Russell Crowe, Christian Bale, James Mangold Never let it be said that the Western is dead. Because every time its last rites are read, another filmmaker moves in and produces another fine entry to an enduring genre that’ll simply never go away. In this case, the film is 3:10 To Yuma, and the filmmaker is James Mangold, straight off his Oscar-winning Johnny Cash biopic, Walk The Line.

3:10 To Yuma is, however, a far different beast, bringing together two of the most magnetic male leads in modern day cinema. On the one hand, there’s Christian Bale as the law-enforcing Sheriff, and he’s facing off against Russell Crowe’s killer. Unsurprisingly, it’s the conflict and sparks between these two that ignite the film, and turn it into a film well worth seeking out.

For what director Mangold realises is that the trick with 3:10 To Yuma (named after the prison train that Bale’s character seeks to put Crowe’s on) is to give his two stars room to work, and injecting plenty of action and excitement into the mix. The end result, while not a top-notch Western, turns out to be a real cut above most of the current multiplex fodder. Even if Westerns aren’t usually your thing, it’s well worth giving this one a try. —Jon Foster

Julia Stiles, Heath Ledger, Gil Junger It's, like, Shakespeare, man! This good-natured and likeable update of The Taming of the Shrew takes the basics of Shakespeare's farce about a surly wench and the man who tries to win her and transfers it to modern-day Padua High School. Kat Stratford (Julia Stiles) is a sullen, forbidding riot girl who has a blistering word for everyone; her sunny younger sister Bianca (Larisa Oleynik) is poised for high school stardom. The problem: overprotective and paranoid Papa Stratford (a dryly funny Larry Miller) won't let Bianca date until boy-hating Kat does, which is to say never. When Bianca's pining suitor Cameron (Joseph Gordon-Levitt) gets wind of this, he hires the mysterious, brooding Patrick Verona (Heath Ledger) to loosen Kat up. Of course, what starts out as a paying gig turns to true love as Patrick discovers that underneath her brittle exterior, Kat is a regular babe. The script, by Karen McCullah Lutz and Kirsten Smith, is sitcom-funny with peppy one-liners and lots of smart teenspeak; however, its cleverness and imagination doesn't really extend beyond its characters' Renaissance names and occasional snippets of real Shakespearean dialogue. What makes the movie energetic and winning is the formula that helped make She's All That such a big hit: two high-wattage stars who look great and can really act. Ledger is a hunk of promise with a quick grin and charming Aussie accent and Stiles mines Kat's bitterness and anger to depths usually unknown in teen films; her recitation of her English class sonnet (from which the film takes its title) is funny, heartbreaking and hopelessly romantic. The imperious Allison Janney (Primary Colors) nearly steals the film as a no-nonsense guidance counsellor secretly writing a trashy romance novel. —Mark Englehart

Bruce Willis, Mos Def, Richard Donner

Peter Segal 50 First Dates is a sweet-natured vehicle for sweet-natured stars Adam Sandler and Drew Barrymore, and their track record with The Wedding Singer no doubt factors in its lowbrow appeal. But while the well-matched lovebirds wrestle with a gimmicky plot (she has no short-term memory, so he has to treat every encounter as their first), director Peter Segal (who directed Sandler in Anger Management) ignores the intriguing potential of their predicament (think Memento meets Groundhog Day) and peppers the proceedings with the kind of juvenile humour that Sandler fans have come to expect. The movie sneaks in a few heartfelt moments amidst its inviting Hawaiian locations, and that trained walrus is charmingly impressive, but you can't quite shake the feeling that too many good opportunities were squandered in favour of easy laughs. Like Barrymore's character, you might find yourself forgetting this movie shortly after you've seen it. —Jeff Shannon

Zack Snyder Like Sin City before it, 300 brings Frank Miller and Lynn Varley's graphic novel vividly to life. Gerard Butler (Beowulf and Grendel, The Phantom of the Opera) radiates pure power and charisma as Leonidas, the Grecian king who leads 300 of his fellow Spartans (including David Wenham of The Lord of the Rings, Michael Fassbender, and Andrew Pleavin) into a battle against the overwhelming force of Persian invaders. Their only hope is to neutralise the numerical advantage by confronting the Persians, led by King Xerxes (Rodrigo Santoro), at the narrow strait of Thermopylae.

More engaging than Troy, the tepid and somewhat similar epic of ancient Greece, 300 is also comparable to Sin City in that the actors were shot on green screen, then added to digitally created backgrounds. The effort pays off in a strikingly stylised look and huge, sweeping battle scenes. However, it's not as to-the-letter faithful to Miller's source material as Sin City was. The plot is the same, and many of the book's images are represented just about perfectly. But some extra material has been added, including new villains (who would be considered "bosses" if this were a video game, and it often feels like one) and a political subplot involving new characters and a significantly expanded role for the Queen of Sparta (Lena Headey). While this subplot by director Zack Snyder (Dawn of the Dead) and his fellow co-writers does break up the violence, most fans would probably dismiss it as filler if it didn't involve the sexy Headey. Other viewers, of course, will be turned off by the waves of spurting blood, flying body parts, and surging testosterone. (The six-pack abs are also relentless, and the movie has more and less nudity—more female, less male—than the graphic novel.) Still, as a representation of Miller's work and as an ancient-themed action flick with a modern edge, 300 delivers. —David Horiuchi

Steven Spielberg History will place an asterisk next to A.I.as the film Stanley Kubrick mighthave directed. But let the record also show that Kubrick—after developing this project for some 15 years—wanted Steven Spielberg to helm this astonishing sci-fi rendition of Pinocchio, claiming (with good reason) that it veered closer to Spielberg's kinder, gentler sensibilities. Spielberg inherited the project (based on the Brain Aldiss short story "Supertoys Last All Summer Long") after Kubrick's death in 1999, and the result is an astounding directorial hybrid. A flawed masterpiece of sorts, in which Spielberg's gift for wondrous enchantment often clashes (and sometimes melds) with Kubrick's harsher vision of humanity, the film spans near and distant futures with the fairy-tale adventures of an artificial boy named David (Haley Joel Osment), a marvel of cybernetic progress who wants only to be a real boy, loved by his mother in that happy place called home.

Echoes of Spielberg's Empire of the Sunare evident as young David, shunned by his trial parents and tossed into an unfriendly world, is joined by fellow "mecha" Gigolo Joe (played with a dancer's agility by Jude Law) in his quest for a mother-and-child reunion. Parallels to Pinocchiointensify as David reaches "the end of the world" (a Manhattan flooded by melted polar ice caps), and a far-future epilogue propels A.I.into even deeper realms of wonder, just as it pulls Spielberg back to his comfort zone of sweetness and soothing sentiment. Some may lament the diffusion of Kubrick's original vision, but this is Spielberg's A.I., a film of astonishing technical wizardry that spans the spectrum of human emotions and offers just enough Kubrick to suggest that humanity's future is anything but guaranteed. —Jeff Shannon, Amazon.com

On the DVD:A perfect movie for the digital age, A.I.finds a natural home on DVD. The purity of the picture, its carefully composed colour schemes and the multifarious sound effects are accorded the pin-point sharpness they deserve with the anamorphic 1.85:1 picture and Dolby 5.1 sound, as is John Williams's thoughtful music score. On the first disc there's a short yet revealing documentary, "Creating A.I.", but the meat of the extras appears on disc two. Here there are good, well-made featurettes on acting, set design, costumes, lighting, sound design, music and various aspects of the special effects: Stan Winston's remarkable robots (including Teddy, of course) and ILM's flawless CGI work. In addition there are storyboards, photographs and trailers. Finally, Steven Spielberg provides some rather sententious closing remarks ("I think that we have to be very careful about how we as a species use our genius"), but no director's commentary. —Mark Walker

Wolfgang Petersen If you can manage to suspend your disbelief for the duration, you won't be disappointed with Air Force One. Harrison Ford plays a US president who single-handedly employs his rigid anti-terrorism policy when a band of Russian thugs hatch a mid-flight takeover of Air Force One. Gary Oldman, who chews the scenery as the lead terrorist, will shoot a hostage at the slightest provocation. Glenn Close plays the sternly pragmatic vice president who negotiates with Oldman from her Washington seat of power. If you can believe that the aircraft's pressurized cabin can sustain hundreds of rounds of machine-gun fire, you'll buy anything in this entertaining potboiler, especially thanks to Ford's stalwart heroics and some nifty special effects. Director Wolfgang Petersen (Das Boot) keeps the action moving so fast you won't be sweating the details.—Jeff Shannon, Amazon.com

