Even Cheaper Blu ULTRON!! Cheapest Ever Blu BLACK LAGOON, FRANKENWEENIE!! Blu SOUTH PARK, LEFTOVERS!

Also This Week: Cheapest Ever Blu CAPE FEARs, WILD ONE, SECRET IN THEIR EYES, DRACULA UNTOLD & ESCAPEES!! Blu HANNIBAL, SHAMELESS, BANSHEE, 10TH KINGDOM, AMERICAN HORROR STORY, PENNY DREADFUL, VIKINGS & BIG BANG THEORY!! PARTY DOWN, PEAKY BLINDERS, AIRBENDER, ATOM ANT, WONDER YEARS, SCOTT AND BAILEY, SILENT WITNESS, SUMMER WINE, DUCK DYNASTY, HART OF DIXIE, REIGN, IMPOSSIBLE, MARPLE, NANNY, My FAVORITE MARTIAN, MORPHIN, DORA, DOC, DCI BANKS, THORNBERRYS, GROWING PAINS, PRAIRIE, JEANNIE, HAPPYISH, TUT, TMNT, CODE, CASTLE, CARE BEARS, BRICKLEBERRY & RICKLES!!

Herc’s Popular Pricing Pantry

Blu-ray “Age of Ultron,” $30.99 in May and $24.99 in Augut, just plummeted to its lowest price ever: $17.99!! 74% POSTITIVE ON ROTTEN TOMATOES!!

Blu-ray “The Wild One,” $14.98 in January and $8.99 last month, just plummeted to its lowest price ever: $7.49!! 80% POSTITIVE ON ROTTEN TOMATOES!!

Blu-ray “Creature From The Black Lagoon,” $19.99 in 2013 and $13.49 last week, just plummeted to its lowest price ever: $9.99!! 84% POSTITIVE ON ROTTEN TOMATOES!!

Blu-ray “The Secret In Their Eyes,” $31.49 in 2011 and $13.38 in January, just plummeted to its lowest price ever: $6.76!! 91% POSTITIVE ON ROTTEN TOMATOES!!

Blu-ray “Frankenweenie,” $29.99 in 2013 and $16.19 in March, just plummeted to its lowest price ever: $9.99!! 87% POSITIVE ON ROTTEN TOMATOES!!

Blu-ray 1991 “Cape Fear,” $19.93 in 2011 and $13.49 last month, just plummeted to its lowest price ever: $6.99!! 76% POSITIVE ON ROTTEN TOMATOES!!

Blu-ray 1962 “Cape Fear,” $14.99 in 2013 and $9.49 last month, just plummeted to its lowest price ever: $6.99!! 76% POSITIVE ON ROTTEN TOMATOES!!

Blu-ray Horror Triple Feature, $24.98 in August and $19.13 last month, just plummeted to its lowest price ever: $9.99!!

Blu-ray “The Escapees,” $29.95 in May and $18.99 in July, just plummeted to its lowest price ever: $9.49!!

Blu-ray “Dracula Untold,” $30.99 last year and $24.99 in July, just plummeted to its lowest price ever: $9.99!!

Blu-ray season four of “Game of Thrones,” $55.99 last year and $39.99 in July, just plummeted to its lowest price ever: $29.99!!

Blu-ray season three of “Game of Thrones,” $71.98 in 2013 and $44.99 in February, just plummeted to its lowest price ever: $29.99!!

Blu-ray season two of “Game of Thrones,” $79.98 last year and $53.99 in February, just plummeted to its lowest price ever: $29.99!!

Blu-ray season one of “Game of Thrones,” $79.98 last year and $44.99 last month, just plummeted to its lowest price ever: $29.99!!

Blu-ray “Annabelle,” $25.98 last year and $24.99 last week, just plummeted to its lowest price ever: $9.99!!

Blu-ray “Spring,” $24.29 in July and $17.00 last month, just plummeted to its lowest price ever: $9.96!! 89% POSITIVE ON ROTTEN TOMATOES!!

Blu-ray “Detroit Rock City,” $17.98 in January and $16.98 in March, just plummeted to its lowest price ever: $7.50!! CHEAPER THAN USED!!

Blu-ray “The Hustler,” $26.99 in 2011 and $14.85 in March, just plummeted to its lowest price ever: $7.99!! CHEAPER THAN USED!!

Blu-ray “Grandmaster,” $26.99 last year and $12.90 in August, just plummeted to its lowest price ever: $5.00!!

Blu-ray “Blade” trilogy, $17.98 in February and $16.98 in March, just plummeted to its lowest price ever: $12.49!! $4.17 per Blu motion picture!!

8-Movie Blu-ray Steven Seagal collection does not include “Under Siege” or “Machete,” which could be why it only costs $12.99!! $1.63 per Blu movie!!

The Blu-ray second season of “Terminator: The Sarah Connor Chronicles,” $69.97 in 2012 and $44.33 in November, just plummeted to its lowest price ever: $9.99!! CHEAPER THAN USED!!

Blu-ray “Earth: The Biography,” $34.99 in 2010 and $27.97 last year, just plummeted to its lowest price ever: $10.95!!

