of the bombing itself, a 30-minute sequence that's tightly choreographed and amazingly photographed, sets the action movie bar up quite a few notches. And in updating the classic war film, Bay and screenwriter Randall Wallace (Braveheart) use that old plot standby, the love triangle--this time, it's between two pilots (Ben Affleck and Josh Hartnett) and a nurse (Kate Beckinsale) who find themselves stationed at Pearl Harbor on December 7, 1941, during what they thought would be a nice, sunny tour of duty. Then, of course, history intervened.
br/> For the first 90 minutes of the movie, Affleck and Beckinsale find a nice, appealing chemistry that plays on his strengths as a movie star and hers as a serious actress--he gives her glamour, she gives him smarts. Their truncated romance--the beginning of which is told in flashback so we can get right to the point where he has to leave her to go to England--works, thanks to their charm. They're no Kate and Leo from Titanic (a strategy the film strives hard toward), but they're pretty darn adorable in their own right. Hartnett, as the not entirely unwelcome third wheel, squints bravely but makes only a slight dent in the film. Everyone else in Pearl Harbor--from Cuba Gooding Jr.'s brave navy seaman to Jon Voight's able impersonation of FDR--is pretty much a glorified walk-on, taking a backseat to the pyrotechnics and action sequences that keep the three-hour film in fairly constant motion. But when that action does take hold, Pearl Harbor is quite a thrilling ride. --Mark Englehart

Lone u.S. Marshal the only one assigned to antarctica must investigate a murder and track down a serial killer on the frozen continent within three days before the dark winter begins. Studio: Warner Home Video Release Date: 01/19/2010 Starring: Kate Beckinsale

One thing Robert De Niro can't be accused of is avoiding a challenge. Everybody's Fine obliges this respected actor, who made his bones playing dangerous, volatile men, to portray a low-key retiree named Frank Goode. Frank's wife has died, and since she alone kept them in touch with their four grown offspring, now scattered around the country, he's doubly cut off from family. When the Goode kids all find excuses to skip a planned reunion, Frank hauls out his suitcase and boards Amtrak with the intention of dropping in on each of them: the tightly wound Chicago ad exec (Kate Beckinsale), the Denver musician (Sam Rockwell) who's supposedly a symphony conductor, the sweet Vegas showgirl (Drew Barrymore), and the Greenwich Village artist son who's nowhere to be found. That son remains offscreen for the duration, and his portentous absence has the unintended effect of emphasizing what a hollow enterprise Everybody's Fine is. Don't blame the cast, who do yeoman work trying to define their long-unsatisfactory relationship as parent and children. None of the kids hate Dad; they just never found a measure of comfort with him, so now everybody, far from being fine, is living one fiction or another to keep it mellow. For his part, Frank suffers from an undefined illness brought on by his life's work making insulation for phone wires; and lo, throughout his journey we're urged to notice telephone cables slipping by outside the train or bus window--lines of communication!--even as the siblings are warily monitoring Dad's progress by cell phone. Writer-director Kirk Jones once made an ersatz-Irish movie, Waking Ned Devine (1997), that vulgarized ethnicity in the interests of cheap laughs and patronizing sentimentality. In Everybody's Fine Jones manages the neat trick of vulgarizing delicacy. The movie wants to pass for a sensitive meditation on the white lies people tell one another and themselves. But it so reeks of bad faith and calculation that the message isn't worth delivering. --Richard T. Jameson

A WORKAHOLIC ARCHITECT FINDS A UNIVERSAL REMOTE THAT ALLOWS HIM TO FAST-FORWARD AND REWIND TO DIFFERENT PARTS OF HIS LIFE.COMPLICATIONS ARISE WHEN THE REMOTE STARTS TO OVERRULE HISCHOICES.

The film opens with a day in a Los Angeles diner where a gunman enters and randomly opens fire on the customers at the tables and the staff serving them and then kills himself. We are forced to watch this happen but through the eyes of the people attempting to dodge the attack. Among these are a waitress (Kate Beckinsale), a man seated at the counter being denied attention as he glances at his new brochures on dealing with cancer (Forest Whitaker), a doctor (Guy Pearce), a young girl (Dakota Fanning) who witnesses the murder of her father, a young boy (Josh Hutcherson) whose terror results in his becoming mute, among others. The film then abruptly clips to the fragments that remain - the lives as being lived by the survivors as well as their families - a cast of brilliant cameos by Jeanne Tripplehorn, Jackie Earle Haley, Robin Weigert, Jennifer Hudson and Embeth Davidtz.

Inspired by true events. Kate Beckinsale and Academy Award® nominee Matt Dillon (Best Performance by an Actor in a Supporting Role for Crash, 2004) lead an all-star cast in this explosive story about a Washington, D.C. reporter who faces a possible jail sentence for outing a CIA agent and refusing to out her source. The all-star cast includes Academy Award® nominees Alan Alda (Best Performance by an Actor in a Supporting Role for The Aviator, 2004), Angela Bassett (Best Actress in a Leading Role for What's Love Got to Do with It, 1993); Emmy® Award nominee David Schwimmer (Outstanding Supporting Actor in a Comedy Series for Friends, 1994), Golden Globe® nominee Noah Wyle (Best Performance by an Actor in a Supporting Role in a Series, Mini-Series or Motion Picture for ER, 1997-99) and Vera Farmiga (The Departed).