In this issue, we celebrate the returns - in alternate incarnations - of James T. Kirk and Sacha Baron Cohen.

Star Trek
(PG-13, Now Available)

The term "reboot" has been a popular one in recent years. "Batman Begins" and "Casino Royale" were both outstanding rejuvenations of struggling franchises. Now "Star Trek" is giving it a try with its latest entry, a film simply called "Star Trek."

J.J. Abrams's film takes us back to the beginning. In fact, James Tiberius Kirk isn't even born until the end of a spectacular opening sequence in which his father gives his life to save nearly a thousand from the vengeful Romulan, Nero (Eric Bana). Nero's on the trail of Spock, even though he is also unborn. That's right, kids. Time travel is a plot device in "Star Trek." What's noteworthy is the clever use of time travel in this film. It allows for some subtle--and some not so subtle--changes in characters, motivations, and "Star Trek" canon, which I won't spoil for you here.

The childhoods of Kirk and Spock are briefly touched on before we catch up with the reckless teenage Kirk (Chris Pine), as he hits on Uhura (Zoe Saldana) and picks a fight with four large members of Starfleet Academy. He's headstrong and brash, but Captain Christopher Pike (Bruce Greenwood) sees something in the young man and invites him to come to the Academy. "In four years you could be an officer. In eight, you could have your own ship," Pike tells him.

And so begins the journey of James T. Kirk.

Written by Roberto Orci and Alex Kurtzman ("Transformers"), "Trek" introduces us to the characters we all know and love while constantly keeping things moving. Abrams never slows down as we meet Bones (Karl Urban), Sulu (John Cho), Chekhov (Anton Yelchin), and quite far into the film, Scotty (Simon Pegg). Only Kirk, Spock (Zachary Quinto), and to a lesser extent, Uhura, are allowed much time for character development. However when you consider how fully Kirk and Spock are developed, particularly the dynamics of their legendary friendship, it's an acceptable sacrifice.

Quinto does a fine job as Spock, but Pine is really fantastic. He never makes the mistake of trying to ape William Shatner. He fearlessly and unapologetically makes the character his own. The scene in which we see Kirk take the Kobayashi-Maru Test (much discussed in "The Wrath of Khan," the best "Trek" movie) is an instant classic. The rest of the supporting cast does terrific work as well, with Urban and Pegg as wonderful comic relief.

"Star Trek" is an absolute blast and the most fun a "Trek" film has been since James Doohan beamed up some whales. I can't speak for the fanboys, but as a casual "Star Trek" fan, I was highly entertained. I get the feeling and I enjoyed this one even more the second time around. Bob out. 9/10.

Bruno
(R, Now Available)

In 2006, Sacha Baron Cohen gave us "Borat: Cultural Learnings of America For Make Benefit Glorious Nation of Kazakhstan" (I love saying the full title). It was a film that not only pushed the envelope, it tore the envelope into tiny pieces. With "Bruno" he's given us a film that pours gasoline on those pieces and sets them on fire before urinating on them. If the end of that sentence grossed you out, stay far away from this one.

Bruno (Cohen) is an Austrian fashion reporter with dreams of becoming "uber-famous." Like "Borat," "Bruno" is a combination of staged bits and real world interactions between Cohen's character and his unsuspecting victims.

The first of his treks into reality (if you can call a European fashion show reality) comes when he disrupts a star-studded fashion event with an all Velcro suit that comes close to truly bringing down the house. Banned from the major European shows, Bruno must come to America. With his loyal assistant Lutz (Gustaf Hammarsten) by his side, Bruno goes to Hollywood, believing the best way to become "uber-famous" is to become an actor. When that fails he doesn't become discouraged. He decides that interviewing the beautiful people in Hollywood will be the key to success. Unfortunately they're saying no. "Wilhelm Schmidt? Bradolf Pittler?" No.

When "Borat" came along, we'd never really seen anything like it. It was the most inspired kind of comic lunacy imaginable. Cohen gave himself a lot to live up to, and it would be impossible to replicate the freshness of "Borat." What "Bruno" lacks in its ability to surprise, it tries to make up for by going to greater lengths of insanity. It's not always successful comically, but it is more often than not, and no one can question Cohen's fearlessness.

No one, and I mean NO one else would travel to the Middle East, or "ze Middle Earth" as Bruno calls it, to prank Israeli and Palestian officials or tell a terrorist, "Your king Osama looks like a kind of dirty wizard or homeless Santa Claus." With "Borat" I often thought, "He's lucky he didn't get beaten up." With "Bruno" I thought, "He's lucky he didn't get murdered."

The real difference in feel between this film and "Borat" is that in "Bruno" there are times when Cohen doesn't seem to want the laugh, even the shocked laugh. He just wants us to be shocked and horrified by people at their absolute worst. It's difficult to laugh when a woman is seriously agreeing that her baby undergo liposuction to get chosen for a photo shoot.

Once again, Sacha Baron Cohen has turned the mirror on society and the results are often less than flattering. "Borat" was a funnier movie, but "Bruno" is still very funny, and undoubtedly the more shocking film. That may not be what we wanted as an audience but I think that's what Cohen was going for. On those terms it's most definitely a success. 7.5/10.

Also Coming to DVD and Blu-Ray

Now Available:
Fight Club (Blu-Ray)
Gone With the Wind (Blu-Ray)
The Professional (Blu-Ray)
Galaxy Quest (Blu-Ray)

Nov. 24:
Angels & Demons (PG-13)
Funny People (R) - 6/10
Four Christmases (PG-13)