4K Blu-ray Ghostbusters Double Feature, $24.99 last year and $17.55 in May, just plummeted to its lowest price ever: $9.99!! CHEAPER THAN THE DVD!!

Blu-ray “My Neighbor Totoro,” $35.99 in 2013 and $30.75 in January, just plummeted to its lowest price ever: $17.19!! 93% positive on Rotten Tomatoes!!

Blu-ray “Secret World of Arrietty,” $35.99 in 2012 and $28.23 last year, just plummeted to its lowest price ever: $17.12!! 95% positive on Rotten Tomatoes!!

Blu-ray “Ender’s Game,” $30.78 in 2013 and $19.96 in February, just plummeted to $7.88!! CHEAPER THAN USED!!

Blu-ray “West Side Story,” $26.99 in 2011 and $18.45 last year, just plummeted to its lowest price ever: $5.00!! Cheaper Than Used!! 94% positive on Rotten Tomatoes!!

New This Week

A frequently fascinating and generally quite excellent HBO series, “The Leftovers” follows what happens to a small town three years after two percent of the world’s population vanishes into thin air. Many believe the Oct. 14 disappearances manifested The Rapture, an event prophesized to whisk the righteous to Heaven.

(A digression. Leaving aside that it inspired a catchy Blondie single and at least two great movies – 1991’s “The Rapture” and last year’s “This Is The End” – I have always questioned the usefulness of Rapture. I mean, all good people get whisked up to heaven eventually, don’t they? End digression.)

Leaving aside its considerable entertainment value, “The Leftovers” scores big points by asking at least a few Really Interesting Questions. The faith-based community claims to love its God, but if we were suddenly confronted with a Higher Being – a Being powerful and indifferent enough to destroy our lives as effectively as the God who drowned Noah’s neighbors – would we really be that into worshiping Him?

Do Muslims and Christians worship God because they’re afraid if they don’t He’ll again begin visiting catastrophic and unimaginable horrors upon us?

Even three years later, the citizens of fictional Mapleton, N.Y., seem pretty freaked out, and I can’t say I blame them.

Tonight’s pilot should lure a lot of viewers to episode two, but episode one turns out to be the least of “Leftover’s” first three installments. The more compelling second episode contains no missteps and the third episode, which focuses on Christopher Eccleston’s obsessed preacher character, is riveting. If one makes it that far, one may find it hard to keep this series out of one’s DVR.

The series is based on the 2011 novel by Tom Perrotta, who has had novels adapted into the acclaimed 1999 motion picture “Election” (starring Matthew Broderick) and the acclaimed 2006 motion picture “Little Children” (starring Kate Winslet). Perrotta co-created the “Leftovers” series with “Lost” co-creator Damon Lindelof, whose subsequent big-screen resume includes movies I quite like (“Star Trek,” “World War Z”) and some with which I was far less impressed (“Cowboys & Aliens,” “Prometheus”).

The best thing about “The Leftovers” is its complex, compelling and generally likeable characters.

Some, including Eccleston’s Matt Jamison, have good reason to believe what happened was not The Rapture, and point out that a lot of The Missing were just awful people. Jamison, in fact, now seems to be devoting his life to publicizing the misdeeds of The Disappeared.

And if Rev. Matt is right – if this isn’t God’s work – viewers may in their minds form disturbing alternate explanations. Has The Devil begun consigning the living to Hell? Did extraterrestrial forces randomly beam 1/50th of us to a pharma lab on Altair IV? And if so, will they require another two percent in the coming weeks or decades?

(Amusingly, The Event also claimed two percent of our celebrities, and it’s interesting to learn who – in addition to Shaquille O’Neal, Bronson Pinchot and Pope Benedict – made the cut.)

The character most central to the ensemble drama is Upstate New York police chief Kevin Garvey (Justin Theroux), whose family blew apart after The Event. Garvey’s wife (Amy Brenneman) left him to join an Event-precipitated cult of chain-smokers, his son (Chris Zylka) left him to join an entirely different cult run by a charismatic Englishman, his daughter (Margaret Qualley) has begun indulging troubling whims, and Garvey’s father (Scott Glenn), the town’s former top lawman, apparently started hearing voices and had to be institutionalized.

The U.S. government, of course, is also quite keen to discover What Happened. In the second episode we get to better know a woman who serves as one of what we imagine are thousands of benefit adjusters. She is empowered to compensate survivors in exchange for information about The Taken -- and the questions she asks on behalf of her overlords can be fascinating in the extreme. (She may remind fans of “Close Encounters of the Third Kind” a bit of Francois Truffaut’s UFO investigator.)

Though “The Leftovers” does not tonight launch as strongly as “Lost” – which benefitted from a spectacular pilot script co-written by new “Star Trek”/“Star Wars” overlord J.J. Abrams – I think in the long run there’s a chance I may end up liking the “Leftovers” even more than “Lost.” Which is saying something.

Hitfix says:

... Maybe [Lindelof] saw the opportunity in "The Leftovers" to make something great. Because he sure as hell has. … I believe in "The Leftovers." And I want to see more of it. Now.