Robert Hays, Julie Hagerty, Jim Abrahams, David Zucker, Jerry Zucker The quintessential movie spoof that spawned an entire genre of parody films, the original Airplane! still holds up as one of the brightest comedic gems of the 1980s, not to mention of cinema itself (it often tops polls of the funniest movies ever made). The humour may be low and obvious at times, but the jokes keep coming at a rapid-fire clip and its targets—primarily the lesser lights of 1970s cinema, from disco films to star-studded disaster epics—are more than worthy for send-up. If you've seen even one of the overblown Airport movies then you know the plot: the crew of a filled-to-capacity jetliner is wiped out and it's up to a plucky stewardess and a shell-shocked fighter pilot to land the plane. Robert Hays and Julie Hagerty are the heroes who have a history that includes a meet-cute á la Saturday Night Fever, a surf scene right out of From Here to Eternity, a Peace Corps trip to Africa to teach the natives the benefits of Tupperware and basketball, a war-ravaged recovery room with a G.I. who thinks he's Ethel Merman (a hilarious cameo)—and those are just the flashbacks! The jokes gleefully skirt the boundaries of bad taste (pilot Peter Graves to a juvenile cockpit visitor: "Joey, have you ever seen a grown man naked?"), with the high (low?) point being Hagerty's intimate involvement with the blow-up automatic pilot doll, but they'll have you rolling on the floor. The film launched the careers of collaborators Jim Abrahams (Big Business), David Zucker (Ruthless People) and Jerry Zucker (Ghost), as well as revitalising such B-movie actors as Lloyd Bridges, Peter Graves, Robert Stack and Leslie Nielsen, who built a second career on films like this. A vital part of any home film collection. —Mark Englehart, Amazon.com

Alfred Hitchcock Richard Hannay is a Canadian visitor to 1930's London. After a disturbance at a music hall, he meets Annabella Smith, who is on the run from foreign agents. They go back to his apartment, but they are followed, and later that night she is murdered. He goes on the run to break the spy ring and prove his innocence.

Sigourney Weaver, Winona Ryder, Jean-Pierre Jeunet Perhaps these films are like the Star Trek movies: the even-numbered episodes are the best ones. Certainly Alien Resurrection film (directed by French stylist Jean-Pierre Jeunet) is an improvement on Alien 3, with a script that breathes exciting new life into the franchise. This chapter is set even further in the future, where scientists on a space colony have cloned both the alien and Ripley (Sigourney Weaver), who died in Alien 3; in doing so, however, they've mixed alien DNA with Ripley's human chromosomes, which gives Ripley surprising power (and a bad attitude). A band of smugglers comes aboard only to discover the new race of aliens—and when the multi-mouthed melonheads get loose, no place is safe. But, on the plus side, they have Ripley as a guide to help them get out. Winona Ryder is on hand as the smugglers' most unlikely crew-member (with a secret of her own), but this one is Sigourney's all the way. —Marshall Fine

Sanaa Lathan, Raoul Bova, Paul W.S. Anderson In delivering non-18-rated excitement, Alien vs. Predator is an acceptably average science-fiction action thriller with some noteworthy highlights, even if it squanders its opportunity to intelligently combine two popular franchises. Rabid fans can justifiably ask "Is that all there is?" after a decade of development hell and eager anticipation, but we're compensated by reasonably logical connections to the Alien legacy and the still-kicking Predator franchise (which hinted at AVP rivalry at the end of Predator 2); some cleverly claustrophobic sets, tense atmosphere and impressive digital effects; and a climactic AVP smackdown that's not half bad. This disposable junk should've been better, but nobody who's seen Mortal Kombat or Resident Evil should be surprised by writer-director Paul W.S. Anderson's lack of imagination. As a brisk, 90-minute exercise in generic thrills, however, Anderson's work is occasionally impressive... right up to his shameless opening for yet another sequel. —Jeff Shannon

Ioan Gruffudd, Rufus Sewell, Michael Apted In this inspirational costume drama, Michael Apted (49 Up) recounts a important period in British history. Unsurprisingly, however, his eye-opening biography of 18th century abolitionist William Wilberforce (Ioan Gruffudd) is likely to come as a revelation to many Britons. After all, despite the presence of his wife, Barbara (Romola Garai), this isn't a particularly "sexy" story, but it is a powerful one. The title comes from John Newton's hymn "Amazing Grace" ("I once was lost but now am found"). Newton (Albert Finney) was a former slaveholder, who became a clergyman and spent his days repenting. While America had John Brown, England had Wilberforce, and Newton is one of many who helped the MP to abolish slavery in the UK. The story begins towards the end of Wilberforce's mission when he's sick with colitis and addicted to laudanum. Apted continues to alternate between 1797 and 1789, when Wilberforce was fitter and more idealistic, and ends in 1807 as his efforts come to fruition.

Apted and writer Steven Knight (Dirty Pretty Things) do right by their hero. Unlike Amistad, however, slaves are largely off-screen, with the exception of author Equiano (Senegalese vocalist Youssou N'Dour). Amazing Grace reserves its focus for the politicians who risked their reps for the greater good, like Wilberforce and Prime Minister Pitt (an excellent Benedict Cumberbatch), and those more concerned with the income slavery provided their constituents, like Lord Tarleton (Ciarán Hinds) and the Duke of Clarence (Toby Jones). —Kathleen C. Fennessy

Will Ferrell, Christina Applegate, Adam McKay Will Farrell followed up his star-making vehicle Elf, which matched his fine-tuned comic obliviousness to a sweet sincerity, with a more arrogant variation on the same character: Ron Burgundy, a macho, narcissistic news anchor from the 1970s. Along with his news posse—roving reporter Brian Fantana (Paul Rudd, Clueless), sports guy Champ Kind (David Koechner), and dim-bulb weatherman Brick Tamland (Steve Carell, Bruce Almighty)—Burgundy rules the roost in San Diego, fawned upon by groupies and supported by a weary producer (Fred Willard, Best In Show) who tolerates Burgundy's ego because of good ratings. But when Veronica Corningstone (Christina Applegate, View from the Top) arrives with ambitions to become an anchor herself, she threatens the male-dominated newsroom. Anchorman has plenty of funny material, but it's as if Farrell couldn't decide what he really wanted to mock, and so took smart-ass cracks at everything in sight. Still, there are moments of inspired delirium. —Bret Fetzer

Peter Segal The irresistible pairing of Jack Nicholson and Adam Sandler is the best reason to see Anger Management, a comedy that might have been subtitled "The Funny and the Furious". Nicholson and especially Sandler have screen personas that partially rely on pent-up anxieties, so there's definite potential in teaming them as a mild-mannered designer of pet clothing for chubby cats (Sandler) who's been ordered to undergo anger management therapy with a zany counsellor (Nicholson) prone to occasional tantrums and devious manipulation. Surely this meandering comedy looked better on the page; director Peter Segal scores a few lucky scenes (particularly Sandler's encounter with a Buddhist monk, played by John C Reilly), but a flood of cameos (Heather Graham, Woody Harrelson, Rudolph Giuliani, and others) can't match the number of laughs that fall flat. As Sandler's understanding girlfriend, Marisa Tomei plays a pivotal role in a happy ending that leaves everyone smiling, with the possible exception of the audience. —Jeff Shannon

Keira Knightley, Saoirse Ronan, Joe Wright Atonement reunites Keira Knightley with her Pride & Prejudice director, Joe Wright, for the movie based on Ian McEwan's book of the same name. The result? Once of the most widely acclaimed pictures of 2007.

Atonement tells the story of Cecilia Tallis (Knightley), and the housekeeper's son, Robbie Turner (played by the increasingly prevalent James McAvoy). Set during the heat of 1935, their coming together and the ensuing drama brings in Cecilia's thirteen-year old sister, Briony, whose actions prove to have far-reaching repercussions.

With a terrific cast and superb direction from the aforementioned Wright, it's utterly understandable as to how Atonement has earned itself such praise. Diligently told, with some superb photography, Wright is blessed by terrific central performances by Knightley and McAvoy, both of whom have never been better. His trick also is to get the pacing of the film bang-on, taking his time to build up and layer events before he looks for any kind of pay off.

As a result, as Atonement heads into its latter stages, it proves itself as a top quality drama, with a real emotional punch. Furthermore, it's one of the increasingly rare breed of films that sticks in your head for days after.

As a result, for once, it really is worth seeing what critics the world over have been raving about: Atonement really is something very special indeed. —Jon Foster

Jay Roach

Sam Worthington, Sigourney Weaver, James Cameron After 12 years of thinking about it (and waiting for movie technology to catch up with his visions), James Cameron followed up his unsinkable Titanic with Avatar, a sci-fi epic meant to trump all previous sci-fi epics. Set in the future on a distant planet, Avatar spins a simple little parable about greedy colonisers (that would be mankind) messing up the lush tribal world of Pandora. A paraplegic Marine named Jake (Sam Worthington) acts through a 9-foot-tall avatar that allows him to roam the planet and pass as one of the Na'vi, the blue-skinned, large-eyed native people who would very much like to live their peaceful lives without the interference of the visitors. Although he's supposed to be gathering intel for the badass general (Stephen Lang) who'd like to lay waste to the planet and its inhabitants, Jake naturally begins to take a liking to the Na'vi, especially the feisty Neytiri (Zoë Saldana, whose entire performance, recorded by Cameron's complicated motion-capture system, exists as a digitally rendered Na'vi). The movie uses state-of-the-art 3D technology to plunge the viewer deep into Cameron's crazy toy box of planetary ecosystems and high-tech machinery. Maybe it's the fact that Cameron seems torn between his two loves—awesome destructive gizmos and flower-power message mongering—that makes Avatar's pursuit of its point ultimately uncertain. That, and the fact that Cameron's dialogue continues to clunk badly. If you're won over by the movie's trippy new world, the characters will be forgivable as broad, useful archetypes rather than standard-issue stereotypes, and you might be able to overlook the unsurprising central plot. (The overextended "take that, Michael Bay" final battle sequences could tax even Cameron enthusiasts, however.) It doesn't measure up to the hype (what could?) yet Avatar frequently hits a giddy delirium all its own. The film itself is our Pandora, a sensation-saturated universe only the movies could create. —Robert Horton

Koji Yakusho, Brad Pitt, Alejandro Gonzalez Inarritu

Robert Zemeckis Has Hollywood produced many more rounded, enjoyable trilogies such as this? We think not, and it's real testament to the quality of the Back To The Futuretrilogy that it all holds up so spectacularly well over twenty years since the first film appeared.

The films, as you probably know, following the time-travelling antics of Marty McFly, played by Michael J Fox, and Dr Emmett Brown, brought wonderfully to life by Christopher Lloyd. Across the three films, Marty and the Doc head back to the old west, meet Marty's kids in the future, nearly ruin the meeting between his parents in the past, and all the while deal with the unwelcome interference of Biff Tannen and his family tree.

Bluntly, for sheer excitement, these movies are hard to beat. Mixing in tightly woven scripts with good effects, lively direction and an endearing set of performances from a superbly-chosen cast, the whole trilogy is just tremendously good fun. Fox and Lloyd must take a good chunk of credit for that, as their on-screen partnership is in many ways the glue that sticks everything so firmly in place, but conversely, it feels odd singling them out when so much else has gone right.

A worthy addition to any DVD collection, the Back To The Future Trilogyis what can happen when Hollywood really works. From the carefully layered screenplays through to the proliferation of standout moments, you can only hope that the occasional rumours of a fourth instalment continue to prove false. After all, how can the filmmakers possibly match their achievements with these three?—Simon Brew

Will Smith|Martin Lawrence, Michael Bay Bad Boys II fulfils every audience expectation and then some: no-one goes to a movie directed by Michael Bay for delicacy and grace; you go because Bay (Armageddon, The Rock) knows how to make your bones rattle during a high-speed chase when a car flips over, spins through the air and smacks another car with a visceral crunch. Will Smith and Martin Lawrence may be mere puppets amid all this burning rubber and shrieking metal, but they actually provide a human core to the endless cascade of car wrecks and gunfights. Their easy rapport makes their personal problems—a running joke is Lawrence's attempts at anger management—as engaging as the sheer visual hullabaloo of bullets and explosions. The plot is recycled nonsense about drug lords and dead bodies being used to smuggle drugs, but the orchestration of violence is symphonic. If that's your thing, then this is for you. —Bret Fetzer

Barry Levinson Director Barry Levinson's eclectic film career has always been distinguished by quality scriptwriting, and Banditsis no exception, thanks to Harley Peyton's clever contribution. At the heart of the story is the onscreen chemistry between Bruce Willis and Billy Bob Thornton, who, as the most successful bank robbers in US history, win the affections of the nation. The story is told via various flashback methods, such as the narration of a newscaster who gets an exclusive interview, while a framing device teases the audience with what the end will be at the start. But all is not as it seems. The impulsive hothead Willis falls easily for fiery redhead and frustrated housewife Cate Blanchett. The attraction is perfectly mutual until she realises the sweet appeal of hypochondriac Thornton. The resulting love triangle may not immediately seem to add up, especially as the romantic focus really ought to be on Willis' goofy cousin Harvey (a sensational Troy Garity) who dreams of being a stuntman. Originally Banditswas meant to be an adaptation of Elmore Leonard's novel, but here the tone is significantly lightened and the "Sleepover Bandits" are far more sympathetic characters than the likes of George Clooney's thief in Out of Sight. There's a kicker of a feel-good finale, too.

On the DVD:Banditson disc has an alternative and even sweeter ending, complete with commentary from Blanchett entitled "Who's the Dad?". It's one of five deleted scenes that were presumably only cut for running time. Other extras include a "Script to Screen" workshop with Levinson, an ad for the soundtrack album and a 20-minute documentary. The real find, though, is a commentary from Willis, Thornton, Blanchett, Garity, Producer Paula Weinstein and Peyton. They may not all be in the same room, but the apportioning of anecdotes fits perfectly.—Paul Tonks

Christopher Nolan Just when you though that the Batman franchise was dead and buried—certainly after the abomination that was 1997’s Batman & Robin—along comes director Christopher Nolan to brilliantly bring it all back to life with the astonishingly strong Batman Begins.

Nolan, whose curriculum vitae already features Memento and Insomnia, focuses his attention where films in the franchise haven’t gone before—by examining that character of Batman himself. Thus, the story here is the genesis of the character, from the death of Bruce Wayne’s parents, harrowing training with the mysterious League of Shadows, right through to the Dark Knight’s first appearances on the street of a crime-ridden, moody Gotham City.

Nolan plays several trump cards in his take on the Batman legacy, and none pay off quite so handsomely as his casting. Christian Bale is an immense force in the dual role of Bruce Wayne and Batman, bringing a brooding anger and genuine unease to the Batsuit. He’s backed with strong turns from Tom Wilkinson, Michael Caine, Liam Neeson, Gary Oldman, and Cillian Murphy as the unstable Scarecrow.

In spite of a last twenty minutes that can’t quite sustain the tone of what’s gone before, Batman Begins is a major achievement, and one of the finest superhero movies to date. Easily the best of the Dark Knight’s big screen adventures, it manages to be a blockbuster film that’s unpredictable, compulsive, superb to look at and well worth many repeated viewings. A staggering achievement, particularly considering the state the Batman franchise had got itself into.—Simon Brew

Harry Andrews, Michael Caine, Guy Hamilton There's something about this film that's so irresistible, despite its grandiose manipulation. Maybe because it recounts the greatest air battle in history, achieving the greatest aerial battle in film history. Maybe because it has such a terrific cast (Harry Andrews, Michael Caine, Trevor Howard, Curt Jurgens, Laurence Olivier, Nigel Patrick, Christopher Plummer, Michael Redgrave, Ralph Richardson, Robert Shaw, Patrick Wymark, and Edward Fox). Maybe because it's so technically well-made, thanks to the Bond team of producer Harry Saltzman and director Guy Hamilton and the great cinematographer Freddie Young. Or maybe because there is something truly riveting about watching the British kick the Nazis back to Germany. —Bill Desowitz

Sylvain Chomet One of the more surprising critical hits of 2003, Sylvain Chomet's Belleville Rendezvousis a French animation that combines occasional beauty and charm with sardonic grotesquerie. People have commented about its bitchy portrait of a USA where everyone is overweight and over-helpful; it is equally nasty about a provincial France, where everything is grey and nothing is convenient. A grandmother and her dog set out to rescue a cyclist who has been kidnapped by the French Mafia and is forced to race endlessly into a receding projected landscape; she is helped by a superannuated trio of female close-harmony chansonniersmarooned in American poverty.

Nothing in this film is mere chance—almost everything we see turns out to be relevant. There is also little dialogue—most of the time, sound effects and music take its place, from the irritating squeak of a mechanic's breathing to the sublimity of Mozart's "Kyrie" as a storm rages at sea. Belleville Rendezvoususes the best of traditional animation techniques and modern technology to produce something sharply funny and beautifully composed; it is not quite like anything you have seen before. —Roz Kaveney

Martin Brest While its sequels were formulaic and safe, the first Beverly Hills Copset out to explore some uncharted territory and succeeded. A blend of violent action picture and sharp comedy, the film has an excellent director, Martin Brest (Scent of a Woman), who finds some original perspectives on stock scenes (highway chases, police rousts) and hits a gleeful note with Murphy while skewering LA culture. Good support from Judge Reinhold and John Ashton as local cops not used to doing things the Detroit way (Murphy's character hails from the Motor City). Paul Reiser has a funny, brief moment at the beginning and Bronson Pinchot makes an hilarious impression in a great, never-to-be-duplicated scene with the star. —Tom Keogh

Keanu Reeves, Tony Steedman, Stephen Herek

Harrison Ford, Rutger Hauer, Ridley Scott To call this cut of Blade Runner ‘long awaited’ would be a heavy, heavy understatement. It’s taken 25 years since the first release of one of the science-fiction genre’s flagship films to get this far, and understandably, Blade Runner: The Final Cut has proved to be one of the most eagerly awaited DVD releases of all time.

And it’s been well worth the wait. Director Ridley Scott’s decision to head back to the edit suite and cut together one last version of his flat-out classic film has been heavily rewarded, with a genuinely definitive version of an iconic, visually stunning and downright intelligent piece of cinema. Make no mistake: this is by distance the best version of Blade Runner. And it’s never looked better, either.

The core of Blade Runner, of course, remains the same, with Harrison Ford’s Deckard (the Blade Runner of the title) on the trail of four ‘replicants’, cloned humans that are now illegal. And he does so across an amazing cityscape that’s proven to be well ahead of its time, with astounding visuals that defied the supposed limits of special effects back in 1982.

Backed up with a staggering extra features package that varies depending on which version of this Blade Runner release you opt for (two-, four- and five-disc versions are available), the highlight nonetheless remains the stunning film itself. Remastered and restored, it remains a testament to a number of creative people whose thinking was simply a country mile in advance of that of their contemporaries. An unmissable purchase. —Jon Foster

Cleavon Little, Gene Wilder, Mel Brooks Mel Brooks scored his first commercial hit with this raucous Western spoof starring the late Cleavon Little as the newly hired (and conspicuously black) sheriff of Rock Ridge. Sheriff Bart teams up with deputy Jim (Gene Wilder) to foil the railroad-building scheme of the nefarious Hedley Lamarr (Harvey Korman). The simple plot is just an excuse for a steady stream of gags, many of them unabashedly tasteless, that Brooks and his wacky cast pull off with side-splitting success. The humour is so juvenile and crude that you just have to surrender to it; highlights abound, from Alex Karras as the ox-riding Mongo to Madeline Kahn's uproarious send-up of Marlene Dietrich as saloon songstress Lili Von Shtupp. Adding to the comedic excess is the infamous campfire scene involving a bunch of hungry cowboys, heaping servings of baked beans and, well, you get the idea. —Jeff Shannon

James Nesbitt, Tim Pigott-Smith, Paul Greengrass If it was a piece of fiction, they'd say that it could never happen. Bloody Sunday is a dramatisation of one of the most shameful episodes in recent British history. Released to coincide with the 30th anniversary of the Derry civil rights march and also the re-opening of enquiries into what really happened, the film is one of the most incisive, explosive works ever to emerge from British cinema. The premise is simple—to follow what took place in the city on 30th January 1972, when an anti-internment march descended into violence and left 13 unarmed civilians dead at the hands of the British army.

Abandoning traditional filmmaking methods in favour of a more documentary style, Bloody Sunday is frighteningly realistic, especially when detailing the chaos into which the peaceful demonstration descended. Those who are only familiar with James Nesbitt through his lighter work (Cold Feet for example) may find this something of a shock, but he excels in the role of local politician Ivan Cooper. Admittedly there is a danger in presenting historical facts in a dramatic manner, no matter how painstaking the research, even though much of the dialogue here is taken straight from testimony and actual military transcripts. But if any question of bias arises, it’s worth remembering that this film was written and directed by an Englishman, stars a Derry protestant as well as a young man whose uncle was killed during the march, and was produced as an Anglo-Irish project. The result is an unforgettable and unflinching piece of cinema not to be missed.

On the DVD: Bloody Sunday absolutely has to be seen on DVD. The slew of extra features not only complement the film, but place it in the overall context of the past, present and future of Northern Ireland. The various interviews with cast, director and producers paint a picture of a film that sets out to heal wounds and build bridges on all sides and to break the cinematic mould. Thus the majority of the cast were not actors but ordinary people from the Derry area, with the majority of the British soldiers played by ex-military personnel, some of whom had served in Northern Ireland themselves. As more and more of the story behind this remarkable film is revealed, so its impact becomes more intense and its aims and purpose more successful.—Phil Udell

Steve Martin, Eddie Murphy, Frank Oz Film-makers often remark that it's just so hard to make a bad picture that few would take on the challenge if they weren't so naive. Steve Martin's Bobby Bowfinger is cut from that pattern, one of those sweet, indomitable operators of Hollywood who seem to be descended directly from Ed Wood (of Plan 9 from Outer Space infamy). To resurrect his ramshackle existence, Bowfinger opts to film his accountant's sci-fi spectacular,Chubby Rain, about aliens invading in raindrops. The snag is he needs to attach action megastar Kit Ramsey (Eddie Murphy), an actor so paranoid he counts the occurrences of the letter "k" in scripts to uncover possible Ku Klux Klan influences. When his effort fails, Bowfinger hits on an ingenious scheme to film Ramsey without his knowledge, throwing his actors at the hapless star whenever he appears in public. Only Kit begins to believe he's being hounded by aliens for real, and runs hysterically to his guru (Terence Stamp) at a Scientology-clone group called MindHead, where people walk around in fine suits wearing white pyramids on their heads. Deprived of his star, yet not to be undone, Bowfinger hires a look-alike, Jiff (also Eddie Murphy), to fill in. The tone of the picture is sometimes flat, rather than deadpan, but that's nitpicking. The farce is quick and engrossing, and populated with terrific performances, especially by Eddie Murphy, whose dual role as Kit and Jiff showcases his character-building gift, and by Martin, whose Bowfinger, part con man and part would-be visionary, manages to capture your sympathies. Heather Graham's would-be actress cheerfully sleeps her way to the top like she knows she's supposed to, and Christine Baranski plays her shopworn method actor with myopic self-absorption. —Jim Gay, Amazon.com

Jonathan Pryce, Kim Greist, Julian Doyle, Terry Gilliam If Franz Kafka had been an animator and film director—oh, and a member of Monty Python's Flying Circus—this is the sort of outrageously dystopian satire one could easily imagine him making. However, Brazil was made by Terry Gilliam, who is all of the above except, of course, Franz Kafka. Be that as it may, Gilliam sure captures the paranoid-subversive spirit of Kafka's The Trial (along with his own Python animation) in this bureaucratic nightmare-comedy about a meek governmental clerk named Sam Lowry (Jonathan Pryce) whose life is destroyed by a simple bug. Not a software bug, a real bug (no doubt related to Kafka's famous Metamorphosis insect) that gets smooshed in a printer and causes a typographical error unjustly identifying an innocent citizen, one Mr. Buttle, as suspected terrorist Harry Tuttle (Robert De Niro). When Sam becomes enmeshed in unravelling this bureaucratic glitch, he himself winds up labelled as a miscreant.

The movie presents such an unrelentingly imaginative and savage vision of 20th-century bureaucracy that it almost became a victim of small-minded studio management itself—until Gilliam surreptitiously screened his cut for the Los Angeles Film Critics Association, who named it the best movie of 1985 and virtually embarrassed Universal into releasing it. —Jim Emerson

Celia Johnson, Trevor Howard, David Lean

John Travolta, Christian Slater, John Woo John Travolta is Vic Deakins, a bomber pilot who launches a devilish plan to hijack two nuclear missiles for big-time extortion. Vic never sweats, spews out great one-liners, knocks off money men with glee, toys with killing half a million people ... he even smokes!

If you giggled at his "Ain't it cool" line from the trailer, you're in the right frame of mind for this comedic action film. Never as gritty or semi-realistic—or for that matter as heart-thumping—as the original DieHard, Broken Arrow still delivers. If Travolta is cast against type, everyone else is by the numbers; Christian Slater as Hale, the earnest copilot looking to foil the plot, Samantha Mathis as the brave park ranger caught in the middle, Frank Whaley as an eager diplomat and Delroy Lindo as a right-minded colonel. As with his previous script (the superior Speed), writer Graham Yost moves everything quickly along as Hale and the ranger try to cut off Deakins's plan over a variety of terrains. There are plane crashes, car chases, a pursuit through an abandoned mine, a helicopter-train shootout and lots of fighting between boys. Each time Hale finds himself perfectly in place to foil Deakins, you're suppose to laugh at the unbelievable situations. That's where Broken Arrow is deceptive: its tone is right for the laughter compared to the mean-spirited Schwarzenegger and Stallone action films with laboured jokes. Hong Kong master director John Woo (TheKiller and Hard Target) pulls out all the stops—slow motion of Hale and Deakins' gymnastic gun play, nifty stunts, countdowns to doomsday. Woo may know action but he needs more guidance in creating unique and stunning special effects. This is action entertainment at its cheesiest. Travolta and Woolater reteamed for Face/Off. —Doug Thomas

Tom Shadyac

John Lasseter There was a rare magic on the big screen in 1995, when the people at Pixar came up with the first fully computer-animated film, Toy Story, and their second feature film, A Bug's Life, may miss the bull's-eye but Pixar's target is so lofty that it's hard to find the film anything less than irresistible. Brighter and more colourful than the other animated insect movie of 1998 (Antz), A Bug's Lifeis the sweetly told story of Flik (voiced by David Foley), an ant searching for better ways to be a bug. His colony unfortunately revolves around feeding and fearing the local grasshoppers (lead by Hopper, voiced with gleeful menace by Kevin Spacey). When Flik accidentally destroys the seasonal food supply for the grasshoppers he decides to look for help ("We need bigger bugs!"). The ants, led by Princess Atta (Julia Louis-Dreyfus), are eager to dispose of the troublesome Flik. Yet he finds help—a hearty bunch of bug warriors—and brings them back to the colony. Unfortunately they are just travelling performers, afraid of conflict. As with Toy Story, the ensemble of creatures and voices is remarkable and often inspired. Highlights include wiseacre comedian Denis Leary as an un-ladylike ladybird, Joe Ranft as the German-accented caterpillar, David Hyde Pierce as a stick insect and Michael McShane as a pair of unintelligible woodlice. The scene-stealer is Atta's squeaky-voiced sister, baby Dot (Hayden Panettiere), who has a big soft spot for Flik. More gentle and kid-friendly than Antz, A Bug Life'sstill has some good suspense and a wonderful demise in store for the villain. However, the film—a worldwide hit—will be remembered for its most creative touch: "outtakes" over the end credits à la many live-action comedy films. These dozen or so scenes (both "editions" of outtakes are contained here) are brilliant and deserve a special place in film history right along with 1998's other most talked-about sequence: the opening Normandy invasion in Saving Private Ryan. —Doug Thomas

George Clooney, Frances McDormand, Ethan Coen, Joel Coen After the dark brilliance of No Country for Old Men, Burn After Reading may seem like a trifle, but few filmmakers elevate the trivial to art quite like Joel and Ethan Coen. Inspired by Stansfield Turner's Burn Before Reading, the comically convoluted plot clicks into gear when the CIA gives analyst Osborne Cox (John Malkovich) the boot. Little does Cox know his wife, Katie (Tilda Swinton, riffing on her Michael Clayton character), is seeing married federal marshal Harry (George Clooney, Swinton's Clayton co-star, playing off his Syriana role). To get back at the Agency, Cox works on his memoirs. Through a twist of fate, fitness club workers Linda (Frances McDormand) and Chad (Brad Pitt in a pompadour that recalls Johnny Suede) find the disc and try to wrangle a "Samaratin tax" out of the surly alcoholic. An avid Internet dater, Linda plans to use the money for plastic surgery, oblivious that her manager, Ted (The Visitor's Richard Jenkins), likes her just the way she is. Though it sounds like a Beltway remake of The Big Lebowski, the Coen entry it most closely resembles, this time the brothers concentrate their energies on the myriad insecurities endemic to the mid-life crisis—with the exception of Chad, who's too dense to share such concerns, leading to the funniest performance of Pitt's career. If Lebowski represented the Coen's unique approach to film noir, Burn sees them putting their irresistibly absurdist stamp on paranoid thrillers from Enemy of the State to The Bourne Identity. —Kathleen C. Fennessy

John Ryan

Catherine Zeta Jones, Dominic West, Rob Marshall Adapted from the long-running stage version, this big-screen Chicago is a non-stop singing and dancing extravaganza that may well herald the welcome revival of the film musical. When the part-time lover of wannabe star Roxie (Renee Zellweger) is murdered, she is banged up with Chicago's most famous singing murderess, Velma (Catherine Zeta-Jones). They compete for the attention of the best lawyer in town, Billy Flynn (Richard Gere). Drawn to the special angle of Roxie's case (the sweetest killer to hit Chicago), Flynn offers her a taste of stardom and her daydreams of singing on stage are juxtaposed with the action.

Chicago has transferred well to film, seamlessly merging Dennis Potter-esque dream sequences with the action. Though the stage show uses sets sparingly, here the look has been heavily influenced by the only successful musical of recent times, Moulin Rouge, with heavy velvets and drapery offering a rich feel to the murky underworld of 1920s Chicago clubs. The hot question is: can the movie stars cut it as performers? Surprisingly, it is Zellweger who looks most comfortable in the part, regardless of her awkward dancing. Zeta-Jones is just that little bit too butch to be believable as a flapper girl, despite her stage school roots, and lacks a certain panache. But one thing is in her favour: she's believable as the ultimate starlet bitch. Gere does not fare much better, with his tap-dancing sequence littered with cutaways (mercifully his dancing and singing is kept to a minimum). The real show-stealer is Queen Latifah, whose matron of the cells is perfect and her singing spot-on. More than anything else, though, this film will whet your appetite to see the original on the West End stage. —Nikki Disney

On the DVD: Chicago on DVD demonstrates that the producers of Rob Marshall's Oscar-winning film obviously took to heart the lyrics "Give 'em the old Razzle Dazzle", as the widescreen 1.85:1 anamorphic transfer is rich with the lush colours, vibrant tones and sparkling audio that wowed audiences in the cinema. If only the extras had been given the same treatment. There's nothing like the plethora of special features that greeted fans of Moulin Rouge here; there is a grand total of three: a passable director's commentary, a deleted song, "Class", which is so dull you don't question why it didn't make the final cut, and a making-of feature, which is entertaining but nothing new. All in all, there's a very disappointing and unimaginative selection. —Kristen Bowditch

Peter Lord Nick Park As warming as a nice cup of tea on a cloudy day, Chicken Runis that charming singularity, a commercially successful British family movie that has near-universal appeal without compromising its inherent British pluckiness (that will be the first and last poultry-pun in this review). It invites us into the Plasticine-world of Tweedy's farm, a far-from-free-range egg factory ruled with an axe of iron by greedy Mrs.Tweedy. One intrepid chicken, Ginger (voiced by Julia Sawalha) sets her sights on breaking out the whole flock, a cast of beautifully individuated chicken characters including ditsy Babs (voiced by Jane Horrocks), matronly Bunty (Imelda Staunton) and practical-minded Mac (Lynn Ferguson). Each effort is thwarted, and Ginger repeatedly reaps a spell in the coal bunker for her troubles, prompting the first of many allusions to The Great Escape, one of several World War II films name-checked throughout. (Grown-ups will have a ball playing Spot-the-Allusion Game here.) When an American rooster named Rocky (Mel Gibson) literally drops in from the air, the hens are set all a-flutter with excitement thinking he'll help teach them to fly away at last. But Rocky is not all he seems.

Although the action sags just a fraction around the 40-minute mark, it's the set pieces that really lift this into the realm of cartoon genius: the montage of inept flying attempts, Rocky and Ginger's narrow escape from Mrs Tweedy's new pie machine (an horrific contraption of chomping steel and industrial menace) and the magnificent, soaring climax. Despite the fact British animators (such as the directors, Nick Park and Peter Lord, themselves) regularly scoop Oscars for their short films, our record in full-feature length cartoons has been scrappy at best. There have been a few highlights—Animal Farm(1955), The Yellow Submarine(1968), Watership Down(1978)—and, er, that's about it really, unless you count The Magic Roundabout: Dougal and the Blue Cat. ChickenRun, made by the Aardman production house who produced the delightful Wallace and Gromit shorts among many other treats, has proved that Britain can compete with the most calculated, merchandised and screen-tested Disney production and win. —Leslie Felperin

Children Of Men (1 disc Edition) [2006] [Anamorphic] by Clive Owen (DVD - 2007)

Brad Silberling Some critics complained that City of Angelscould never compare to Wim Wenders's exquisite German film Wings of Desire, which served as the later film's primary inspiration. The better argument to make is that any such comparisons are beside the point, because Wings of Desirewas a much more deeply poetic, artfully contemplative film, whereas City of Angelsis an enchanting product of mainstream Hollywood. Meg Ryan stars as Dr. Maggie Rice, a heart surgeon who is grieving over a lost patient when an angel named Seth (Nicolas Cage) appears to comfort her. She can see him despite the "rule" that angels are invisible, and Seth's love for Maggie forces him to choose between angelic immortality and a normal human existence on earth with her. Featuring heavenly roles for TV veterans Andre Braugher and Dennis Franz, the film liberally borrows imagery from Wings of Desire, but it also creates its own charming identity. Cage and Ryan give fine performances as lovers convinced they are soul mates, and although the plot relies on a last-minute twist that doesn't quite work, this earnest love story struck a chord with audiences and proved to be one of the surprise hits of 1998. —Jeff Shannon

Arnold Schwarzenegger, James Earl Jones, John Milius The film that launched Arnold Schwarzenegger's international career, Conan the Barbarian is still regarded by many as his finest hour. Limited to a mere handful of lines and expertly directed to play up the Nietzschean strength of the character by John Milius, the Austrian Oak has never looked more suited to a role, his muscle flexing and sword twirling apparently effortless. The extraordinarily finely detailed production design ensures that the barren Spanish countryside perfectly suits the Hyborean-era backdrop envisioned by author Robert E Howard. Whether dressed in rags or riches, Schwarzenegger and companions Subotai (Gerry Lopez) and Valeria (Sandahl Bergman) look believably born to their surroundings. Backing their own very fine performances are brilliant supporting roles from James Earl Jones as serpentine baddie Thulsa Doom and Max Von Sydow as doomed King Osric.

Plot-wise the film is simply the transformation of a wild barbarian into a worldly-wise king who, via a quest for revenge, finally learns the riddle of steel. The script is highly regarded for its dazzling set-pieces (the opening village raid, the orgy of body parts) and quotable dialogue ("They shall all drown in lakes of blood"), and it comes complete with an anti-peace movement reactionary subtext for anyone who cares to look close enough. One other element deserving mention is the extraordinary score by Basil Poledouris, which inspires the film with a sense of operatic grandeur.

On the DVD: Conan the Barbarian appears as a suitably mythic special edition DVD. Sadly the magnificent score can only be heard in a mono mix, but the very fine picture is presented in 2.35:1. The extras package is phenomenal, too. Several deleted scenes have been re-edited into the film, but are available to view independently as well. There's a quick split-screen special effects feature showing how the ghostly spirits were added to Conan's resurrection. "The Conan Archives" is an 11-minute slide show of drawings, costumes and advertising. Best of all is the fantastic 53-minute "Conan Unchained" documentary interviewing every conceivable contributor who all reminisce with great fondness. It's slightly better seeing Schwarzenegger and Milius than hearing them talk in their commentary, which inevitably re-tells many of the same anecdotes in between puffs of Arnie's stogies. —Paul Tonks

Frank Marshall This is a terrible movie. Frank Marshall (Arachnophobia) demonstrates no control over story, actors, effects or general presentation in this adaptation of a Michael Crichton novel about an expedition into deep, dark Africa that runs into an unknown race of killer apes. The big monkeys attack and attack and attack and have to be fought off with machine guns and lasers—that's pretty much the story, except there's probably an even better one behind "fourth Ghostbuster" Ernie Hudson's bizarre decision to speak with a British accent. While Marshall wants us to root for the human characters, they're all so obnoxious and unbelievable you can't help but feel lousy for the poor apes when they get chopped to bits just for defending their homes against these twerps. If you're not feeling enough environmentalist ire these days, watch this and get angry. —Tom Keogh

Keanu Reeves, Rachel Weisz, Francis Lawrence In the grand scheme of theological thrillers, Constantine aspires for the greatness of The Exorcist but ranks more closely with The Order. Based on the popular Hellblazer comic book series, and directed with nary a shred of intelligence by music video veteran Francis Lawrence, it's basically The Matrix with swarming demons instead of swarming machines. Keanu Reeves slightly modifies his Matrix persona as John Constantine, who roams the dark-spots of Los Angeles looking for good-evil, angel-devil half-breeds to ensure that "the balance" between God and Satan is properly maintained. An ancient artifact and the detective twin of a woman who committed evil-induced suicide (Rachel Weisz) factor into the plot, which is taken so seriously that you'll want to stand up and cheer when Tilda Swinton swoops down as the cross-dressing angel Gabriel and turns this silliness into the camp-fest it really is. The digital effects are way cool (dig those hellspawn with the tops of their heads lopped off!), so if you don't mind a juvenile lesson in pseudo-Catholic salvation, Constantine is just the movie for you! —Jeff Shannon, Amazon.com

Robert Zemeckis The opening and closing moments of Robert (Forrest Gump) Zemeckis's Contactastonish viewers with the sort of breathtaking conceptual imagery one hardly ever sees in movies these day—each is an expression of the heroine's lifelong quest (both spiritual and scientific) to explore the meaning of human existence through contact with extraterrestrial life. The movie begins by soaring far out into space, then returns dizzyingly to earth until all the stars in the heavens condense into the sparkle in one little girl's eye. It ends with that same girl as an adult (Jodie Foster)—her search having taken her to places beyond her imagination—turning her gaze inward and seeing the universe in a handful of sand. Contacttraces the journey between those two visual epiphanies. Based on Carl Sagan's novel, Contactis exceptionally thoughtful and provocative for a big-budget Hollywood science fiction picture, with elements that recall everything from 2001to The Right Stuff. Foster's solid performance (and some really incredible alien hardware) keep viewers interested, even when the story skips and meanders, or when the halo around the golden locks of rising-star-of-a-different-kind Matthew McConaughey (as the pure-Hollywood-hokum love interest)reaches Milky Way-level wattage. Ambitious, ambiguous, pretentious, unpredictable—Contactis all of these things and more. Much of it remains open to speculation and interpretation but whatever conclusions one eventually draws, Contactdeserves recognition as a rare piece of big-budget studio film making on a personal scale. —Jim Emerson

Sandra Bullock, Don Cheadle, Paul Haggis Movie studios, by and large, avoid controversial subjects like race the way you might avoid a hive of angry bees. So it's remarkable that Crash even got made; that it's a rich, intelligent, and moving exploration of the interlocking lives of a dozen Los Angeles residents—black, white, latino, Asian, and Persian—is downright amazing.

A politically nervous district attorney (Brendan Fraser) and his high-strung wife (Sandra Bullock, biting into a welcome change of pace from Miss Congeniality) get car-jacked by an oddly sociological pair of young black men (Larenz Tate and Chris "Ludacris" Bridges); a rich black T.V. director (Terrence Howard) and his wife (Thandie Newton) get pulled over by a white racist cop (Matt Dillon) and his reluctant partner (Ryan Phillipe); a detective (Don Cheadle) and his Latina partner and lover (Jennifer Esposito) investigate a white cop who shot a black cop—these are only three of the interlocking stories that reach up and down class lines.

Writer/director Paul Haggis (who wrote the screenplay for Million Dollar Baby) spins every character in unpredictable directions, refusing to let anyone sink into a stereotype. The cast—ranging from the famous names above to lesser-known but just as capable actors like Michael Pena (Buffalo Soldiers) and Loretta Devine (Woman Thou Art Loosed)—meets the strong script head-on, delivering galvanizing performances in short vignettes, brief glimpses that build with gut-wrenching force. This sort of multi-character mosaic is hard to pull off; Crash rivals such classics as Nashville and Short Cuts. A knockout. —Bret Fetzer

Ang Lee Crouching Tiger Hidden Dragonis so many things: an historical epic on a grand scale, an Asian martial-arts flick with both great effects andfantastic fighting (choreographed by The Matrix's guru Yuen Wo Ping), a story of magic, revenge and power played with a posse of star-crossed lovers thrown in for good measure. Set during the Qing dynasty (the late 19th century), the film follows the fortunes of righteous warriors Li Mu Bai and Yu Shu Lien (Asian superstars Chow Yun-Fat and Michelle Yeoh, respectively) whose love for one another has lain too long unspoken. When Li Mu Bai's legendary sword Green Destiny is stolen by wilful aristocrat's daughter Jen (exquisite newcomer Zhang Ziyi), who has been trained in the way of the gangster by Li Mu Bai's arch-rival Jade Fox, the warriors must fight to recover the mystical blade. The plot takes us all across China, from dens of iniquity and sumptuous palaces to the stark plains of the Western desert. Characters chase each other up walls and across roof and treetops to breathtaking effect, and Tan Dun's haunting, Oscar-winning East-West inflected score.

Directed by Taiwanese-born Ang Lee and co-written by his longtime collaborator American James Schamus, Crouching Tiger Hidden Dragonjoins the ranks of the team's slate of high-quality, genre-spanning literary adaptations. Although it superficially seems like a return to Ang's Asian roots, there's a clear throughline connecting this with their earlier, Western films given the thematic focus on propriety and family honour (Sense and Sensibility), repressed emotions (The Ice Storm) and divided loyalties in a time of war (Ride with the Devil). Nonetheless, a film this good needs no prior acquaintance with the director's oeuvre; it stands on its own. The only people who might be dismissive of it are jaded chop-socky fans who will probably feel bored with all the romance. Everyone else will love it. —Leslie Felperin

On the DVD: As might be expected this superb anamorphic widescreen version of the original 2.35:1 theatrical ratio presents Peter Pau's spellbinding cinematography in its full glory; the same goes for the Dolby 5.1 audio track that showcases Tan Dun's haunting score. Annoyingly, however, the default language option is the dubbed English soundtrack, which means you have to select the original Mandarin version before playing. The extra features are good but not exceptional, with an obligatory "making-of" documentary and commentary from Ang Lee and James Schamus being the best options: the director and producer/cowriter chat amiably and in some detail about their martial arts version of Sense and Sensibility. But it's the breathtaking delight of the seeing the movie in such quality that really counts, and this disc does not disappoint. —Mark Walker

Matthew O'Callaghan

Jürgen Prochnow, Herbert Grönemeyer, Wolfgang Petersen Wolfgang Petersen's harrowing and claustrophobic U-boat thriller Das Boot was released as both a theatrical film and a six-hour mini-series, and remains the most expensive production ever made by a German studio. The expanded "Director's Cut" of the movie was re-released 1997 and it is this version that is available for home viewing. This epic story became an instant classic on its first release, provoking critical and audience acclaim worldwide for its sympathetic and entirely truthful portrayal of a German U-boat crew. Faithfully adapted from the bestselling novel by Lothar-Günther Buchheim, Petersen and his committed cast (led by the amazing Jürgen Prochnow) were concerned to ensure that every detail was rendered with painstaking accuracy—both physical and psychological—and the result is not only the best submarine drama ever made but also arguably the finest cinematic portrait of men at war and the terrible madness they must endure.

On the DVD: The 200-minute "Director's Cut" version of the movie not only has several major scenes restored that were not in the theatrical release but also has been digitally remastered with significantly improved sound (new sound effects have been added) and anamorphic picture. (The six-hour TV version has yet to be released.) Here, the viewer can watch the movie in the original German, with or without subtitles, or in an English dubbed version that uses the voices of many of the original cast. On the utterly engrossing commentary track, director Wolfgang Petersen and star Jürgen Prochnow talk animatedly and in great detail about every aspect of making this epic story—from model shots using Barbie dolls to meeting the Captain of the original U-boat. This is one of the most consistently rewarding commentaries on disc. Also included is a five-minute featurette that promotes this new version. —Mark Walker

David Drury In the politically charged atmosphere of Margaret Thatcher's Britain, newspaper reporters are hungry for the big story that will make them stars and their newspapers famous. Nick Mullen (Gabriel Byrne in his first starring role) is one such reporter for the London Daily Dispatch. A top member of Parliament (Ian Bannen) is the focus of the latest political scandal: he has been photographed with a prostitute who is known to have Russian contacts. Nick barrels into the scandal full-bore, despite warnings from his mentor (a deft Denholm Elliott). Nick receives a tip that makes his story a front-page item and he quickly becomes a celebrity himself. But as he soon discovers, there is much more to the story than he imagined. Director David Drury (Prime Suspect 3) keeps this highly complex, John le Carré-esque story moving swiftly. The clues are hard to find at times but it is not because the story is told unclearly; rather, the filmmakers have decided that audiences can think for themselves and piece together the information along with Nick. Defence of the Realmoverlooked and truly entertaining thinking person's film. —Doug Thomas

Marc Cherry Audiences were captivated by the women of Wisteria Lane in the first season of Desperate Housewives, the breakout hit from ABC that almost single-handedly lifted the network from its ratings doldrums and brought back the classic TV soap, remixed now with satire, comedy, and mystery. An affectionate yet darkly tinged send-up of suburbia that skirted Twin Peaksterritory as much as that of Knots Landing, Desperate Housewivesopened with a bang—literally—as perfect-seeming housewife Mary Alice Young (Brenda Strong) went through her picture-perfect day before putting a handgun to her temple and pulling the trigger. Mary Alice's sudden suicide leaves her four closest friends, all housewives of a sort, with a surfeit of grief, a re-examination of their own lives, and a mystery to solve. It also proves to be a catalyst for a seamy study of what goes on inside the finely appointed homes of Wisteria Lane—the tales of which Mary Alice narrates from beyond the grave with a sardonic tone dipped in both honey and arsenic.

There's Martha Stewart-perfect Bree (Marcia Cross), who rules her household with an iron fist in a tailor-made garden glove and seems to have it all, until she finds out her husband (Steven Culp) is cheating on her—and has a serious fetish habit to boot. Sultry Gaby (Eva Longoria), the youngest of the set, is a bored trophy wife whose predilection for shopping and clothes are the perfect decoy for her affair with the hunky teenage gardener (Jesse Metcalfe). Former career woman Lynette (Felicity Huffman) is the most stereotypical housewife, raising four (or was it five?) kids and frustrated at using her cutthroat business skills for suburban politics. And daffy Susan (Teri Hatcher), the divorcee looking for love, sees her prospects brighten with the arrival of hunky plumber Mike (James Denton), who has some desperate secrets of his own. And did we mention the neighborhood hussy (Nicollette Sheridan), the snotty busybody (Christine Estabrook), and Mary Alice's increasingly agitated son (Cody Kasch)?

It was a fast and wild mix of plot and characters that gave Desperate Housewivesthe zing that made it a number one hit, as it never got too bogged down in any dilemma before moving on to the next. And though it was neither as hard-hitting nor salacious as it was trumpeted to be, the show nevertheless breathed fresh, funny air into comedy television, for even though it hewed to the hour-long soap format, the content was far more dark comedy than sudsy drama. There were fun bright spots to be had, but the story behind Mary Alice's death—which included drugs, murder, blackmail, secret identities, and vengeance in equal amounts—hovered over all the characters, tingeing the farce with the specter of danger. The show's other source of strength is in its peerless ensemble cast, headed by four perfect leading ladies, all Emmy-worthy. Hatcher received the (deserved) lion's share of praise (and a Golden Globe), but her co-stars—especially the underrated Longoria—matched her scene for scene. And though the mystery of Mary Alice's death was ultimately solved (no Twin Peaksteasing here), it was just the beginning of the troubles on Wisteria Lane, where no life went unexamined for too long. —Mark Englehart, Amazon.com

Sharlto Copley, Jason Cope, Neill Blomkamp Sharlto Copley, Jason Cope, Nathalie BolttDirectors: Neill Blomkamp

Rawson Marshall Thurber How's this for impressive trivia: Dodgeballfaced off against The Terminalin opening-weekend competition, and 29-year-old writer-director Rawson Marshall Thurber aced Steven Spielberg by a score of $30 to $18.7 in US box-office millions. That's no mean feat for a newcomer, but Thurber's lowbrow script and rapid-fire direction—along with a sublime cast of screen comedians—proved to be just what moviegoers were ravenous for: a consistently hilarious, patently formulaic romp in which the underdog owner of Average Joe's Gym (Vince Vaughan) faces foreclosure unless he can raise $50,000 in 30 days. The solution: A dodgeball tournament offering $50K to the winners, in which Vaughan and his nerdy clientele team up against the preening, abhorrently narcissistic owner (Ben Stiller) of Globo Gym, who's threatening a buy-out. That's it for story; any 5-year-old could follow it with brainpower to spare. But Thurber, Vaughan, Stiller, and their well-cast costars (including Stiller's off-screen wife, Christine Taylor) keep the big laughs coming for 96 nonsensical minutes. With spot-on cameos by champion bicyclist Lance Armstrong, David Hasselhoff, Hank Azaria, Chuck Norris, and William Shatner, and a crudely amusing coda for those who watch past the credits, Dodgeballis no masterpiece, but you can bet Spielberg was unexpectedly humbled by its popular appeal. —Jeff Shannon

Richard Kelly

Bruno Ganz, Corinna Harfouch, Oliver Hirschbiegel The riveting subject of Downfall is nothing less than the disintegration of Adolph Hitler in mind, body, and soul. A 2005 Academy Award nominee for best foreign language film, this German historical drama stars Bruno Ganz as Hitler, whose psychic meltdown is depicted in sobering detail, suggesting a fallen, pathetic dictator on the verge on insanity, resorting to suicide (along with Eva Braun and Joseph and Magda Goebbels) as his Nazi empire burns amidst chaos in mid-1945. While staging most of the film in the claustrophobic bunker where Hitler spent his final days, director Oliver Hirschbiegel dares to show the gentler human side of der Fuehrer, as opposed to the pure embodiment of evil so familiar from many other Nazi-era dramas. This balanced portrayal does not inspire sympathy, however: We simply see the complexity of Hitler's character in the greater context of his inevitable downfall, and a more realistic (and therefore more horrifying) biographical portrait of madness on both epic and intimate scales. By ending with a chilling clip from the 2002 documentary Blind Spot: Hitler's Secretary, this unforgettable film gains another dimension of sobering authenticity. —Jeff Shannon, Amazon.com

Woo-ping Yuen Drunken Masteris a film that, following Snake in the Eagle's Shadow(1978) (made with the same ensemble cast and director Yuen Woo Ping), consolidated Jackie Chan's position as the new Hong Kong kung fu action star of the late 1970s. Set in the late 19th century, Chan plays the great Chinese hero Wong Fei Hung as a loveable young rogue who is always getting into fights or embarrassing his family. Eventually his father decides the only way to make a man of Chan is to send him for training with an old drunken drifter played by Yuen Siu Tien. Just as they did in Snake in the Eagle's Shadow, the pair make a fine double-act, though this time there is much surreal entertainment to be had from the older man teaching the younger the fine art of drunken kung fu. Learning to fight like the Eight Drunken Gods before the final confrontation with Hwang Jang Lee causes Chan considerable problems, though Yuen Siu Tien simply fights better the more he drinks. Yuen Siu Tien would reprise the role in his final film, Magnificent Butcher(1979) yet with Chan he finds a perfect blend of slapstick comedy and creatively staged action which makes Drunken Mastera genuine kung fu classic.

On the DVD:The picture is generally strong though inevitably there is a fair amount of grain. Unfortunately the original 2.35-1 film has been reformatted to 1.77-1 widescreen TV ratio. This has been done more skilfully than usual but is still a misrepresentation of the original cinema release and does mar both the landscape photography and the fast moving action scenes. The sound is perfectly acceptable mono. Soundtrack options are the original Mandarin with English subtitles, or an English dub. Extras include the original English language theatrical trailer, Hong Kong Legends' own trailer, plus promos for further releases and a photo gallery. There is a detailed text biography and filmography of Jackie Chan, a biography of Yuen Woo Ping and a text interview with producer Ng See Yuen. Also included is a text biography of Hwang Jang Lee linked to a kicking showcase which is another short fight scene. Most of these features are identical to those on the Snake in the Eagle's ShadowDVD. —Gary S Dalkin

Will Ferrell, James Caan, Jon Favreau Elf is genuinely good. Not just Saturday Night Live-movie good, when the movie has some funny bits but is basically an insult to humanity; Elf is a smartly written, skillfully directed, and deftly acted story of a human being adopted by Christmas elves who returns to the human world to find his father. And because the writing, directing, and acting are all genuinely good, Elf is also genuinely funny. Will Ferrell, as Buddy the adopted elf, is hysterically sincere. James Caan, as his rediscovered father, executes his surly dumbfoundedness with perfect aplomb. Zooey Deschanel, as a department store worker with whom Buddy falls in love, is adorably sardonic. Director Jon Favreau (Swingers) shepherds the movie through all the obligatory Christmas cliches and focuses on material that's sometimes subtle and consistently surprising. Frankly, Elf feels miraculous. Also featuring Mary Steenburgen, Bob Newhart, Peter Dinklage, and Ed Asner as Santa Claus. —Bret Fetzer

Christian Bale, Sean Bean, Kurt Wimmer A broad science fiction thriller in a classic vein, Equilibrium takes a respectable stab at a Fahrenheit 451-like cautionary fable. The story finds Earth's post-World War III humankind in a state of severe emotional repression; if no-one feels anything, no-one will be inspired by dark passions to attack their neighbours. Writer-director Kurt Wimmer's monochromatic, Metropolis-influenced cityscape provides an excellent backdrop to the heavy-handed mission of John Preston (Christian Bale), a top cop who busts "sense offenders" and crushes sentimental, sensual, and artistic relics from a bygone era. Predictably, Preston becomes intrigued by his victims and that which they die to cherish; he stops taking his mandatory, mood-flattening drug and is even aroused by a doomed prisoner (Emily Watson). Wimmer's wrongheaded martial arts/duelling guns motif is sheer silliness (a battle over a puppy doesn't help), but Equilibrium should be seen for Bale's moving performance as a man shocked back to human feeling. —Tom Keogh

Kurt Russell, A.J. Langer, John Carpenter Fifteen years after John Carpenter squandered a great idea on a mediocre movie (Escape from New York), he does it again—this time on the Left Coast. Kurt Russell is back as the terminally cynical one-eyed action hero Snake Plissken who, this time, has been coerced into saving the world in Los Angeles. It's 2013 and L.A. is now an island maximum-security prison off the coast of California. Snake has 10 hours to find a doomsday weapon that's fallen into the hands of revolutionaries before he dies of a virus with which he's been injected. But the action is clumsy and unimaginative: lots of shootouts and very little suspense. Even the bad guys aren't particularly inventive; only Pam Grier, as a transsexual gang leader, strikes any sparks. Russell growls his way through the role but can only blame himself: He cowrote the script with Carpenter. —Marshall Fine

Giving Steve Carell a long-overdue leading role in a mainstream Hollywood comedy, Evan Almighty is the sequel to the huge Jim Carrey hit Bruce Almighty. And while Carrey isn't on the cast list this time round, director Tom Shadyac and Morgan Freeman are among the many returnees.

The focus of Evan Almighty switches to Carell's Evan Baxter, last seen as a newsreader but now an elected official, who is chosen by God (Freeman) to build a new ark. And this ark needs, as you'd expect, to hold two of each species on the planet. Naturally, all the people around Evan think he's gone mad, and this proves a healthy comedy mine that's well exploited.

Evan Almighty isn't without a few problems, though. The focus of the film isn't always tight enough on generating the laughs, and Carell is surprisingly under-used. He's on form when the material allows him to shine, but its often (admittedly impressive) special effects that end up taking centre stage, an odd road to choose for a comedy.

That said, Evan Almighty is still an enjoyable family comedy, and it's not without rewatch value. It's a fun little movie, and one that deserves extra credit for promoting Carell to top billing—that's a move long overdue. —Jon Foster

Charles Sturridge

Brian Helgeland

David Niven, Kim Hunter, Emeric Pressburger, Michael Powell Briefed by the Ministry of Information to make a film that would foster Anglo-American relations in the post-war period, innovative filmmakers Michael Powell and Emeric Pressburger, came up with A Matter Of Life And Death—an extravagant and extraordinary fantasy in which David Niven stars as a downed pilot who must justify his continuing existence to a heavenly panel of judges, because he has made the mistake of falling in love with an American girl (Kim Hunter) when he really should have been dead. National stereotypes are lampooned as the angelic judges squabble over his fate. In a neat reversal of expectations, the Heaven sequences are black and white, while Earth is seen in techni-colour. Daring cinematography mixes monochrome and colour, incorporates time-lapse images, and even toys with background 'time freezes' 50 years before "The Matrix". Roger Livesey and Raymond Massey lead the fine supporting cast, in what is one of the undoubted jewels of British cinema.

On the DVD: A Matter of Life and Death is presented in reasonably sharp 4:3 ratio with decent mono sound. Aside from English hard-of-hearing subtitles there are no extras. —Mark Walker

Malcolm Mowbray