Description

During the past century, thousands of people have gone missing.When 4400 of them return all at once unharmed and looking the same as when they disappeared, the government investigates, unsure of how this can be possible.What the government does not know is that the presence of these 4400 will change the human race in many unexpected ways. ... Read more

Amazon.com

The Sopranos, writer-producer-director David Chase's extraordinary television series, is nominally an urban gangster drama, but its true impact strikes closer to home, chronicling a dysfunctional, suburban American family in bold relief. And for protagonist Tony Soprano, there's the added complexity posed by heading twin families, his collegial mob clan and his own, nouveau riche brood. The series' brilliant first season is built around what Tony learns when, whipsawed between those two worlds, he finds himself plunged into depression and seeks psychotherapy--a gesture at odds with his midlevel capo's machismo, yet instantly recognizable as a modern emotional test. With analysis built into the very spine of the show's elaborate episodic structure, creator Chase and his formidable corps of directors, writers, and actors weave an unpredictable series of parallel and intersecting plot arcs that twist from tragedy to farce to social realism. While creating for a smaller screen, they enjoy a far larger canvas than a single movie would afford, and the results, like the very best episodic television, attain a richness and scope far closer to a novel than movies normally get.

Alternately seductive, exasperated, fearful, and murderous, James Gandolfini's Tony is utterly convincing even when executing brutal shifts between domestic comedy and dramatic violence. The first season's other life force is Livia Soprano, Tony's monstrous, meddlesome mother. As Livia, the late Nancy Marchand eclipses her long career of patrician performances to create an indelibly earthy, calculating matriarch who shakes up both families; Livia also serves as foil and rival to Tony's loyal, usually level-headed wife, Carmela (Edie Falco). Lorraine Bracco makes Tony's therapist, Dr. Melfi, a convincing confidante, by turns "professional," perceptive, and sexy; the duo's therapeutic relationship is also depicted with uncommon accuracy. Such grace notes only enrich what's not merely an aesthetic high point for commercial television, but an absorbing film masterwork that deepens with subsequent screenings.

In its second season, The Sopranos repeatedly defies formula to let the narrative turn as a direct consequence of the characters' behavior, letting everyone in this rogue's gallery of Mafiosi, friends, and family evolve and deepen. That gamble is most apparent in the rupture of the relationship that formed the spine of the first season, the tangled ties between Tony and Livia, whose betrayal makes Tony's estrangement a logical response. Filling that vacuum, however, is prodigal sister Janice (Aida Turturro), whose New Age flakiness never successfully conceals her underlying calculation and opportunism. Soprano's relationship with therapist Melfi also frays during early episodes, as she struggles with escalating doubts about her mobbed-up patient. At home, Tony contends with wife Carmela's ruthless ambitions on behalf of college-bound Meadow (Jamie Lynn Sigler), as well as son Anthony Jr.'s (Robert Iler) sullen adolescent flirtation with existentialism--the sort of touch that the show handles with a smart mix of sympathy and amusement.

In the brutal and controversial third season, The Sopranos justified its 11-month hiatus with some of its best, and most hotly debated, episodes. It continued to upend convention and defy audience expectations with a deliberately paced, calm-before-the-storm season opener that revolves around the FBI's attempts to bug the Soprano household, and a season finale that (for some) frustratingly leaves several plot lines unresolved. "Employee of the Month," in which Dr. Melfi is raped and considers whether to exact revenge by telling Tony of her attack, earned Emmys for its writers, and is perhaps Emmy nominee Lorraine Bracco's finest hour. Other story arcs concern the rise of the seriously unstable Ralph Cifaretto (Joe Pantoliano) and Tony's affair with "full-blown loop-de-loo" Gloria (Emmy nominee Annabella Sciorra). Plus, there is Tony's estrangement from daughter Meadow, his wayward delinquent son Anthony, Jr., Carmela's crisis of conscience, bad seed Jackie Jr., and the FBI--which, as the season ends, assigns an undercover agent to befriend an unwitting figure in the Soprano family's orbit.

Though for some the widely debated fourth season contained too much yakking instead of whacking, and an emphasis on domestic family over business Family, in most respects The Sopranos remains television's gold standard. The season garnered 13 Emmy nominations, and subsequent best actor and actress wins for James Gandolfini and Edie Falco as Tony and Carmela, whose estrangement provides the season with its most powerful drama, as well as a win for Joe Pantoliano's psychopath Ralph. Other narrative threads include Christopher's (Emmy nominee Michael Imperioli) descent into heroin addiction, Uncle Junior's (Dominic Chianese) trial, an unrequited and potentially fatal attraction between Carmela and Tony's driver Furio, and a rude joke about Johnny Sack's wife that has potentially fatal implications. Other indelible moments include Christopher's girlfriend Adriana's projectile reaction to discovering that her new best friend is an undercover FBI agent in the episode "No Show," Janice giving Ralph a shove out of their relationship in "Christopher," and the classic "Quasimodo/Nostradamus" exchange in the season-opener, which garnered HBO's highest ratings to date. Freed from the understandably high expectations for the fourth season, heightened by the 16-month hiatus, these episodes can be better appreciated on their own considerable merits. They are pivotal chapters in television's most novel saga.

From the moment a wayward bear lumbers into the Sopranos' yard in the fifth-season opener, it is clear that The Sopranos is in anything but a "stagmire." The series benefits from an infusion of new blood, the so-called "Class of 2004," imprisoned "family" members freshly released from jail. Most notable among these is Tony's cousin, Tony Blundetto (Steve Buscemi, who directed the pivotal season 3 episode "Pine Barrens"), who initially wants to go straight, but proves himself to be something of a "free agent," setting up a climactic stand-off between Tony and New York boss Johnny Sack. These 13 mostly riveting episodes unfold with a page-turning intensity with many rich subplots. Estranged couple Tony and Carmella (the incomparable James Gandolfini and Edie Falco) work toward a reconciliation (greased by Tony's purchase of a $600,000 piece of property for Carmela to develop). The Feds lean harder on an increasingly stressed-out and distraught Adriana to "snitch" with inevitable results. This season's hot-button episode is "The Test Dream," in which Tony is visited by some of the series' dear, and not-so-dearly, departed in a harrowing nightmare. ... Read more

Reviews (17)

Too kool!
This movie was an indie release (I think), but it's awesome! The drama & action are like nothing I had seen before. It's about teens in New Jersey stealing cars for joyrides, then selling them to Chop Shops, or just keeping them. Jason Petty's (Sharron Corley) character is the most dramatic, because his friends steal cars, but he doesn't want to get into that. He just wants to be friends with them, no crimes involved. This also brings up the subject of race; white cops are always out to get the inner-city youth (who are of-course, black) of New Jersey. If you want a powerful action/crime-drama flick, or if you're one of those in da hood, ghetto flick people, buy this.

Eh...Could have been better...
No, this movie is not "da dopest car movie evah" or anything like that. I am a huge fan of films about Black-America, being that some of my favorites are Menace, Boyz, Lean on me, and many more. However, Let's be honest, there is nothing that is that great about this movie. It doesn't have much of a plot that will really hold you down and make you want to watch, and the acting is, average at best. I will say though that the acting of the police officers is horrible.

This movie could have been something much more, had they tried to make you want to watch it for more than what it is, just people stealing cars. I doubt many people will see this film that live outside of New Jersey, but it is an accurate portrayal of life in Newark, so for that I commend it. But if you want to see a great movie, I suggest looking elsewhere. If you are just in the mood to watch cars being stolen and enjoy the action, then this movie might be for you.

Are you kidding?
This movie was a total peice of garbage. I lost IQ points watching it. Take your money and buy lottery tickets. You'll get more value for your dollar.

Great ghetto flick with everything you'd want
This movie is one of my favorites ever. I love ghetto movies, and this one has everything you'd want in an action ghetto movie. It is about ghetto teens who steal cars and take them to chop shops for cash or just for joy rides. The main characters are Jason, "Midget", Richie and "Tiny". With Richie being definately the funniest one of the bunch, I wish he had actually had more parts in the movie. His mannerisms will have your stomach hurting you'll be laughing so hard-even when he's not even trying to be funny. Midget is the biggest car thief of the crew, and Jason is his best friend, who starts out not really being a car thief himself, just a tag-along. But he gets increasingly more and more involved with his buddies' hijinks, leading him to some time in Juvenile hall. There is also an unbelievably hysterical scene where Richie, jason and Midget steal a POLICE CAR and take it for a joy ride!! Richie was so unfreakin' belevably hilarious in this scene, even thhough he didn't even have that much talking. Midget also does something with the squad car that I won't give away-you just hav e to watch the movie. Midget was a great character too. He was very funny and had no shame. For some great ghetto entertainment, buy this movie! There is also a maniac cop who messes with Jason alot in the movie because of something Jason witnessed the cop doing.

hot
this movie was hot it funny and a movie that you should have in your dvd libary ... Read more

Reviews (79)

Underrated Excellent Black Comedy.
An Middle Age Woman by the name of Mona Dearly (Bette Midler), which she drove everyone crazy in the small town from the state of New York. But when Mona dies, while driving herself into a river. But it's turns out to be an act of murder. Chief of Police:Wyatt Rash (Danny DeVito) starts to invesgate the murder but Mona had herself a town full of enemies, including her cheating husband (William Fichtner), her heartless dimwit son (Marcus Thomas), her husband's mistress (Jamie Lee Curtis), the chief's daughter (Neve Campbell) and the chief's daughter fiance (Casey Affleck). Although People did hated the late Miss Dearly alot, it's up to the Chief to find, who's the blame for the murder but the town's people rather wants to know who to thank.

Directed by Nick Gomez (Illtown, Laws of Gravity, New Jersey Drive) made a Clever Off-Beat Black Comedy that was a Box Office Disapointment in the Winter of 2000. It's also One of the Most Underrated Comedies in Years. DeVito, who is also One of the Executive Producers in the film, He gives a good-hearted performance in the movie. Affleck is also good as the nervous fiance to the chief's, who might have been involved with Mona's Death. The lighlight of the film is the highly good comedic cast. The Canadian DVD has an sharp Pan & Scan (1.33:1) transfer and an good-Dolby Stereo 2.0 Surround Sound. While the Canadian DVD has no extras. While the American DVD is Presented in an anamorphic Widescreen (1.85:1) Presentation with Dolby Digital 5.1 Surround Sound. DVD Extras are a Trailer, Director's Commentary and Deleted Scenes with/without Commentary. This Misunderstood Comedy is a Forgetten Gem, don't miss it. Will Farrell has a Cameo in the film. Written by Peter Steinfeld (Analyze That, Be Cool). Grade:A-.

Bette Midler as Royal "Pain" with 9 Lives
Bette Midler, once again playing herself, gives everybody and their brother daily doses of annoyance. An entire family, including the in-laws want to do away with "Mona". Set among trailer park country bumbkins, the story is one rollercoaster ride of physical and mental abuse. Fans of Bette Midler and Danny DeVito may have the stomach to sit through this whole fiasco. Comedy fans with somewhat lofty standards may want to pass on this jumbled-up non-sense. A few quick laughs will keep you from getting angry about your time investment, but most folks sure can do much better than this. It'll do in a pinch.**

Best comedy ever!
This is one of my favorite movies. I can watch it over and over and still crack up. I like dark humor and this movie is hysterical. It deserves a watch.

Dark Humor Aint for Everyone
This is a hilarious movie. The actors in this movie should all be commended for giving subtle, laugh-your-tail off funny performances. The folks who gave it low ratings don't get dark comedy and/or were expecting typical character portrayals from the big name stars (particularly DeVito and Midler).

My husband and I hadn't expected much from this film because the trailers were so cryptic and we personally aren't too into Bette Midler, but from the first to last scene we were in stitches. Example: Neve Campbell's character freaks out when her fiance (played by Casey Affleck) tells her he killed Mona. As she storms off, saying that now she has to deal with her fiance being a murderer while taking care of wedding plans, he weakly calls after her, "We need milk." Another example: Mona's two sons go to her gravestone and see that the inscription says, "Demoted mother, wife, and dressmaker." One guy looks at the other and says, "I didn't know mom was a dressmaker," and the other says, "Me neither." Although I'm sure I'm killing the humor by trying to relay it without context, comic timing, or nonverbal communication, this is the kind of humor that you'll find in "Drowning Mona." If you're offended by this kind of thing, don't bother. Everyone in the town hated Mona, so a lot of the jokes center on her death.

And I've gotta' respond to reviewers who didn't see the point of the Yugos' omnipresence, even though it sort of detracts from the funniness. As a plot device, it's necessary precisely because Yugos were such cheap and unsafe cars that Mona's brakes could possibly have failed due to manufacturer error. If everyone had been driving Porches, there wouldn't have been any mystery at all. Also, you can't help but laugh when every character in the movie jumps in a colorful little bumper car, which sometimes needs a running start, to get around.

My friends took it, I left it
I rented this video with my four girlfriends on one of our annual weekends away. Three of us fell asleep and thought it was a horrible movie (and I'm a Bette Midler fan). The other two laughed their heads off and swear to us that it is the best movie ever. We tease each other about it to this day (two years later). ... Read more

Amazon.com

The Sopranos, writer-producer-director David Chase's extraordinary television series, is nominally an urban gangster drama, but its true impact strikes closer to home, chronicling a dysfunctional, suburban American family in bold relief. And for protagonist Tony Soprano, there's the added complexity posed by heading twin families, his collegial mob clan and his own, nouveau riche brood. The series' brilliant first season is built around what Tony learns when, whipsawed between those two worlds, he finds himself plunged into depression and seeks psychotherapy--a gesture at odds with his midlevel capo's machismo, yet instantly recognizable as a modern emotional test. With analysis built into the very spine of the show's elaborate episodic structure, creator Chase and his formidable corps of directors, writers, and actors weave an unpredictable series of parallel and intersecting plot arcs that twist from tragedy to farce to social realism. While creating for a smaller screen, they enjoy a far larger canvas than a single movie would afford, and the results, like the very best episodic television, attain a richness and scope far closer to a novel than movies normally get.

Alternately seductive, exasperated, fearful, and murderous, James Gandolfini's Tony is utterly convincing even when executing brutal shifts between domestic comedy and dramatic violence. The first season's other life force is Livia Soprano, Tony's monstrous, meddlesome mother. As Livia, the late Nancy Marchand eclipses her long career of patrician performances to create an indelibly earthy, calculating matriarch who shakes up both families; Livia also serves as foil and rival to Tony's loyal, usually level-headed wife, Carmela (Edie Falco). Lorraine Bracco makes Tony's therapist, Dr. Melfi, a convincing confidante, by turns "professional," perceptive, and sexy; the duo's therapeutic relationship is also depicted with uncommon accuracy. Such grace notes only enrich what's not merely an aesthetic high point for commercial television, but an absorbing film masterwork that deepens with subsequent screenings.

In its second season, The Sopranos repeatedly defies formula to let the narrative turn as a direct consequence of the characters' behavior, letting everyone in this rogue's gallery of Mafiosi, friends, and family evolve and deepen. That gamble is most apparent in the rupture of the relationship that formed the spine of the first season, the tangled ties between Tony and Livia, whose betrayal makes Tony's estrangement a logical response. Filling that vacuum, however, is prodigal sister Janice (Aida Turturro), whose New Age flakiness never successfully conceals her underlying calculation and opportunism. Soprano's relationship with therapist Melfi also frays during early episodes, as she struggles with escalating doubts about her mobbed-up patient. At home, Tony contends with wife Carmela's ruthless ambitions on behalf of college-bound Meadow (Jamie Lynn Sigler), as well as son Anthony Jr.'s (Robert Iler) sullen adolescent flirtation with existentialism--the sort of touch that the show handles with a smart mix of sympathy and amusement. --Sam Sutherland ... Read more

Reviews (3)

BADA BING...BADA BOOM...
My son is a big Sopranos fan, so I bought him the DVD set for the first season for Christmas. I myself had seen maybe two or three episodes on cable and had enjoyed them. So, when he began watching, I was right there watching with him. What a terrific show! It is absolutely gripping.

It is a marvelously creative series with a stellar cast. For those of you who have been visiting relatives in Antarctica for the past several years, the story revolves around the mob in New Jersey. It centers on one family specifically, the Sopranos, headed by Anthony Soprano (James Gandolfini), who is married to his loyal childhood sweetheart, Carmela (Edie DeFalco). Together they have two children, Meadow and Anthony, Jr. Tony's dangerously manipulative mother, Livia (Nancy Marchand), is bound for a retirement home, if Tony has any say.

Tony, however, has another family, comprised of a bunch of murderous henchmen, who occasionally march to the tune of a different drummer. He also has a Russian mistress. Trying to balance all this has given Tony panic attacks, so he goes to a psychiatrist, Dr. Melfi (Lorraine Bracco), whose relationship with her client alternates between fear and fascination.

The writing for this series is splendid and the interweaving of comedic and familial moments with the darker, more violent ones provides the viewer with an intelligently woven plot. James Gandolfini is outstanding as Tony Soprano, a powerful mob boss, who can also be a teddy bear of a guy and a good friend, unless you are perceived to have been disloyal. Then, you may kiss your buns goodbye. Tony is mercurial, sexy, fearful, cautious, and, given the right circumstances, deadly. He is a fascinating and beguiling character. Edie DeFalco is warm, funny, loyal, and the glue that binds their immediate family together. Yet, she too has her own sting, and she knows the power that her husband has. She is not above using it herself, if necessary. The late Nancy Marchand was terrific as Livia, the manipulative, scheming mother.

While the first season was sensational, all I can tell you is that the second season is as good, if not better, than the first.

There are some major plot developments. Livia and Tony's uncle hatch a plan that can have murderous consequences for Tony. Carmela is doing all in her power, and I mean all, to help Meadow get into a good college. In her own sweet way, Carmela can be just as scary as Tony. Janice (Aida Turturro), Tony's sister, comes back home, wreaks havoc, marries the former mob boss's jailbird brother, and then leaves town with a bang. One of Tony's best friends becomes a snitch for the Feds. No wonder Tony continues to have anxiety attacks and still needs to see his psychiatrist, Dr. Melfi.

The writing continues to be intelligent, and the story lines are as well thought out and engrossing as ever. I absolutely love this series!

The first and second seasons DVD sets each come nicely packaged with four discs. The nice thing about the DVDs is that before an episode begins, if one likes. one may read a plot summary of that episode. The visuals and audio are crisp and clear. There are also some bonus features. There is a terrific interview with David Chase, the creator of the Sopranos, and some behind the scenes featurettes. All in all, this is a great show, and these are two great DVD sets to add to one's personal collection. I have already seen the first, second, and third seasons. I now can't wait for the fourth season to come out on DVD.

Best show ever!!
I hardly ever watch TV except for sports. But I was recommended to watch this by a friend and let me tell you, if you like goodfellas and shows like that then you will love this. The first season is the best without a doubt. The second season you really get into and then the third season starts off slow but the end is really great. This is by far the best TV series I have ever seen, even better than the simpsons(entertainment value wise). I tell you what, I can't wait for the fourth season to come out because I will get it right away.

the sopranos best seasons
by far the first and second seasons of the sopranos were the best and now there on dvd, nothing could be better. ... Read more

Reviews (30)

Excellent, underwatched show with smart writing, great cast
"Veronica Mars" is a lot smarter than your average show featuring attractive teenage characters. To use the term "teen drama" is misleading, as the story is darker, subtler and more sophisticated than other shows like "The O.C." and "Dawson's Creek." It's a modern twist on the noir genre placed in high school, centering around 17-year-old Veronica, once popular but now a social outcast after a chain of events following the murder of her best friend, Lilly Kane.

In every episode, Veronica, a P.I.'s daughter, solves a smaller mystery, while also assembling clues and delving further into the bigger mystery of Lilly's case. The brilliance of the show is in tying the small cases into the larger, overarching themes surrounding the larger mystery. While there are a few episodes that feel more stand-alone, as is the case in all TV drama series, the writers do an excellent job in avoiding letting them become mere filler, throwaway cases -- instead, they use them to feed us more information to further Lilly's case. (As a result, it's hard to skip any episodes without missing some crucial bit of information about the main msytery.)

It's amazing how carefully drawn the entire season is, with clues placed in a meticulously careful, controlled manner, all amping up to an intense crescendo in the last four or five episodes. As the season draws to a close, the intricately laid details click into place as Veronica solves the two biggest cases -- the mystery of her rape (which occurred shortly following Lilly's death and her subsequent ejection from the "cool" crowd) in the penultimate episode (a wonderfully complex, dark and emotional episode), then Lilly's murder in the season finale.

Despite the darkness of the series, there are notable lighter moments too, and the show has quite a bit of humor thrown into the mix. The writing is witty and smart, and the actors pull off comedy just as capably as they do angst and drama. The cast is excellent, and the actors have noticeable chemistry with one another, but two standouts are Kristen Bell as Veronica and Jason Dohring as Logan Echolls (who has an amazingly complexcharacter arc that is drastic, enthralling and utterly believable). As Veronica's former friend, nemesis, then reluctant ally (and the lines blur frequently), Dohring steals every scene he's in, and when he's with Bell the sparks really fly, whether they're pushing each other's buttons, antagonizing each other or simply bantering.

Man, I love this show. Thank goodness UPN had the guts to renew it for a second season.

Veronica Mars is what is RIGHT with television today
I started watching Veronica Mars mid-season, when One Tree Hill was on hiatus.I could kick myself for not watching this show from the beginning.I stopped watching One Tree Hill and the O.C. because the shows have little substance to them and the characters are bland.Veronica Mars's characters are multidimensial.Nobody is completely perfect or innocent, and the guilty usually have redeeming qualities.Veronica's cases usually have a twist in them, like you end up feeling sorry for the bad guy who gets caught.I was a big fan of Desperate Housewives and still watch it, but I think Veronica Mars's mysteries are done better.VM is the best show of 2004 and is still the only show I'm looking forward to in the fall of 2005.It is a smart show and way better than mindless reality shows or dumb shows on the major networks.Do yourself a favor, and "get a clue."Give this show a chance.You won't regret it.

Top-notch:Veronica Mars *is* smarter than me.
Veronica Mars is a brilliantly written, tightly paced show with dark, intricate storytelling and lots of humor. It gets a lot of comparisons to Buffy because its lead character is a tiny blonde teen who takes no prisoners and is always quick with a clever comeback, but in many ways VM is a more complex and intriguing show, and there are almost no "fight scenes" and no fantasy elements. Unlike Buffy, Veronica has no superpowers and knows she can't "kick butt" when she is trying to bring down the bad guys. She has only her intelligence and her wits to keep her ahead of the game. Plus, when the going gets rough, she has her trusty dog Backup to scare off the evildoers.

Veronica is frequently described as a "modern day Nancy Drew," but she is also much more than that. Yes, she does work for her private investigator dad tracking down missing persons and solving other mysteries both large and small, and her weapons of choice are modern-day tools like the internet, cell phones, and Lojack. But Veronica is not your typical peppy teenage girl. She is the anti-cheerleader, a very angry girl who is more likely to taunt her classmates with clever insults than to provide any cheer. While she does have her softer side, it's well hidden and she doesn't reveal it very often. She didn't always used to be this way, and the series takes it time exploring, via flashbacks, how Veronica used to be in the past and why she became so angry and isolated from her peers.

If you have wanted to watch the show but have been put off by the "teen" angle, rest assured that there truly is something for everyone here, of any age. The writing is sophisticated and adult. These teens do things like quote Hamlet and make pop-culture references as widely varied as Heathers to Brigadoon, so the dialogue is frequently quippy and never boring. But the humor never takes over the entire show to make it too light, and the tone is pretty dark overall, considering that the underlying mystery driving Veronica for the entire season is finding the person who murdered her best friend Lilly Kane. Add to that some story lines involving rape, incest, and child abuse, and it's clear that this is no comedy. It's also not for children and sometimes tests the bounds of what you might see on network television in terms of the darkness of the subject matter. Drugs, alcohol, and sex are portrayed as a fact of life among teenagers and the show is not moralizing or preachy in any way, although it frequently portrays the sometimes tragic consequences of all of the above.

Kristen Bell is astonishingly good as Veronica, but the entire cast is for the most part pretty first-rate, especially Enrico Colantoni (as her dad Keith Mars) and Jason Dohring (as her arch-nemesis Logan Echolls). If you are a fan of twisty ongoing mysteries like Lost or Twin Peaks, or you enjoy the quippy humor of the Gilmore Girls or the O.C., or even if you like old-fashioned detective stories like Columbo or the Rockford Files, give Veronica Mars a try because it truly combines the best of all of the above. And if you are a guy, Kristen Bell is pretty darn cute, to boot. So there's that, too.

excellent
This is the only thing I was looking forward to see every week on TV. Excellent writing with main story going across all the episodes and sub-stories that get resolved at the end of each episode. Veronica Mars is a 17 years old daughter of a private investigator, a former sheriff. She's helping him with his cases, has her own to solve and she's decided to find out who killed her best friend Lilly Kane. Almost all the answers get answered by the end of the season. Excellent acting from all the actors. I cannot praise highly enough Kristen Bell as Veronica Mars and Jason Dohring as Logan Echolls. Highly recommended!

Veronica Mars is the best show ever
This show is so amazing. if you like a good mystery then this is the show for you. ... Read more