HuffPost TV says:

... I kept going, and I will continue to do so. "The Leftovers" is somber and often sad, yet it's also sincere and willing to ask the big questions. "The Leftovers" is interesting television, even if, in the early going, it's not quite sure of what it wants to be or where it wants to go. …

The New York Times says:

... As with any good drama, the mystery lies in human nature more than in the supernatural. Once the show gets going, and it takes more than one episode to do so, “The Leftovers” bores into the characters and the fissures that crack their community so astutely that the cause is almost secondary. …

The Los Angeles Times says:

... Tonally ambitious and tantalizingly opaque, "The Leftovers" takes the universal trauma of loss and launches it globally. What is it we mourn, exactly, and where will that mourning lead us?

The Chicago Sun-Times says:

... An intriguing study in how regular Joes react to inexplicable events …

The Washington Post says:

... the show delivers on an exceedingly intriguing premise, with some of the most beguilingly morose performances delivered this year. It’s a strange but good wallow. …

The Pittsburgh Post-Gazette says:

... “The Leftovers” is at its best in its third episode, which focuses entirely on the Rev. Matt Jamison … But is this tight-focus episode an anomaly or will it become a routine format change for “The Leftovers”? From these early episodes, which do improve as they go along, it’s still unclear what the series will be on a weekly basis … While there may still be doubts about the sustainability of “The Leftovers,” it clearly seems to be moving in a positive direction creatively even as the show’s overall tone grows more pessimistic.

The San Francisco Chronicle says:

... It's not that the story wouldn't make good TV; it's that in this version, it doesn't. It's confusing, slow-moving and often excruciating. …

The Boston Herald says:

... Rarely has a TV show led me to prayer. But HBO’s “The Leftovers” had me pleading to a higher power for a rapture event so I could be saved from this pompous, pretentious tripe. … What works on the page doesn’t translate to the screen, unless your idea of gripping TV is watching members scribble messages furiously on notepads. …

The Boston Globe says:

... Perrotta and Lindelof are working with an admirably rich premise, which is: How do we deal with the pure randomness of death and life? The show is an attempt to take on one of the most difficult facets of the human condition without any indirection or disguise. “Lost” was a giant mystery, and in every episode we were trying to figure out what was going on. “The Leftovers” doesn’t much bother trying to explain the Sudden Departure. It’s all about the aftermath of inexplicable loss, the way we thinking creatures work to rationalize the sheer arbitrariness and impermanence of our existence. …

Time says:

... it all seems a bit logy and unreal, as if, like the Remnant with their white garb and silence, The Leftovers made its suffering too generic and surrendered its voice. Then comes the fantastic third episode, which follows Mapleton pastor Matt Jamison (Christopher Eccleston) through a crisis of faith, all through a story as neatly and twistily crafted as a Twilight Zone episode. …

USA Today says:

... In the end, you may not be able to escape the feeling that the material, worthy and well-presented though it may be, is being forced into a format for which it's unsuited. It's a mistake even the best can make — and make no mistake, Lindelof is one of our best. …

Variety says:

... undoubtedly interesting; whether it’s worthy of rapturous praise is another matter. …

The Hollywood Reporter says:

... What Perrotta and co-writer/executive producer Damon Lindelof smartly get at with "the sudden departure" is all the character-shaping that derives from the unexplainable. With a series that is a mystery on one level but is really about humanity's reaction to the unknown, you can delve into some hefty themes. …

A six-hour miniseries from writers Michael Vickerman (the 2012 miniseries “Ring of Fire”), Peter Paige (“The Fosters”) and Bradley Bredeweg (“The Fosters”), “Tut” follows the boy king who ruled Egypt more than 3,000 years ago. It stars Ben Kingsley (“Iron Man Three”), Alexander Siddig (“Game of Thrones”) and Avan Jogia (“Victorious”).

Not a lot is known about the fellow, but that didn’t stop Spike.

The New York Times says:

... Like a lot of period dramas, it settles for being slightly silly and mostly dull. …

The Pittsburgh Post-Gazette says:

... serves soggy melodrama that embraces every boy-to-king cliche one might imagine. …

The San Francisco Chronicle says:

... You might wonder about some of the script’s lapses in logic here and there, but most likely you’ll just shrug at them because “Tut” is primarily meant as an old-fashioned blood, sand and sex epic with cool battle scenes, grunt-filled lovemaking, serviceable dialogue, CGI and papier-mache sets, and minimal heavy lifting on the part of Oscar-winner Kingsley. …

USA Today says:

... For a while, palace intrigue, Egyptian architecture and a few rousing battles are enough to keep Tut moving. But the farther it moves, the more it gets entangled in that demeaning queen-vs.-queen subplot, to the point where Tut vanishes from his own movie as thoroughly as he's vanished from history. …

Variety says:

... the script doesn’t withstand much scrutiny, placing a great deal of emphasis on Tut’s legacy, when in fact he’s remembered not for what he did but rather what he had – and indeed, the mere fact somebody happened to find it. …

The Hollywood Reporter says: