Tim Story Fantastic Fouris a light-hearted and funny take on Marvel Comics' first family of superherodom. It begins when down-on-his-luck genius Reed Richards (Ioan Gruffudd) has to enlist the financial and intellectual help of former schoolmate and rival Victor Von Doom (Julian McMahon) in order to pursue outer-space research involving human DNA. Also on the trip are Reed's best friend, Ben Grimm (Michael Chiklis); his former lover, Sue Storm (Jessica Alba), who's now Doom's employee and love interest; and her hotshot-pilot brother, Johnny Storm (Chris Evans). Things don't go as planned, of course, and the quartet becomes blessed—or is it cursed?—with superhuman powers: flexibility, brute strength, invisibility and projecting force fields, and bursting into flame. Meanwhile, Doom himself is undergoing a transformation.

Among the many entries in the comic-book-movie frenzy, Fantastic Fouris refreshing because it doesn't take itself too seriously. Characterisation isn't too deep, and the action is a bit sparse until the final reel (like most "first" superhero movies, it has to go through the "how did we get these powers and what we will do with them?" churn). But it's a good-looking cast, and original comic-book co-creator Stan Lee makes his most significant Marvel-movie cameo yet, in a speaking role as the FF's steadfast postal carrier, Willie Lumpkin. Newcomers to superhero movies might find the idea of a family with flexibility, strength, invisibility, and force fields a retread of The Incredibles, but Pixar's animated film was very much a tribute to the FF and other heroes of the last 40 years. The irony is that while Fantastic Fouris an enjoyable B-grade movie, it's the tribute, The Incredibles, that turned out to be a film for the ages.—David Horiuchi, Amazon.com

Robert Mitchum, Charlotte Rampling, Dick Richards Of all the Philip Marlowes, Robert Mitchum's in Farewell, My Lovely resonates most deeply. That's because this is Marlowe past his prime, and Mitchum imbues Raymond Chandler's legendary private detective with a sense of maturity as well as a melancholy spirit. And yet there is plenty of Mitchum's renowned self-deprecating humour and charismatic charm to remind us of his own iconic presence. As in the previous 1944 film version, Murder, My Sweet, Marlowe searches all over L.A. for the elusive girlfriend of ex-con Moose Malloy, a loveable giant who might as well be King Kong. In typical Chandler fashion, the weary Marlowe uncovers a hotbed of lust, corruption and betrayal. Like Malloy, he's disillusioned by it all, despite his tough exterior, and possesses a tinge of sentimentality for the good old days. About the only current dream he can hold onto is Joe DiMaggio and his fabulous hitting streak. Made in 1975, a year after Chinatown (shot by the same cinematographer, John Alonzo), Farewell, My Lovely is more straightforward and nostalgic, but still possesses a requisite hard-boiled edge, and the best kind of angst the 1970s had to offer. (By the way, you will notice Sylvester Stallone in a rather violent cameo, a year before his Rocky breakthrough.) —Bill Desowitz, Amazon.com

Joel Coen Leave it to the wildly inventive Coen brothers to concoct a fiendishly clever kidnap caper with Fargothat's simultaneously a comedy of errors, a Midwestern satire, a taut suspense thriller and a violent tale of criminal misfortune. It all begins when a hapless car salesman (played to perfection by William H. Macy) ineptly orchestrates the kidnapping of his own wife. The plan goes horribly awry in the hands of bumbling bad guys Steve Buscemi and Peter Stormare (one of them being described by a local girl as "kinda funny lookin'" and "not circumcised"), and the pregnant sheriff of Brainerd, Minnesota, (played exquisitely by Frances McDormand in an Oscar-winning role) is suddenly faced with a case of multiple murders. Her investigation is laced with offbeat observations about life in the rural hinterland of Minnesota and North Dakota, and Fargoembraces its local yokels with affectionate humour. At times shocking and hilarious, this is utterly unique and distinctly American, bearing the unmistakable stamp of its inspired creators. —Jeff Shannon

On the DVD:Fargo, Special Editionpresents the movie in anamorphic widescreen (16:9) with Dolby 5.1 available in a choice of English, French or Spanish. Extras include a rare 20-minute interview with the Coens and Frances McDormand, dating from the time of the movie's release, and the 27-minute retrospective documentary, "Minnesota Nice", which has more interviews with the principal cast and crew. There's a "Coen Brothers' Family Tree" listing actors who have collaborated with the duo, and an on-screen trivia track which, among other nuggets, provides a history of pancakes after Peter Stormare's character famously demands "Where is pancakes house?". Cinematographer Roger Deakins provides an intermittent commentary mostly concerned with technical issues. The text of an American Cinematographerarticle about Deakins and the Coens, trailers and a behind-the-scenes photo gallery complete the package. —Mark Walker

Vin Diesel, Paul Walker, Justin Lin Fast & Furious feels like something of a reunion for the popular franchise. After neither filled out the starring roles in the third film, Tokyo Drift, both Vin Diesel and Paul Walker returned to the franchise for this fourth, and between them managed to power it to become the most successful in the series to date.

With Michelle Rodriguez and Jordana Brewster also returning, Fast & Furious goes back to the streets where the series started, as once-rivals Diesel and Walker face, for the first time, a shared enemy. This, of course, is just the necessary groundwork before all concerned can jump into a series of impressive vehicles and drive them really, really quickly. Which, of course, they do.

It’s brilliantly shot, too, with razor-sharp editing, fast pacing and some outstanding camerawork that leaves you feeling at the very heart of the action. There’s not a great script underpinning it all, and a few more action sequences wouldn’t hurt, but the slower moments are ably carried by the returning cast. It’s hard to work out whether Fast & Furious needed Diesel and Walker the most, or whether the actors themselves needed the film, but marrying them all together really does pay dividends.

Naturally enough, there’s scope left behind for a fifth film, which given the major success that Fast & Furious deservedly enjoyed is no threat whatsoever. It might not be anywhere near the most intelligent film you’ll see in your life, but it’s a movie that knows what it wants to do, and has a great deal of fun doing it. More, please… —Jon Foster

Bob Spiers John Howard-Davies

Johnny Depp, Benicio Del Torro, Ellen Barkin, Harry Dean Stanton, Josie Lawrence The original cowriter and director of Fear and Loathing in Las Vegas was Alex Cox, whose earlier film Sid and Nancy suggests that Cox could have been a perfect match in filming Hunter S. Thompson's psychotropic masterpiece of "gonzo" journalism. Unfortunately Cox departed due to the usual "creative differences," and this ill-fated adaptation was thrust upon Terry Gilliam, whose formidable gifts as a visionary filmmaker were squandered on the seemingly unfilmable elements of Thompson's ether-fogged narrative. The result is a one-joke movie without the joke—an endless series of repetitive scenes involving rampant substance abuse and the hallucinogenic fallout of a road trip that's run crazily out of control. Johnny Depp plays Thompson's alter ego, "gonzo" journalist Raoul Duke, and Benicio Del Toro is his sidekick and so-called lawyer Dr. Gonzo. During the course of a trip to Las Vegas to cover a motorcycle race, they ingest a veritable chemistry set of drugs, and Gilliam does his best to show us the hallucinatory state of their zonked-out minds. This allows for some dazzling imagery and the rampant humour of stumbling buffoons, and the mumbling performances of Depp and Del Toro wholeheartedly embrace the tripped-out, paranoid lunacy of Thompson's celebrated book. But over two hours of this insanity tends to grate on the nerves—like being the only sober guest at a party full of drunken idiots. So while Gilliam's film may achieve some modest cult status over the years, it's only because Fear and Loathing is best enjoyed by those who are just as stoned as the characters in the movie. —Jeff Shannon

Matthew Broderick, Alan Ruck, Paul Hirsch, John Hughes Like a soda pop left open all night, Ferris Bueller's Day Off seems to have lost its effervescence over time. Sure, Matthew Broderick is still appealing as the perennial truant, Ferris, who takes one memorable day off from school. Jeffrey Jones is nasty and scheming as the principal who's out to catch him. Jennifer Grey is winning as Ferris' sister (who ends up making out in the police station with a prophetic vision of Charlie Sheen). But there's a definite sense that this film was of a particular time frame: the 80s. It's still fun, though. There's Ferris singing "Twist and Shout" during a Chicago parade, and a lovely sequence in the Art Institute. But don't get it and expect your kids to love it the way you did. Like it or not, it's yours alone. —Keith Simanton, Amazon.com

David Evans (II) In Fever Pitchrumpled, amiable Colin Firth plays a rumpled, amiable English teacher named Paul. He's also an obsessive football fan who's been avidly following Arsenal for 18 years. When he falls into a relationship with a new teacher named Sarah (Ruth Gemmel), his deep attachment to Arsenal proves an obstacle. This sounds like some cheap men-and-women-don't-understand-each-other setup, but instead Fever Pitchnot only explores the origins of Paul's football fandom, it actually communicates an infectious sense of what that kind of sports enthusiasm can mean, how it can provide an almost tribal identity. Even better, the movie takes this devotion seriously without ever losing sight of how it can be completely ridiculous at the same time, resulting in some amazing, funny scenes. Gemmel is charming, and Firth is simply superb. He's a great actor who, despite his memorable turn as Mr Darcy in Pride and Prejudice, never quite fits into conventional leading man roles and so has tended to play oddballs and redeemable villains, as in Shakespeare in Loveand The English Patient. He's a perfect fit for this script, written by Nick Hornby (author of High Fidelityand About a Boy) from his novel of the same name. The humour of Fever Pitchis all the more engaging because it's grounded in richly developed characters and emotions. —Bret Fetzer, Amazon.com

Topol, Norma Crane, Antony Gibbs, Robert Lawrence, Norman Jewison This rousing musical, based on the stories of Sholem Aleichem, takes place in pre-revolutionary Russia and centres on the life of Tevye (Topol), a milkman who is trying to keep his family's traditions in place while marrying off his three older daughters. Yet, times are changing and the daughters want to make their own matches, breaking free of many of the constricting customs required of them by Judaism. In the background of these events, Russia is on the brink of revolution and Jews are feeling increasingly unwelcome in their villages. Tevye—who expresses his desire for sameness in the opening number, "Tradition"—is trying to keep everyone, and everything, together. The movie is strongly allegorical—Tevye represents the common man—but it does it dextrously, and the resulting film is a stunning work of art. The music is excellent (it won Oscars for the scoring and the sound), with plenty of familiar songs such as "Sunrise, Sunset" and "If I Were a Rich Man," which you'll be humming long after the movie is over. Isaac Stern's violin—he provides the music for the fiddler on the roof—is hauntingly beautiful. And despite the serious subject matter, the film is quite comedic in parts; it also well deserves the Oscar it won for cinematography. —Jenny Brown

Edward Norton, Brad Pitt, David Fincher All films require a certain suspension of disbelief, Fight Club perhaps more than others; but if you're willing to let yourself get caught up in the anarchy, this film, based on the novel by Chuck Palahniuk, is a modern-day morality play warning of the decay of society. Edward Norton is the unnamed protagonist, a man going through life on cruise control, feeling nothing. To fill his hours, he begins attending support groups and 12-step meetings. True, he isn't actually afflicted with the problems, but he finds solace in the groups. This is destroyed, however, when he meets Marla (Helena Bonham Carter), also faking her way through groups. Spiralling back into insomnia, Norton finds his life is changed once again, by a chance encounter with Tyler Durden (Brad Pitt), whose forthright style and no-nonsense way of taking what he wants appeal to our narrator. Tyler and the protagonist find a new way to feel release: they fight. They fight each other, and then as others are attracted to their ways, they fight the men who come to join their newly formed Fight Club. Marla begins a destructive affair with Tyler, and things fly out of control, as Fight Club is transformed into a nationwide fascist group.

The depiction of violence in Fight Club is unflinching, but director David Fincher's film is captivating and beautifully shot, with camerawork and effects that are almost as startling as the script. The movie is packed with provocative ideas and images—from the satirical look at the emptiness of modern consumerism to quasi-Nietzschean concepts of "beyond good and evil"—that will leave the viewer with much food for thought to take away. Pitt and Norton are an unbeatable duo, and the film has a great sense of humour too. Even if it leaves you with a sense of profound discomfort this is a movie that you'll have to see again and again, if for no other reason than to just to take it all in. —Jenny Brown, Amazon.com

Andrew Stanton Lee Unkrich A delightful undersea world unfolds in Pixar's animated adventure Finding Nemo. When his son Nemo is captured by a scuba diver, a nervous clownfish named Marlin (voiced by Albert Brooks) sets off into the vast—and astonishingly detailed—ocean to find him. Along the way he hooks up with a scatterbrained blue tang fish named Dory (Ellen DeGeneres), who's both a help and a hindrance, sometimes at the same time. Faced with sharks, deep-sea anglers, fields of poisonous jellyfish, sea turtles, pelicans and much more, Marlin rises above his neuroses in this wonderfully funny and thrilling ride—rarely do more than 10 minutes pass without a sequence appearing that's destined to become a theme-park attraction. Pixar continues its run of impeccable artistic and economic successes (Toy Story, A Bug's Life, Monsters, Inc). Supporting voices here include Willem Dafoe, Geoffrey Rush and Allison Janney. —Bret Fetzer

Chevy Chase, Hal Holbrook, Michael Ritchie

Fred M. Wilcox This 1956 pop adaptation of Shakespeare's The Tempestis one of the best, most influential science fiction movies ever made. Its space explorers are the models for the crew of Star Trek's Enterprise, and the film's robot is clearly the prototype for Robby in Lost in Space. Walter Pidgeon is the Prospero figure, presiding over a paradisiacal world with his lovely young daughter and their servile droid. When the crew of a spaceship lands on the planet, they become aware of a sinister invisible force that threatens to destroy them. Great special effects and a bizarre electronic score help make Forbidden Planetas fresh, imaginative and fun as it was when first released.

Dean Parisot You don't have to be a Star Trekfan to enjoy Galaxy Quest, but it certainly helps. A knowingly affectionate tribute to Trekand any other science fiction TV series of the 1960s and beyond, this crowd-pleasing comedy offers in-jokes at warp speed, hitting the bull's-eye for anyone who knows that: (1) the starship captain always removes his shirt to display his manly physique; (2) any crew member not in the regular cast is dead meat; and (3) the heroes always stop the doomsday clock with one second to spare. So it is with Commander Taggart (Tim Allen) and the stalwart crew of the NSEA Protector, whose intergalactic exploits on TV have now been reduced to a dreary cycle of fan conventions and promotional appearances. That's when the Thermians arrive, begging to be saved from Sarris, the reptilian villain who threatens to destroy their home planet.

Can actors rise to the challenge and play their roles for real? The Thermians are counting on it, having studied the "historical documents" of the Galaxy QuestTV show, and their hero worship (not to mention their taste for Monte Cristo sandwiches) is ultimately proven worthy, with the help of some Galaxy geeks on planet Earth. And while Galaxy Questserves up great special effects and impressive Stan Winston creatures, director Dean Parisot (Home Fries) is never condescending, lending warm acceptance to this gentle send-up of sci-fi TV and the phenomenon of fandom. Best of all is the splendid cast, including Sigourney Weaver as buxom blonde Gwen DeMarco; Alan Rickman as frustrated thespian Alexander Dane; Tony Shalhoub as dimwit Fred Kwan; Daryl Mitchell as former child-star Tommy Webber; and Enrico Colantoni as Thermian leader Mathesar, whose sing-song voice is a comedic coup de grâce. —Jeff Shannon, Amazon.com

Sam Weisman Disney scored an unexpected hit with this goofy live-action remake of Jay Ward's Saturday-morning cartoon, a zippy Tarzan parody with topical references and absurd gags. Disney's big-screen version, George of the Junglestarring Brendan Fraser as the sweet, hopelessly inept jungle hero, puts the emphasis on slapstick and silly fun. The klutzy hero, still swinging into trees and stray boulders, saves a lost Los Angeles socialite (Leslie Mann) on safari and, completely smitten, leaves behind his tree-house home and simian best friend (an Oxford-accented ape voiced by John Cleese) to accompany the socialite back to the concrete jungle of LA, much to the frustration of her conniving fiancé (Thomas Haden Church). Fraser's enthusiastic performance enriches our hunky hero with endearing innocence and energetic pluck. The humour is spotty and consistently more juvenile than the original cartoon, but the unending parade of visual gags (including George's pet elephant Shep, transformed into an overexcited six-tonne puppy by inventive digital effects) keeps the tone light, frothy and winningly fun. —Sean Axmaker

Ivan Reitman Dan Aykroyd and Harold Ramis wrote the script, but Bill Murray gets all the best lines and moments in this 1984 comedy directed by Ivan Reitman (Meatballs). The three comics, plus Ernie Hudson, play the New York City-based team that provides supernatural pest control, and Sigourney Weaver is the love interest possessed by an ancient demon. Reitman and company are full of original ideas about hobgoblins—who knew they could "slime" people with green plasma goo?—but hovering above the plot is Murray's patented ironic view of all the action. Still a lot of fun, and an obvious model for sci-fi comedies such as Men in Black. —Tom Keogh, Amazon.com

Russell Crowe, Joaquin Phoenix, Ridley Scott Ridley Scott's glossy historical epic Gladiator revitalised the classic sword 'n' sandal genre, bringing both a modern pop-culture sensibility and state-of-the-art computer-generated special effects to what had seemed like a worn-out formula. Essentially a remake of Anthony Mann's stodgy 1964 Fall of the Roman Empire, Gladiator also borrows heavily from Saving Private Ryan in its stunning opening sequence, and employs Ridley's brother Tony Scott's rapid-fire editing style for the remarkably staged Colosseum fights. The overall effect is a hugely impressive but emotionally empty spectacle complemented by Hans Zimmer's bestselling but derivative score.

Russell Crowe cements his star status with a brooding, muscular performance helped along by lots of pithily quotable mock-Shakespearean dialogue. But Crowe's Maximus, along with everyone else in the film, is a disappointing two-dimensional stereotype: there's also the ridiculously melodramatic villain (Joaquin Phoenix), the old flame who's still in love with her hero (Connie Nielsen) and the trusty companion (Djimon Hounsou—who seems stuck in these roles). Richard Harris lacks the gravitas to convince as the philosopher-king Marcus Aurelius, and only Oliver Reed, in his very last film, brings some depth to his world-weary ex-gladiator. Still, if Scott's film lacks the profundity of Ben-Hur, Spartacus or even Cleopatra, it remains a kinetic, exciting thrill ride that gives us some sense of what it must have been like to fight and die with a gladius in hand.

On the DVD: Gladiator's two-disc set quickly became a must-have on its first release and remains one of the absolute essential DVD purchases. It set the standard both for picture and sound quality (Dolby 5.1 or DTS) as well as providing a second disc fully loaded with excellent special features. Scott's audio commentary is on the first disc, and the second has documentaries about both the history and the film, deleted scenes, storyboards, hidden "Easter Eggs" and more. —Mark Walker

Kristen Scott Thomas, Stephen Fry, Robert Altman Gosford Park finds director Robert Altman in sumptuously fine form. From the opening shots, as the camera peers through the trees at an opulent English country estate, Altman exploits the 1930s period setting and whodunit formula of the film expertly. Aristocrats gather together for a weekend shooting party with their dutiful servants in tow, and the upstairs/downstairs division of the classes is perfectly tailored to Altman's method (Nashville, Short Cuts) of overlapping bits of dialogue and numerous subplots in order to betray underlying motives and the sins that propel them. Greed, vengeance, snobbery and lust stir comic unrest as the near dizzying effects of the plot twists are allayed by perhaps Altman's strongest ensemble to date.

Maggie Smith is marvellous as Constance, a dependent Countess with a quip for every occasion; Michael Gambon, as the ill-fated host, Sir William McCordle, is one of the most palpably salacious characters ever on screen; Kristin Scott Thomas is perfectly cold, yet sexy, as Lady Sylvia, Sir William's wife; and Helen Mirren, Emily Watson and Clive Owen are equally memorable as key characters from the bustling servants' quarters below. Gosford Park manages to be fabulously entertaining while exposing human shortcomings, compromises and endless need for confession. —Fionn Meade

On the DVD: Gosford Park, presented 2.35:1—Anamorphic Widescreen transfer, is awash with the muted colours and sepia tones which permeate the film, the sound is excellent as the actors were individually miked, so you don’t loose any of the dialogue giving away subtle plot developments. Extras are chunky, with deleted scenes, trailers a couple of documentaries. Most notable are the two commentaries which go a long way to unravelling some of the twistier plot devices and a Q&A session with the Altman and his crew filmed in New York. —Kristen Bowditch

Lexi Alexander

Bill Forsyth There is something so utterly captivating about this Bill Forsyth film—whether it's the quaintly authentic Scottish accents (they had to be softened for its US release) or the wholly universal story of young love. But what really gives Gregory's Girl its evergreen appeal is the enchanting performance of young Gordon John Sinclair as the eponymous gangly lead. With his shock of red hair, he's all arms and legs—and inexperience. Gregory becomes infatuated with Dorothy (a lovely Dee Hepburn), who proves a heartier and better athlete than he is. Gregory's so clueless, he relies on advice from his wee sister. The story may be familiar, but Forsyth's astute and affectionate rendering gives the film its momentum (the film won best screenplay at the British Academy Awards). If American viewers at first struggle to understand the well-written banter, it is worth the effort because there's charm in nearly every line. It's curious that both Sinclair and Hepburn, seemingly poised on the brink of stardom here, either chose not to take advantage of the possible opportunity or weren't ever offered roles as wonderful as these. (Sinclair had a small role in Forsyth's Local Hero and starred in 1986's The Girl in the Picture and other small films. Hepburn appears to have worked only once post-Gregory, a brief stint in the British series Crossroads.) Forsyth completed a 1998 sequel, with Sinclair and Ever After's Dougray Scott. —N.F. Mendoza

Harold Ramis Decent, lighthearted and fully amusing slapstick is hard to come by these days, and 1993's Groundhog Daymanages to also be genuinely wise about the human condition. All this and belly laughs too! Bill Murray stars as Phil, a bored, petulant news reporter, who is ordered to give his annual live report from Punxsutawney, Pennsylvania on February 2. Though desperate to get out of the one-horse town and the appallingly sentimental assignment, Phil finds himself reliving the same day over and over again until he finally mends his ways. The film takes an absurd situation and explores its every imaginable comic possibility. Because none of the other characters are aware that Groundhog Dayis continually repeating itself, Phil goes through a repertoire of responses, from conniving lust for Rita (Andie MacDowell) to gleeful nihilism to a Zen resignation worthy of Buster Keaton. Murray is reliably good, and this flick gives him a chance to be warm (though never fuzzy).

Dennis Dugan Adam Sandler fans are sure to enjoy this no-brainer comedy, but everyone else is strongly advised to proceed with caution. Before scoring a more enjoyable hit with his 1998 comedy The Wedding Singer, the former Saturday Night Livegoofball played Happy Gilmore, a hot-tempered guy whose dreams of hockey stardom elude him. But when he discovers his gift for driving golf balls hundreds of yards, he joins a pro tour to win the prize money needed to rescue his beloved grandma's home from repossession. The trouble is, Happy's not so happy. He's got a temper that frequently flares on the golf course (he even dukes it out with celebrity golfer Bob Barker), but a retired golf pro (Carl Weathers) and a compassionate publicist (Julie Bowen) help him to perfect his putting game and adjust his confrontational attitude. How much you enjoy this lunacy depends on your tolerance for Sandler's loudmouthed schtick and a shocking number of blatant product-placement endorsements, but if you're looking for broad comedy you've come to the right tee-off spot. —Jeff Shannon

Daniel Radcliffe, John Hurt, Chris Columbus To try and please all the fans of JK Rowling's novel was a challenge that the makers of Harry Potter and the Philosopher's Stone met head on. The result of their efforts is one of the most lavish, beautiful and magical cinematic treats to hit our screens in years. Director Chris Columbus and screenwriter Steven Kloves (thankfully with the help of Rowling herself) prove that although you can't translate everybody's reading of this much-loved book onto the cinema screen—maybe Fluffy was a bit more Fluffy in your imagination or Hagrid (superbly played by Robbie Coltrane) a little more giant-like—it is nevertheless possible to transfer Harry's adventures with fidelity as well as superb energy and excitement.

If there is a downside it's that the performances of the child leads tends to verge on the Sylvia Young-tastic in places. Nonetheless, the three young stars are both likable and watchable, showing great potential to grow into the parts as the adventures continue. The main disappointment is the substantial cutting of the ghost scenes and what promised to be a fine comic turn by John Cleese as Headless Nick, though with more Potter films on the way the ghosts will surely assume their rightful prominence later. There are, of course, some areas of the story that may frighten smaller children—such as the entrance of the evil Voldemort—and undoubtedly for any true Potter fan that cinematic entrance cannot live up to the images created in their imagination. All in all, though, Harry Potter and the Philosopher's Stone is what it should be: an unmissable treat for the whole family.

On the DVD: Harry Potter and the Philosopher's Stone really is a magical experience in this lavish two-disc set. Disc one offers the film in all its surround-sound glory along with trailers and links to the Harry Potter Web site, but, disappointingly, there's no commentary.

Disc two is where the real wizardry can be found, with a vast and beautifully designed selection of special features. Entering the Great Hall a mysterious voice invites you to explore and find the secret hidden within (though it's frustrating that in some cases you have to re-enter the Hall after viewing a feature). Various options let you tour around Harry's world: from Diagon Alley to a virtual 360-degree tour of Hogwarts. The interactive component is excellent, with real thought having been put into ensuring that, instead of just the standard behind-the-scenes stuff, there is material aplenty to keep children and adults alike entertained for hours. Throughout the emphasis is on the disc's educational value: yes there are insights to be had from the film crew, but it's in the Classroom where you will find the real precious stones! —Nikki Disney

"Widescreen" vs. "Full Screen"

Widescreen preserves the original theatrical picture ratio of the film (Panavision 2.35:1), which will appear in "letterboxed" format on a normal TV screen.

Full Screen (or "pan and scan") crops the theatrical picture to 4:3 ratio (i.e., 4 units wide by 3 units tall), which is the shape of a standard (non-widescreen) TV screen. There is no letterboxing, but up to a third of the original picture is lost.

Daniel Radcliffe, Rupert Grint In this adaptation of the third book in JK Rowling's best-selling series, Harry Potter (Danielle Radcliffe) and his best friends Hermoine (Emma Watson) and Ron (Rupert Grint), must face the dangerous convict Sirius Black (Gary Oldman), who has ties with their enemy Lord Voldemort and has escaped from Azkaban prison in search of Harry Potter. A scarier, darker story than the first two, Harry Potter and The Prisoner of Azkaban is the first instalment to be directed by Alfonso Cuarón (Y Tu Mamá También), who demonstrates remarkable versatility and proves a perfect choice to guide Harry, Hermione, and Ron into treacherous puberty as the now 13-year-old students at Hogwarts School of Witchcraft and Wizardry.
The dark and dangerous mystery of Sirius Black's motive for revenge drives the action, but the film is full of stand-out moments courtesy of the flying hippogriff Buckbeak (a marvelous CGI creature), the benevolent but enigmatic Professor Lupin (David Thewlis), horrifying black-robed Dementors, sneaky Peter Pettigrew (Timothy Spall), and the wonderful advantages brought by having a Time-Turner just when you need one.
The familiar Hogwarts staff returns in fine form (including Michael Gambon, replacing the late Richard Harris as Dumbledore, and Emma Thompson as the goggle-eyed Sybil Trelawney), and even Julie Christie joins this prestigious production for a brief but welcome cameo. Technically dazzling, fast-paced, and chock-full of Rowling's boundless imagination (loyally adapted by ace screenwriter Steve Kloves), The Prisoner of Azkaban is a Potter-movie classic. —Jeff Shannon

James Ivory

Ernst Lubitsch

Jamie Foxx, Nia Long, Steve Rash

Gillies MacKinnon Hideous Kinkyjourneys back to the early 1970s to Marrakesh, that hippy mecca for everyone from Eric Clapton and Jimi Hendrix to Gillies MacKinnon, the director of this movie. Here you'll find one nice but confused middle-class young woman escaping the daily grind of a drab London with her two young daughters in tow. Whereas Esther Freud's book was told from the younger girl's perspective, the film-script places Julia centre-stage as she searches for what she describes wistfully as "the annihilation of the ego".

Though fresh from her Titanicexperience, Kate Winslet is no drippy hippy, bringing a refreshing feistiness to her role and looking fetching swathed in diaphanous layers. As her two daughters, Bella Riza (Bea, the wide-eyed younger one) and Carrie Mullan (Lucy, the sensible one) are brilliant discoveries—unselfconscious, charmingly quirky and enjoying a camaraderie that belies their difference in characters. Completing the family unit is Julia's lover, the endearingly unreliable Bilal (a fiery performance from Saïd Taghmaoui). When the money runs out, their adventures begin and the resilience and practicality of the girls is contrasted throughout with the dreaminess of their mother, her sense of duty vying with her quest for self-discovery. Visually, it's a veritable feast as we're pitched from the colour and cacophony of the market-place to the dusty harshness of the mountains. And that elusive title—which is never explained in the film—is in fact a phrase coined by the girls as a term of approbation.

On the DVD:Hideous Kinkyis presented in widescreen 16:9 with a Dolby Digital soundtrack. Additional features are disappointing minimal. As well as the usual theatrical trailer, there are brief interviews with the main players (though no marks for imagination as they're all asked the same questions) and approximately eight minutes of behind-the-scenes footage. There are no subtitles. —Harriet Smith

Mel Brooks, Madeline Kahn

Will Smith, Eva Mendes, Andy Tennant Will Smith's easygoing charm makes Hitch the kind of pleasant, uplifting romantic comedy that you could recommend to almost anyone—especially if there's romance in the air. As suave Manhattan dating consultant Alex "Hitch" Hitchens, Smith plays up the smoother, sophisticated side of his established screen persona as he mentors a pudgy accountant (Kevin James) on the lessons of love. The joke, of course, is that Hitch's own love life is a mess, and as he coaches James toward romance with a rich, powerful, and seemingly inaccessible beauty named Allegra (Amber Valetta), he's trying too hard to impress a savvy gossip columnist (Eva Mendes) with whom he's fallen in love. Through mistaken identities and mismatched couples, director Andy Tennant brings the same light touch that made Drew Barrymore's Ever After so effortlessly engaging. As romantic comedies go, Hitch doesn't offer any big surprises, but as a date movie it gets the job done with amiable ease and style. —Jeff Shannon, Amazon.com

Andrew Davis Holesis a scrupulously faithful adaptation of Louis Sachar's book Holesand should delight the book's fans. After being wrongly found guilty of stealing a pair of sneakers, Stanley Yelnats (Shia LaBeouf) gets sent to Camp Green Lake, a juvenile correctional facility in the bed of a long-gone dry Texas lake. There—under the watchful eye of overseer Mr Sir (a zesty Jon Voight), sneakily mean therapist Dr Pendanski (Tim Blake Nelson), and the cool and cruel Warden (Sigourney Weaver)—Stanley and dozens of other delinquents are forced to dig an endless series of holes that the warden hopes will lead her to a precious secret left behind by a long-dead female outlaw (Patricia Arquette). Sachar's book is beloved for its vivid characters and suspenseful plot; by sticking close to its source, Holeshas become a dynamic, exciting and surprisingly touching movie. —Bret Fetzer

Jim Carrey, Steve Carell, Jimmy Hayward, Steve Martino Dr. Seuss's classic 1954 book Horton Hears a Who has entertained generations of children and served as the inspiration for a 26-minute, 1970 television special Dr. Seuss's Horton Hears a Who and the 2000 Broadway musical "Seussical: The Musical". This 2008, full-length animated movie features the voice talents of Jim Carrey as Horton, Steve Carrell as the Mayor of Whoville, Carol Burnett as the Kangaroo, and Jesse McCartney as JoJo and promises to delight a whole new generation of children and their parents and grandparents. The technological wonders of computer animation have allowed 20th Century Fox Animation to bring to life the wacky, colourful Whoville with its minute inhabitants and the lush Jungle of Nool with its host of distinctive animals and the result is a rich, fantastical world of wonder worthy of Dr. Seuss' own imagination.

All the major plot elements of Dr. Seuss' book are present, with Horton hearing the faint cry for help from a tiny dust speck atop a small clover and doing his best to protect the inhabitants of that small civilization of Whoville despite the disbelief, disdain, and persecution of his fellow animals. The feel of Dr. Seuss' original rhyming prose is partially preserved in the sparse narration by Charles Osgood that's interspersed throughout the film's dialogue and the overarching themes of staying true to one's convictions and the celebration of the power of perseverance, imagination, and kindness come through loud and clear. Horton Hears a Who is a fun rendering of a classic Dr. Seuss story that's sure to entertain viewers of all ages. —Tami Horiuchi, Amazon.com

Akiva Schaffer In his first starring role, Andy Samberg is amateur stuntman Rod Kimble. To raise money for his ailing stepfather, Frank (played with devilish glee by Deadwood's Ian McShane), Rod plans to jump 15 school buses on a moped. With support from his crew, which includes Bill Hader and Isla Fisher (Wedding Crashers), Rod trains for the big event. All the while, Denise (Fisher) is seeing obnoxious attorney Jonathan (Will Arnett, Arrested Development). Lack of physical dexterity aside, Rod prevails through pure dogged determination. You've seen it before, and if you can't get enough of this sort of thing, you'll see it again. Hot Rodis the kind of slapdash comedy that neglects to provide its hero with an age, a job, or even a hometown. But don't count Samberg out. Given time, he may yet craft a persona that doesn't borrow so heavily from the man-boy antics associated with Ferrell and Adam Sandler. Still, Hot Rodwould've worked better with the funnier, more sympathetic Jorma Taccone, who plays Rod's half-brother, in the lead—on the other hand, that's the same formula that made Napoleon Dynamitea hit. —Kathleen C. Fennessy

Yimou Zhang No one uses colour like Chinese director Zhang Yimou—movies like Raise the Red Lanternor Hero, though different in tone and subject matter, are drenched in rich, luscious shades of red, blue, yellow, and green. House of Flying Daggersis no exception; if they weren't choreographed with such vigorous imagination, the spectacular action sequences would seem little more than an excuse for vivid hues rippling across the screen. Government officers Leo and Jin (Asian superstars Andy Lau and Takeshi Kaneshiro) set out to destroy an underground rebellion called the House of Flying Daggers(named for their weapon of choice, a curved blade that swoops through the air like a boomerang). Their only chance to find the rebels is a blind women named Mei (Ziyi Zhang, Crouching Tiger, Hidden Dragon) who has some lethal kung fu moves of her own. In the guise of an aspiring rebel, Jin escorts Mei through gorgeous forests and fields that become bloody battlegrounds as soldiers try to kill them both. While arrows and spears of bamboo fly through the air, Mei, Jin, and Leo turn against each other in surprising ways, driven by passion and honour. Zhang's previous action/art film, Hero, sometimes sacrificed momentum for sheer visual beauty;House of Flying Daggersfinds a more muscular balance of aesthetic splendour and dazzling swordplay. —Bret Fetzer, Amazon.com

Bruce Robinson

James Ivory

Chieko Baishô, Takuya Kimura, Hayao Miyazaki Like a dream, Howl's Moving Castle carries audiences to vistas beyond their imaginations where they experience excitement, adventure, terror, humor, and romance. With domestic box office receipts of over $210 million, Howl passed Miyazaki's Princess Mononoke to become the #3 film in Japanese history, behind his Spirited Away and James Cameron's Titanic.

Based on a juvenile novel by Diana Wynne Jones, Howl's Moving Castle marks the first time Miyazaki has adapted another writer's work since Kiki's Delivery Service (1989). Sophie, a 19-year-old girl who believes she is plain, has resigned herself to a drab life in her family's hat shop—until the Witch of the Waste transforms her into a 90-year-old woman. In her aged guise, Sophie searches for a way to break the Witch's spell and finds unexpected adventures. Like Chihiro, the heroine of Spirited Away, Sophie discovers her hidden potential in a magical environment—the castle of the title.

Using CG, Miyazaki creates a ramshackle structure that looks like it might disintegrate at any moment. Sophie's honesty and determination win her some valuable new friends: Markl, Howl's young apprentice; a jaunty scarecrow; Calcifer, a temperamental fire demon; and Heen, a hilarious, wheezing dog. She wins the heart of the dashing, irresponsible wizard Howl, and brings an end an unnecessary and destructive war. The film overflows with eclipsing visuals that range from frightening aerial battles to serene landscapes, and few recent features—animated or live action—offer as much magic as Howl's Moving Castle.—Charles Solomon

Bruce Willis, Richard E. Grant, Michael Lehmann

Carlos Saldanha The love life of a woolly mammoth - handled with U-rated delicacy - drives this sequel to the first computer-animated romp in the age of prehistoric mammals. While the first Ice Age took a delightful premise and suffocated it with a formulaic plot - in which a mammoth named Manfred (voiced by Ray Romano, Everyone Loves Raymond), a sloth named Sid (John Leguizamo, Moulin Rouge!), and a sabre-tooth tiger named Diego (Denis Leary, Rescue Me) helped an abandoned human infant return to its tribe (basically, Three Mammals and a Baby) - the sequel takes the now-familiar setting, gives it a shapeless, episodic storyline, and yet somehow becomes pretty darn entertaining. Faced with the threat of a flood from melting ice, our heroic trio are on the run to escape from their blossoming valley. On the way, they meet a female mammoth (Queen Latifah, Bringing Down the House) who thinks she's an opossum and get menaced by some freshly defrosted carnivorous fish. Add into the mix a herd of lava-worshipping mini-sloths, some Busby Berkeley-style vultures, and more ingenious slapstick featuring the acorn-crazed Scrat, and Ice Age: The Meltdown will amuse even jaded adults. —Bret Fetzer

John Mills, Anthony Quayle, Richard Best, J. Lee Thompson The title Ice Cold in Alex refers to the beer the heroes of this 1958 British World War Two classic plan to drink in Alexandria, once they have escaped from the Germans, negotiated minefields and survived both mechanical failure and the killing heat of the North African sands. The setting is Libya in 1942, at the height of the campaigns featured in The Desert Fox (1951) and The Desert Rats (1953), and a disparate group in a military ambulance—which include a Nazi agent to add tension of one kind and a beautiful nurse to add tension of another—must make an epic journey to safety. Staring John Mills, Sylvia Sims, Anthony Quayle and Harry Andrews the terror and poignancy comes from our certainty that not everyone will survive, such that the suspense sometimes reaches near unbearable levels. Director J Lee-Thomson was clearly inspired by the then recent French masterpiece, The Wages of Fear (1952) and handles both the character drama and set-pieces with great skill. He would go on to make another great war adventure, The Guns of Navarone (1961), also starring Anthony Quayle, who then returned to the desert for the ultimate British war classic, Lawrence of Arabia (1962). —Gary S. Dalkin

Kevin Kline, Joan Cusack, Frank Oz Writer Paul Rudnick knows a good idea when he hears one. When Tom Hanks talked about his openly gay high school drama teacher after winning the Oscar for Philadelphia, Hanks had already warned the teacher about the prime-time speech. For Rudnick's comedy, golden-boy star Cameron Drake (Matt Dillon) announces at the Oscars (in a great lampoon of the ceremony) that his high school teacher was his inspiration, and by the way, he's gay. It's a shock to Howard Brackett's (Kevin Kline) small world in the corn belt. That includes his students, parents, coworkers and most importantly, his soon to be bride (Joan Cusack). Rudnick, the most successful and outspoken gay screenwriter-playwright (Jeffrey, The Addams Family) working today has hit cinematic gold. Besides Brackett's running around in crisis control, Rudnick allows a great deal of time to what others think. A typical line: "Mr Brackett's not gay! He just likes poetry and Shakespeare and uses his napkin!"

In & Out is a screwball comedy first, a banter of how society deals with homosexuality second. Kline is at the top of his comedic talents here; a weaker actor would permit Joan Cusack to steal the entire movie as the bemused bride. Cusack, an Oscar nominee for the role, nails some of the funniest moments from any film that year. Seemingly forgotten as a cinematic presence, a clean-shaven Tom Selleck and his 24-carat gold personality is something to reckon with again. As a Hollywood reporter on the case, Selleck, without moustache, comes off more as George Clooney's older brother than as Magnum PI. The movie is helmed by Frank Oz, the voice of Miss Piggy, who has quietly put together a very impressive list of comedies: Little Shop of Horrors, Housesitter and Dirty Rotten Scoundrels. —Doug Thomas

Dennis Quaid, Topher Grace, Paul Weitz Nowadays it's rare to find a movie that pays attention to human weakness as well as strength, and that sees a whole person as having both. When a sports magazine gets bought by a media conglomerate, an ad sales executive named Dave Foreman (Dennis Quaid) finds himself playing second-in-command to Carter Duryea, a hotshot barely half his age (Topher Grace) whose marriage has just fallen apart. One evening Carter invites himself over to Dave's house to escape his loneliness, where he meets Dave's daughter Alex (Scarlett Johansson). The two strike immediate sparks and when they run into each other later in the city, a relationship begins—which they discreetly keep from Dave. But the heart of the movie is not in its plot, but in the way that Dave responds to the news that his wife is pregnant, or how Carter tries to fortify his self-image with a new car. These aren't jokes; the actors inhabit these moments fully and turn them into psychological events. Quaid plays Dave as a simple man, but his straightforwardness feels genuine (rather than a failure of the writer's imagination). Grace and Johansson have terrific chemistry as lovers, but so do Grace and Quaid, both as rivals and as a substitute father and son. In Good Company isn't likely to win any awards, but it's honest and honorable; there's a core of truth to its characters and their problems aren't resolved too neatly. Sometimes, that's worth watching. —Bret Fetzer, Amazon.com

Leonardo DiCaprio, Ellen Page, Christopher Nolan Blockbuster sci-fi thriller written and directed by Christopher Nolan. Dom Cobb Leonardo DiCaprio is a professional thief with a difference the spoils he goes after are not material objects but the thoughts, dreams and secrets buried in the minds of other people. This rare talent has cost him dear, rendering him a solitary fugitive stripped of everything he ever really cared about. When he is offered a chance for redemption by reversing the process and planting an idea rather than stealing it, he and his team of specialists find themselves pitted against a dangerous enemy that appears to pre-empt their every move. Ellen Page, Cillian Murphy, Marion Cotillard, Michael Caine and Joseph Gordon-Levitt co-star.

Steven Spielberg

Joel Coen Ethan Coen A sleek George Clooney and a seductive Catherine Zeta-Jones square off magnificently in the divorce comedy Intolerable Cruelty. The plot is simple: lawyer supreme Miles Massey (Clooney) skilfully outmanoeuvres gold-digger Marylin Rexroth (Zeta-Jones) when she divorces her wealthy husband—and she sets out to get revenge. But this movie comes from the creative minds of the Coen Brothers (Fargo, O Brother Where Art Thou?), and so Intolerable Crueltyincludes a Scottish wedding chapel in Vegas, an asthmatic hit man, fluffy-dog-stroking European nobility, and a legendarily unbreakable pre-nuptial agreement. Still, it's pretty restrained for the Coens; smooth and consistent, it never stumbles as disappointingly as their movies can, but also never quite hits the operatic pitch of their best work. It's still damn funny, though, with top-notch performances from the leads as well as Geoffrey Rush, Cedric the Entertainer and Billy Bob Thornton. —Bret Fetzer

Robert Downey Jr., Mickey Rourke The return of Tony Stark, in the guise of Robert Downey Jr, in Iron Man 2 proves to be a welcome one. For Downey Jr utterly owns the dual role of Stark and Iron Man, and in this entertaining superhero sequel, he’s given a tricky nemesis to fight.

The foe is Mickey Rourke’s Ivan Vanko, introduced properly in a staggering action sequence set at Historic Grand Prix of Monaco. Director Jon Favreau stages this superbly, and Iron Man 2 manages to pack plenty into its opening 40 minutes as a result.

The foot does go off the gas, though, in the middle part of the film, when Iron Man 2 does get bogged down by a few too many characters and plot points. But there’s regularly something to keep the attention up, before all bets are off for the entertaining finale.

Iron Man 2 may not be a perfect sequel, but it’s certainly a good one. And it’s a thorough and rigorous home cinema workout, too. Boasting spectacular visuals and a thunderous surround sound mix, the Blu-ray edition of the film is a thrilling ride, and the best way to enjoy an already-worthwhile movie. —Jon Foster

Frank Capra Now perhaps the most beloved American film, It's a Wonderful Lifewas largely forgotten for years, due to a copyright quirk. Only in the late 1970s did it find its audience through repeated TV showings. Frank Capra's masterwork deserves its status as a feel-good communal event, but it is also one of the most fascinating films in the American cinema, a multilayered work of Dickensian density. George Bailey (played superbly by James Stewart) grows up in the small town of Bedford Falls, dreaming dreams of adventure and travel, but circumstances conspire to keep him enslaved to his home turf. Frustrated by his life, and haunted by an impending scandal, George prepares to commit suicide on Christmas Eve. A heavenly messenger (Henry Travers) arrives to show him a vision: what the world would have been like if George had never been born. The sequence is a vivid depiction of the American Dream gone bad, and probably the wildest thing Capra ever shot (the director's optimistic vision may have darkened during his experiences making military films in World War II). Capra's triumph is to acknowledge the difficulties and disappointments of life, while affirming—in the teary-eyed final reel—his cherished values of friendship and individual achievement. It's a Wonderful Lifewas not a big hit on its initial release, and it won no Oscars (Capra and Stewart were nominated); but it continues to weave a special magic. —Robert Horton

Sam Mendes Based on Anthony Swofford's excellent memoir about his experiences as a Marine Sniper in Gulf War I, Jarheadis a war movie in which the waiting is a far greater factor upon the characters than the war itself, and the build up to combat is more drama than what combat is depicted. To some viewers hoping for typical movie action, this will seem like a cruel joke. But it's not. It's just the story as it was written, and if you liked the book, you will probably like the movie. If you didn't, then the movie won't change your mind.

The movie follows the trajectory of Swofford (played with thoughtful intensity by Jake Gyllenhaal) from wayward Marine recruit (he joined because he "got lost on the way to college") to skilled Marine sniper, and on into the desert in preparation for the attack on Iraq. No-nonsense, Marine-for-life Staff Sgt. Sykes (Jamie Foxx), the man who recruited Swofford and his spotter Troy (Peter Sarsgaard) into the sniper team, leads them in training, and in waiting where their lives are dominated by endless tension, pointless exercises in absurdity (like playing football in the scorching heat of the desert in their gas masks so it will look better for the media's TV cameras), more training, and constant anticipation of the moment to come when they'll finally get to kill. When the war does come, it moves too fast for Swofford's sniper team, and the one chance they get at a kill—to do the one thing they've trained so hard and waited so long for—eludes them, leaving them to wonder what was the point of all they had endured.

As directed by Sam Mendes (American Beauty), the movie remains very loyal to the language and vision of the book, but it doesn't entirely work as the film needs something more than a literal translation to bring out its full potential. Mendes' stark and, at times, apocalyptic visuals add a lot and strike the right tone: wide shots of inky-black oil raining down on the vast, empty desert from flaming oil wells contrasted with close-ups of crude-soaked faces struggling through the mire vividly bring to life the meaning of the tagline "welcome to the suck." But much of the second half of the movie will probably leave some viewers feeling disappointed in the cinematic experience, while others might appreciate its microcosmic depiction of modern chaos and aimlessness. Jarheadis one of those examples where the book is better than the movie, but not for lack of trying. —Dan Vancini

Roy Scheider, Robert Shaw, Steven Spielberg In the vastly overrated 1998 book Easy Riders, Raging Bulls, author Peter Biskind puts the blame for Hollywood's blockbuster mentality at least partially on Steven Spielberg's box-office success with this adaptation of Peter Benchley's bestselling novel. But you can't blame Spielberg for making a terrific film, which Jaws definitely is. The story of a Long Island town whose summer tourist business is suddenly threatened by great white shark attacks on humans bypasses the potboiler trappings of Benchley's book and goes straight for the jugular with beautifully crafted, crowd-pleasing sequences of action and suspense. This is supported by a trio of terrific performances by Roy Scheider (as the local sheriff), Richard Dreyfuss (as a shark specialist), and particularly Robert Shaw (as the old fisherman who offers to hunt the shark down). The sequences on Shaw's boat—as the three of them realise that in fact the shark is hunting them—are what entertaining moviemaking is all about. —Marshall Fine —This text refers to another version of this video.

Rowan Atkinson, John Malkovich, Peter Howitt There have been films based on books, video games, theme park rides and even songs, but Johnny English must be the first one based on an advert. Taking its inspiration from the Barclaycard commercials, which starred Rowan Atkinson as a hapless MI6 agent, this full-length film is a cross between a James Bond spoof and Mr Bean. Johnny (a pen-pusher who dreams of a life in her majesty's secret service) is given the mission to protect the crown jewels after a bomb kills all of MI6's existing spies. Unfortunately they are stolen from right under his nose by evil industrialist, Pascal Sauvage (a ridiculously accented John Malkovich) who is intent on seizing the British throne and turning the UK into the biggest prison colony in the world. Thus follows comic set-piece after set-piece, including a hilarious car chase and the obligatory breaking-into-the-evil-genius's-lair sequence, in which English, ably assisted by his much more intelligent subordinate Bough (a brilliantly patient Ben Miller), tries to recover the jewels, stop Sauvage's nefarious scheme, prove to his superiors that he is not completely insane and get the girl, here an Interpol agent played by Natalie Imbruglia.

It's a one-joke movie: he's the worst secret agent in the world. Situations and script are more than a trifle cliched, too, and John Malkovich's performance is cringeworthy. But Atkinson's talent for creating a frustrating but ultimately endearing character is firmly set in the British tradition of rooting for the underdog. The result is an entertaining and endearing spoof with some genuinely laugh-out-loud moments and sparks of originality that more than outnumber the groans. —Kristen Bowditch

Joe Johnston After the success of Jurassic Parkin 1993, the floodgates opened for digital special effects, and Jumanjiis nothing if not a showcase for computer-generated creepiness guaranteed to give young children a nightmare or two. Whether that was the filmmakers' intention is up for debate, since this is a PG-rated adventure revolving around a mysterious board game that unleashes a terrifying jungle world upon its players, including gigantic spiders, huge mosquitoes, a stampede of rhinos, elephants, and every other jungle beast you can imagine. Robin Williams plays a man-child who's been trapped in the world of "Jumanji" for 26 years until he's freed by two kids who've discovered the game and released its parade of dangerous horrors. A chaotic and misguided attempt at family entertainment, the movie does offer a few good laughs, and the effects are frequently impressive, if not entirely convincing to the eye. —Jeff Shannon

Rachel Bilson, Hayden Christensen, Samuel L. Jackson, Jamie Bell, Doug Liman As preposterous action movies go, Jumper is pleasantly unpretentious and breezily entertaining. A young man named David (Hayden Christensen) discovers he has the power to teleport (or "jump") anywhere he can visualize. After using this power to steal and make a comfortable life for himself, he pursues the girl he longed for in school (Rachel Bilson, The O. C.). But as he does so, another jumper (Jamie Bell, Billy Elliot) and a pack of fanatical jumper-hunters called paladins (led by a white-haired Samuel L. Jackson) crashes into David's freewheeling life. Jumper wastes no time trying to explain how jumping works or delving into the hows and whys of the paladins; this is an alluring fantasy of power directed at a pell-mell pace by Doug Liman (The Bourne Identity, Mr. and Mrs. Smith, Go). There's a brief moment when it feels like the movie will bog down in romance and vague gestures towards character development—happily, that's the moment when Bell appears and the whole movie shifts into overdrive. You might wish that Bell and Christensen had swapped roles; Bell has a far more engaging personality, and Christensen's bland good looks might better suit a more aggressive character. Nonetheless, Jumper has oodles of dynamism and nifty visual effects to propel its comic-book storyline forward. A variety of recognizable actors in bit parts (such as Diane Lane and Kristen Stewart, Panic Room) suggest that the filmmakers are laying the groundwork for sequels. Based on a critically-acclaimed science-fiction novel by Steven Gould. —Bret Fetzer, Amazon.com

Ellen Page, Michael Cera, Jason Reitman Somewhere between the sharp satire of Election and the rich human comedy of You Can Count On Me lies Juno, a sardonic but ultimately compassionate story of a pregnant teenage girl who wants to give her baby up for adoption. Social misfit Juno (Ellen Page, Hard Candy, X-Men: The Last Stand) protects herself with a caustic wit, but when she gets pregnant by her friend Paulie (Michael Cera, Superbad), Juno finds herself unwilling to terminate the pregnancy. When she chooses a couple who place a classified ad looking to adopt, Juno gets drawn further into their lives than she anticipated.

But Juno is much more than its plot; the stylised dialogue (by screenwriter Diablo Cody) seems forced at first, but soon creates a richly textured world, greatly aided by superb performances by Page, Cera, Jennifer Garner and Jason Bateman as the prospective parents, and J.K. Simmons (Spider-Man) and Allison Janney as Juno's father and stepmother. Director Jason Reitman (Thank You For Smoking) deftly keeps the movie from slipping into easy, shallow sarcasm or foundering in sentimentality. The result is smarter and funnier than you might expect from the subject matter, and warmer and more touching than you might expect from the cocky attitude. Page's performance is deceptively simple; she never asks the audience to love her, yet she effortlessly carries a movie in which she's in almost every scene. That's star power. — Bret Fetzer, Amazon.com

Chloe Moretz, Nicholas Cage, Matthew Vaughn The cinematic equivalent of a half case of Red Bull chased with donuts, Kick-Ass is a giddy, violent experience—and not your average superhero movie. Based on the comic book by Mark Millar and John Romita Jr., it offers a set of heroes who are decidedly without superpowers: Dave Lizewski (Aaron Johnson) decides he'll be just like a comic-book character, and puts on a ridiculous green suit to fight crime as the mysterious Kick-Ass. Luckily, somebody else had the same idea and comes along to rescue the incompetent crusader: Big Daddy (Nicolas Cage) and his daughter Hit Girl (Chloe Moretz), who also happen to be running around town wearing masks and vanquishing evil. And here we have the movie's masterstroke: Hit Girl, a pint-sized preteen who slaughters bad guys and swears like a sailor on leave (and was the focus of a measure of controversy when the movie was released). The main target of our heroes is a gangster (Mark Strong, Sherlock Holmes), whose neglected son (Christopher Mintz-Plasse, McLovin from Superbad) figures he might just pull on a costume himself and become… Red Mist! (One of the many funny things about Kick-Ass is that the superhero names are hopelessly lame.) Director Matthew Vaughn is operating at the same glib level as his Layer Cake, with cutesy song cues galore and a freewheeling appetite for cartoon violence. This means the movie's high wears off quickly, but it does get high—a crazy, hilarious kick. All that, plus Nicolas Cage executes a deadly Adam West imitation when he pulls on his cape and cowl. That's entertainment. —Robert Horton

Peter Jackson Movies don't come any bigger than Peter Jackson's King Kong, a three-hour remake of the 1933 classic that marries breathtaking visual prowess with a surprising emotional depth. Expanding on the original story of the blonde beauty and the beast who falls for her, Jackson creates a movie spectacle that matches his Lord of the Rings films and even at times evokes their fantasy world while celebrating the glory of '30s Hollywood. Naomi Watts stars as Ann Darrow, a vaudeville actress down on her luck in Depression-era New York until manic filmmaker Carl Denham (a game but miscast Jack Black) entices her with a lead role. Dazzled by the genius of screenwriter Jack Driscoll (Adrien Brody), Ann boards the tramp steamer S.S. Venture, which she—and most of the wary crew—believes is headed for Singapore. Denham, however, is in search of the mythic Skull Island, hoping to capture its wonders on film and make a fortune. What he didn't count on were some scary natives who find that the comely Darrow looks like prime sacrifice material for a mysterious giant creature....

There's no point in rehashing the entire plot, as every movie aficionado is more than familiar with the trajectory of King Kong; the challenge facing Jackson, his screenwriters, and the phenomenal visual-effects team was to breathe new life into an old, familiar story. To that degree, they achieve what could be best called a qualified success. Though they've assembled a crackerjack supporting cast, including Thomas Kretschmann as the Venture's hard-bitten captain and young Jamie Bell as a plucky crewman, the first third of the movie is rather labored, with too much minute detail given over to sumptuous re-creations of '30s New York and the unexciting initial leg of the Venture's sea voyage. However, once the film finds its way to Skull Island (which bears more than a passing resemblance to LOTR's Mordor), Kong turns into a dazzling movie triumph, by turns terrifying and awe-inspiring. The choreography and execution of the action set pieces—including one involving Kong and a trio of Tyrannosaurus Rexes, as well as another that could be charitably described as a bug-phobic's nightmare—is nothing short of landmark filmmaking, and a certain Mr. Spielberg should watch his back, as Kong trumps most anything that has come before it.

Despite the visual challenges of King Kong, the movie's most difficult hurdle is the budding romance between Ann and her simian soulmate. Happily, this is where Jackson unqualifiedly triumphs, as this unorthodox love story is tenderly and humorously drawn, by turns sympathetic and wondrous. Watts, whose accessibility balances out her almost otherworldly loveliness, works wonders with mere glances, and Andy Serkis, who digitally embodies Kong here much as he did Gollum in the LOTR films, breathes vibrant life into the giant star of the film without ever overplaying any emotions. The final, tragic act of the film, set mostly atop the Empire State Building, is where Kong earns its place in movie history as a work that celebrates both the technical and emotional heights that film can reach. —Mark Englehart, Amazon.com

Eva Green, Marton Csokas, Ridley Scott Orlando Bloom, Jeremy Irons, Liam Neeson, Edward Norton, Michael Sheen, Eva GreenDirector: Ridley Scott

Morgan Freeman, Ashley Judd, Gary Fleder Kiss the Girls is a thriller about a collaboration between two serial killers, and, coming after The Silence of the Lambs and Seven, it feels like a pale attempt to cash in on the success of those earlier, better films. That's a pity, because this film certainly has its strengths—particularly in the central performances of Morgan Freeman as a forensic detective and Ashley Judd as a would-be victim who escaped from one of the killers. Director Gary Fleder demonstrates visual flair and maintains an involving undercurrent of tension, but as this adaptation of James Patterson's novel approaches its climax, familiar elements combine to form a chronic case of thriller déjà vu. It's altogether competent filmmaking in the service of a moribund story of competing psychopaths, and by the time the serial killers reach the home stretch of their twisted contest, the movie's dangerously close to Freddy Kruger territory, with a finale that could've been borrowed from any one of dozens of similar thrillers. —Jeff Shannon, Amazon.com

Tom Cruise, Cameron Diaz, James Mangold

Stephen Chow Movie-kinetics genius. Kung Fu Hustletakes the gleeful mayhem of Hong Kong action movies, the deadpan physical humor of silent comedies, and the sheer elasticity of Wile E. Coyote cartoons and fuses them into a spectacle that is simple in its joys and mind-boggling in its orchestration. A run-down slum has been poor but peaceful until a bunch of black-suited gangsters called the Axe Gang show up to cause trouble—and discover that, hidden among the humble poor, are three kung fu masters trying to live an ordinary life. But after these martial artists repulse the gang with their flying fists and feet, the gang leader hires a pair of assassins, whose arrival leads to the unveiling of more secrets, until both the screen and the audience are dizzy with hyperbolic fight artistry (choreographed by Yuen Wo Ping, who also choreographed The Matrix). Weaving through this escalating fury is a loudmouthed loser (writer/director/actor Stephen Chow) who suddenly finds himself having to live up to his bragging. Kung Fu Hustlemore than lives up to the promise of Chow's previous film, Shaolin Soccer: it's a movie made by an imagination unfettered by the laws of physics. Hugely entertaining. —Bret Fetzer, Amazon.com

Curtis Hanson

William A. Seiter

Edward Sutherland

Various

Various

Various

Nicolas Cage, Elisabeth Shue, Mike Figgis One of the most critically acclaimed films of 1995, this wrenchingly sad but extraordinarily moving drama provides an authentic, superbly acted portrait of two people whose lives intersect just as they've reached their lowest depths of despair. Ben (Nicolas Cage, in an Oscar-winning performance) is a former movie executive who's lost his wife and family in a sea of alcoholic self-destruction. He's come to Las Vegas literally to drink himself to death, and that's when he meets Sera (Elisabeth Shue), a prostitute who falls in love with him—and he with her—despite their mutual dead-end existence. They accept each other as they are, with no attempts by one to change the other, and this unconditional love turns Leaving Las Vegas into a sombre yet quietly beautiful love story. Earning Oscar nominations for Best Director (Mike Figgis), Best Adapted Screenplay (Figgis, from John O'Brien's novel) and Best Actress (Shue), the film may strike some as relentlessly bleak and glacially paced, but attentive viewers will readily discover the richness of these tragic characters and the exceptional performances that bring them to life. (In a sad echo of his own fiction, novelist John O'Brien committed suicide while this film was in production.) —Jeff Shannon

Luc Besson Luc Besson (The Fifth Element) made his American directorial debut with Leon, a stylised thriller about a French hit man (Jean Reno) who takes in an American girl (Natalie Portman) being pursued by a corrupt killer cop (Gary Oldman). Oldman is a little more unhinged than he should be, but there is something genuinely irresistible about the story line and the relationship between Reno and Portman. Rather than cave in to the cookie-cutter look and feel of American action pictures, Besson brings a bit of his glossy style from French hits La Femme Nikitaand Subwayto the production of The Professional, and the results are refreshing even if the bullets and explosions are awfully familiar.—Tom Keogh

Josee Dayan

Jim Carrey, Maura Tierney, Don Zimmerman, Tom Shadyac Jim Carrey is back in top form after his disastrous outing in The Cable Guy. As a lawyer who becomes physically unable to tell a lie for 24 hours after his son makes a magical birthday wish, Carrey learns a few brutal truths about the real meaning of life. There is very little plot, but Carrey's rubbery contortions and slapstick trickery provide just enough humour to keep you interested in this breezy bit of escapism. Not aided in Liar Liar by pets or animation, Carrey manages to do amazing and unique things with very simple props. He is also more in control of his acting than before. He is still over the top, but remains believable in some of the lower-energy scenes. An added plus is that the comedy is not as coarse as we've come to expect from him. —Rochelle O'Gorman

Timothy Dalton, Carey Lowell, John Glen Timothy Dalton's second and last James Bond assignment in Licence to Kill is darker and harder-edged than anything from the Roger Moore years, dropping the sometimes excruciating in-jokes that had begun to dominate the series in favour of gritty, semi-realistic action. When CIA colleague and close friend Felix Leiter (David Hedison) gets married immediately after arresting villainous drug baron Franz Sanchez (with a little help from Bond), the crime lord's retribution is swift and terrible. Bond goes on a personal vendetta against Sanchez after his licence to kill is revoked. There are plenty of spectacular stunt scenes, of course, but the meaty story of revenge is this film's distinguishing feature. Dalton's portrayal of the iconic hero as tough but flawed was a brave decision that the producers subsequently retreated from after Licence to Kill's relatively poor box-office showing.

On the DVD: Timothy Dalton's insistence that Bond was a man not a superhero, and "a tarnished man" at that encouraged the producers to redefine Bond with a tougher edge more in keeping with Fleming's original conception of the character. Licence to Kill is Bond's darkest assignment. The production team experienced their usual difficulties in bringing it to the screen, the "making-of" documentary reveals, including a haunted road in Mexico and a mysterious flaming hand that appeared out of the fire during the climactic tanker explosion. There are two commentaries here, both montage selections of interviews from cast and crew. The first features director John Glen and many of the actors; the second has producer Michael G Wilson and the production team. Gladys Knight pops up in the first music video, Patte La Belle in the second ("If You Asked Me To"). There are the usual trailers, gallery of stills and a feature on the Kenworth trucks specially adapted for the movie's stunt work. —Mark Walker

David Attenborough, Oprah Winfrey Narrated by: David Attenborough

Abigail Breslin, Greg Kinnear, Jonathan Dayton, Valerie Faris Pile together a blue-ribbon cast, a screenplay high in quirkiness, and the Sundance stamp of approval, and you've got yourself a crossover indie hit. That formula worked for Little Miss Sunshine, a frequently hilarious study of family dysfunction. Meet the Hoovers, an Albuquerque clan riddled with depression, hostility, and the tattered remnants of the American Dream; despite their flakiness, they manage to pile into a VW van for a weekend trek to L.A. in order to get moppet daughter Olive (Abigail Breslin) into the Little Miss Sunshine beauty pageant. Much of the pleasure of this journey comes from watching some skillful comic actors doing their thing: Greg Kinnear and Toni Collette as the parents (he's hoping to become a self-help authority), Alan Arkin as a grandfather all too willing to give uproariously inappropriate advice to a sullen teenage grandson (Paul Dano), and a subdued Steve Carell as a jilted gay professor on the verge of suicide. The film is a crowd-pleaser, and if anything is a little too eager to bend itself in the direction of quirk-loving Sundance audiences; it can feel forced. But the breezy momentum and the ingenious actors help push the material over any bumps in the road. — Robert Horton

Adam Sandler, Patricia Arquette, Steven Brill In Little Nicky, Adam Sandler plays the sweetest of three sons of Satan (Harvey Keitel), who's got to go to Earth and retrieve his nasty, power-hungry brothers lest they take over Hell and make it a thoroughly evil place. As with Sandler's other films, this weird premise (based oh-so-loosely on King Lear) is just an excuse to trot out a hodgepodge of comic bits and cameo performances. Admittedly, a lot of the jokes don't work (there was no need to repeat the one about shoving a pineapple up Hitler's ass) but the ones that do tend to be more memorable than the ones that don't, making for a pretty funny movie, when all is said and done. Sure, it's hard to overcome Sandler's speech impediment du jour, not to mention that romantic subplot with Patricia Arquette but it can be done by focusing on the brilliant cameos by Regis Philbin, Reese Witherspoon, Ozzy Osborne, and Henry Winkler (especially when he's covered with bees), as well as one of the funniest uses of a scene from De Palma's Scarface in years. Supporting Sandler throughout are two very funny heavy metal disciples and a bulldog named Beefy (voiced by Robert Smigel, the man behind Triumph the Insult Comic Dog). And, in an almost unrecognisable cameo, that's Clint Howard as the cross-dressing fetishist named "Nipples".—Andy Spletzer, Amazon.com

Eric Cantona, Steve Evets, Ken Loach

Josh Hartnett, Morgan Freeman, Bruce Willis, Stanley Tucci, Ben Kingsley How boring it is to label a movie Tarantino-esque anymore. The thing is, when it comes to an offering like Lucky Number Slevin, the shoe fits, and the result is anything but boring. Gruesome killings, arid wit, self-reflexive pop culture references, an A-list cast, and style-heavy production values abound, which gives the proceedings an epoxy bond that seals the Q.T. homage factor. Josh Hartnett—who spends a lot of buffed-up time with his shirt off—is Slevin Kelevra, a hapless fellow visiting his New York friend Nick. But Nick has disappeared, which sets off a mistaken-identity thrill ride when two goons grab Slevin (he's in Nick's apartment so he must be Nick) and take him to their crime lord boss, the Boss (Morgan Freeman). The Boss doesn't care about Slevin's wrong-man protests; he just wants the $96,000 Nick owes him. In one of many offers he can't refuse, Slevin has to agree to murder the son of the Boss's felonious arch rival, the Rabbi (Ben Kingsley) or take the bullet himself. But Slevin turns out to be no ordinary patsy. Thrown into the ingeniously designed production, clever plot twists, and academic nods to Bond, Hitchcock, and obscure old cartoons are Lucy Liu as a sexy coroner, Stanley Tucci as an obsessed cop, and Bruce Willis as a wily hit man with his finger in many pots. With so much visual and narrative trickery, there's almost too much to absorb in one viewing of this convoluted jigsaw puzzle of revenge and entertaining mayhem. Lucky Number Slevin isn't quite up to par with similarly brainy thrillers like Memento and The Usual Suspects, but the prospect of seeing it again in order to get your bearings is just as appealing.—Ted Fry

Ben Stiller, David Schwimmer, Eric Darnell, Tom McGrath The penguins steal the show. In the sprightly Madagascar, a mid-life crisis inspires Marty the Zebra (voiced by Chris Rock) to escape from his lifelong home, a New York zoo. His equally pampered friends—Alex the Lion (Ben Stiller), Gloria the Hippo (Jada Pinkett Smith), and Melman the Giraffe (David Schwimmer)—then escape to bring him back. Unfortunately, their attempt at damage control persuades zoo officials that the animals are unhappy, so all four get shipped to an animal preserve in Kenya...only a squad of maniacal penguins change the destination to Antarctica. The quartet end up on an island where, in addition to meeting some hedonistic lemurs, they learn about the food chain—and that Alex is a different link on the chain from the other three. Madagascar doesn't achieve the snappy perfection of a Pixar movie, but it tops most other computer-animated efforts; the collision of friendship and predator instincts makes for an unusually gripping conflict. The vocal performances of the central characters is serviceable, but Sacha Baron Cohen (Ali G) provides topnotch lunacy as the lemur king, and the penguins—voiced mostly by the animators themselves—are the best thing in the movie. —Bret Fetzer, Amazon.com

Owen Wilson, Jennifer Aniston, David Frankel When a dog wriggles his adorable rear end into a human's life, the human will never be the same. And both Marley, the dog, and Marley & Me, the movie, manage to endear themselves deeply despite a few wee flaws. Readers of the John Grogan bestseller already know the raffish charm of the incorrigible yellow lab puppy, Marley, adopted by Grogan and his wife because she's "never seen anything more adorable in my life." But Grogan's simple tale of love, in all its forms, shines on the big screen, thanks to deft comic turns by Jennifer Aniston—in top form here—and Owen Wilson. Their chemistry is utterly natural and believable as Marley's owners, as is their interaction with the very naughty but ultimately irresistible Marley. As Marley grows up, the film follows his escapades—flunking out, spectacularly, from puppy training at the hands of a wickedly funny Kathleen Turner. And as Marley grows up, John and Jenny build their life together and weather some tough emotional blows. Like My Dog Skip, which it resembles in its affection for its subject, Marley & Me is a tear-jerker, but in the sweetest, most lovely way—because it, and its four-legged star, have wriggled into our hearts. Good boy. —A.T. Hurley, Amazon.com

Stills from Marley and Me (Click for larger image)

Michelle Pfeiffer, Alec Baldwin, Jonathan Demme Angela de Marco (Michelle Pfeiffer) is fed up with her life Married to the Mob. As luck would have it, her hubby Frank (Alec Baldwin) is knocked off by head honcho Tony "the Tiger" Russo (an Oscar-nominated Dean Stockwell), which leaves her free to start a new life in the Big Apple. The only problem is that the FBI are desperate to nab Tony, and manage to send the one Agent (Matthew Modine) most likely to fall in love with her. Plot-wise, then, this is predictable fluff. The joys are in the details of Jonathan Demme's direction: New York's streets come alive under his hand-held camerawork; a lot of dialogue is comically delivered direct to camera (a device he used for dramatic effect later with The Silence of the Lambs); and background characters each leave their mark given memorable—often-hilarious—screen time. As a black comedy it isn't quite so memorable as Demme's explosive earlier work on Something Wild, but if there's one thing sure to stick with you here it's the sensationally colourful late-80s fashions and hairstyles.

On the DVD: Married to the Mob is a bare-bones release that only adds a trailer. It is presented in its original widescreen ratio, however, and for the most part the transfer is pretty clean. —Paul Tonks

Peter Weir Aside from some gripping battles and a storm sequence to rival anything seen on screen, Peter Weir's Master and Commander: The Far Side of the Worldis as much about daily shipboard life during the Napoleonic era—especially the relationship between Captain Aubrey (Russell Crowe) and Doctor Stephen Maturin (Paul Bettany)—as it is about spectacle. Aubrey is a powerful figure whose experience and strength of character commands unwavering trust and respect from his crew; Crowe seems in his element naturally enough. Bettany, though, is his match on screen as Aubrey's intellectual foil. Director Weir successfully translates their relationship from novel to screen by subtly weaving in their past history and leaving viewers—whether they've read Patrick O'Brian's books or not—to do the thinking.

Although the film's special effects ate up a huge budget they never overtake the drama, with careful characterisation and painstaking attention to historical accuracy taking centre stage. Matching action to detail, drama to humour and special effects to well-sketched characters, Master and Commanderis a deeply satisfying big-screen experience, breathing a bracing gust of sea air into Hollywood megabuck filmmaking.—Laura Bushell

On the DVD:Master & Commander's single-disc edition displays the full glories of the big screen experience, with Dolby Digital 5.1 and DTS sound options that make the most of the resounding battle scenes as well as the small but vital details of creaking planks and lapping waves, while the sweeping CinemaScope (2.35:1) photography anamorphically formatted for 16:9 widescreen splendidly reproduces Peter Weir's painterly compositions. It's a tad disappointing, then, to note the lack of a director's commentary (surely such an insightful director as Weir would have plenty to say) and the excessive promotional material—cinema trailers and plugs for Fox DVDs— that plays even before the main menu screen appears: anyone who has bought this title for repeat viewing deserves not to be subjected to such a broadside of soon-to-be-out-of-date advertising. —Mark Walker

Martin Brest Meet Joe Blackseemed almost fated to fail when it was released in 1998, but this romantic fantasy—a remake of 1934's Death Takes a Holiday—deserves a chance at life after box-office death. Although many moviegoers were turned off by director Martin Brest's overindulgent three-hour running time, those who gear into its deliberate pace will find that Meet Joe Blackoffers ample reward for your attention.

Brad Pitt plays Death with a capital D, enjoying some time on Earth by inhabiting the body of a young man who'd been killed in a shockingly sudden pedestrian-auto impact. Before long, Death has ingratiated himself with a wealthy industrialist (Anthony Hopkins) and pursues romance with the man's beautiful daughter (newcomer Claire Forlani), whom he'd briefly encountered while still an earthbound human. Under the assumed identity of "Joe Black", he samples all the pleasures that corporeal life has to offer—power, romance, sex and such enticing pleasures as peanut butter by the spoonful.

But Death has a job to do, and Meet Joe Blackaddresses the heart-wrenching dilemma that arises when either father or daughter (the plot keeps us guessing) must confront his or her inevitable demise. The film takes its own sweet time to establish this emotional crisis and the love that binds Hopkins's semi-dysfunctional family so closely together. But if you've stuck with the story this far, you may find yourself surprisingly affected. And if Meet Joe Blackhas really won you over, you'll more than appreciate the care and affection that gives the film a depth and richness that so many critics chose to ignore. —Jeff Shannon

Robert De Niro, Ben Stiller, Jay Roach Meet the Parents found such tremendous success in the chemistry produced by the contrasting personalities of stars Robert De Niro and Ben Stiller that the film's creators went for broke with the same formula again in Meet the Fockers. This time around, Jack and Dina Byrnes (De Niro and Blythe Danner) climb into Jack's new kevlar-lined RV with daughter Pam (Teri Polo), soon-to-be son-in-law Gaylord (Stiller), and Jack's infant grandson from his other daughter for the trip to Florida to meet Gaylord's parents, Bernie and Roz Focker (Dustin Hoffman and Barbra Streisand in a casting coup). The potential in-laws are, of course, the opposite of Jack, a pair of randy, touchy-feely fun-lovers. The rest of the movie is pretty much a sitcom: put Bernie and Roz together with Jack, and watch the in-laws clash as Gaylord squirms. As with the original, there is a sense of joy in watching these actors take on their roles with obvious relish, and the Hoffman-Streisand-Stiller triumvirate is likeable enough to draw you in. But the formula doesn't work as well in Fockers mostly because much of the humor is based on two obvious gimmicks: Gaylord Focker's name, and the fact that Streisand's character is a sex therapist. As a result, the movie itself is more contrived and predictable, and a lot less fun than the original. The casting is grand, but one wishes more thought was put into the script.—Dan Vancini, Amazon.com

Luis Mandoki If, as they say, you're in a certain mood, Message in a Bottlecan be just the ticket. Based on Nicholas Sparks' bestselling novel, this handsome but overly calculated romantic tale stars Robin Wright Penn as Theresa, a Chicago Tribuneresearcher who finds a note encased in a green bottle that has floated onto a Cape Cod shore. The message within is a heartfelt, yearning declaration of love to a woman named Catherine but the author is unknown until Theresa (rather improbably) tracks him down in North Carolina. He's Garret Blake (Kevin Costner), a taciturn builder of sailboats and a grieving widower whose late wife, poetically speaking, was the intended recipient of the seafaring note Theresa found. Theresa, a divorcée with a son, decides to meet Garret, only to find him as bottled-up as his message. Nevertheless, a romance blooms on the strength of quality time in a sailboat and lots of cuddling, though the script tosses in bits of conflict to keep their relationship spicy. Directed by Luis Mandoki (When a Man Loves a Woman), this love story is entirely by the numbers, with Costner inhabiting (rather than performing) a stock fantasy of a man perfect in every way save his broken heart. Penn brings more vibrancy to her equally predictable part but fortunately for all, Paul Newman, John Savage, Robbie Coltrane and Illeana Douglas are on hand in nicely textured character parts. Sometimes predictability is exactly what one wants when settling in for an evening of home video, and this movie fits the bill nicely. The appealing cinematography is by ace cameraman Caleb Deschanel. —Tom Keogh

Fritz Lang

Michael M. Robin A stunning piece of Japanese animation, Metropolis(2001) gets much of its visual look as well as its storyline less from the Fritz Lang classic than from Osamu Tezuka's comic book adaptation of it. In a style a reminiscent of Little Nemoand TinTin, Lang's dystopian fantasy is tweaked into the story of the doomed robot girl Tima and her love for Kenichi, nephew of a visiting Japanese detective. The city's ruler, Duke Red, needs her to complete his super-weapon, the Ziggurat, and has built her to resemble his dead daughter; the Duke's adopted son Rock is jealous and possessive of his father; and Tima's builder Laughton has agendas of his own. There are chases, riots, conflagrations and duels in the snow; unusually for Japanese animation the backgrounds are as inventively characterised as the characters who move through them. Screenwriter Katsuhiro Otomo and director Rintaro have deservedly moved from cult status to the mainstream on the strength of this film, which merits the epic tag so often attached to less interesting animations. —Roz Kaveney

Gabriel Byrne, Albert Finney, Ethan Coen, Joel Coen Arguably the best film by Joel and Ethan Coen, the 1990 Miller's Crossing stars Gabriel Byrne as Tom, a loyal lieutenant of a crime boss named Leo (Albert Finney) who is in a Prohibition-era turf war with his major rival, Johnny Caspar (Jon Polito). A man of principle, Tom nevertheless is romantically involved with Leo's lover (Marcia Gay Harden), whose screwy brother (John Turturro) escapes a hit ordered by Caspar only to become Tom's problem. Making matters worse, Tom has outstanding gambling debts he can't pay, which keeps him in regular touch with a punishing enforcer. With all the energy the Coens put into their films, and all their focused appreciation of genre conventions and rules, and all their efforts to turn their movies into ironic appreciations of archetypes in American fiction, they never got their formula so right as with Miller's Crossing. With its Hammett-like dialogue and Byzantine plot and moral chaos mitigated by one hero's personal code, the film so transcends its self-scrutiny as a retro-crime thriller that it is a deserved classic in its own right. —Tom Keogh

Tom Cruise, Samantha Morton, Steven Spielberg Tom Cruise, Samantha Morton, Colin Farrell, Max Von Sydow, Peter StormareDirector: Steven Spielberg

Richard Attenborough, Elizabeth Perkins, Les Mayfield

Tom Cruise, Maggie Q, J.J. Abrams

John Huston

Sam Rockwell, Kevin Spacey, Duncan Jones Sam Rockwell, Kevin SpaceyDirector: Duncan Jones

David McKee

Jean-Pierre Tardivel

James Stewart, Jean Arthur, Al Clark, Gene Havlick, Frank Capra In Frank Capra's bright, funny and beautifully paced satire Mr Smith Goes to Washington political heavyweights decide that Jefferson Smith (James Stewart), an obscure scoutmaster in a small town, would be the perfect dupe to fill a vacant US Senate chair. Surely this naïve bumpkin can be easily controlled by the senior senator (Claude Rains) from his state, a respectable yet corrupted career politician. Capra fills the film with Smith's wide-eyed wonder at the glories of Washington, all of which ring false for his cynical secretary (Jean Arthur) who doesn't believe for a minute this rube could be for real. But he is. Capra was repeating the formula of a previous film, Mr Deeds Goes to Town, but this one is even sharper. Stewart and Arthur are brilliant, and the former cowboy-star Harry Carey lends a warm presence to the role of the vice-president. Mr Smith Goes to Washington is Capra's ode to the power of innocence—an idea so potent that present-day audiences may find themselves wishing for a new Mr Smith in the halls of power. The 1939 US Congress was none too thrilled about the film's depiction of their august body, denouncing it as a caricature; but even today, Capra's jibes about vested interests and political machines look as accurate as ever. —Robert Horton, Amazon.com

Doug Liman Brad Pitt and Angelina Jolie smolder in one of the most anticipated sizzling action films ever made. After five (or six) years of vanilla-wedded bliss ordinary suburbanites John and Jane Smith (Pitt and Jolie) are stuck in a rut the size of the Grand Canyon until the truth comes out! Unbeknownst to each other they are both coolly lethal highly paid assassins working for rival organizations. And when they discover they're each other's next target their secret lives collide in a spicy explosive mix of wicked comedy pent-up passion nonstop action and high-tech weaponry that gives an all-new meaning to "Till death do us part!"System Requirements:Starring: Brad Pitt Angelina Jolie Vince Vaughn Directed By: Doug Liman Running Time: 112 MinutesFormat: DVD MOVIE Genre: ACTION/ADVENTURE Rating: PG-13 UPC: 024543213710 Manufacturer No: 2231371

Marleen Gorris

Peter Yates

Campbell Scott, Brad Garrett, Marc Lawrence Music & Lyrics is frothy and sweet, like the top of a perfect cappuccino shared a deux. Hugh Grant is a self-professed "happy has-been," playing his befuddled, adorable persona more spot-on than he has since Four Weddings and a Funeral. As Alex, former member of an '80s pop band who years later is playing at water parks and high school reunions, he's settled into a life of lesser expectations. Drew Barrymore, quietly radiant, is Sophie, the underachieving girl Friday who arrives to water—make that overwater—Alex's plants—and to explode him out of that comfy rut. If the plot's a bit farfetched, it matters not, since the two lead characters are so likable—and make such beautiful music together. Big bonus: the supportive role of Kristen Johnston as Rhonda, Sophie's older sis (and longtime Alex fan) whose hilarious performance threatens to steal the show whenever she's onscreen. (The owner of a chain of successful weight-loss centers, Rhonda tries to comfort a rattled Sophie: "Want to do some stress eating?") The film also marks the remarkable debut of Haley Bennett, who plays a pop star of Britney/Cristina proportions with deadpan sincerity radiating through her skimpy outfits and mega-extensions. As Alex and Sophie work on crafting musical magic, something else is taking hold. It's music to the ears of anyone needing a sweet romantic comedy that hits all the right notes. —A.T. Hurley

Nia Vardalos, John Corbett, Joel Zwick It's not surprising that My Big Fat Greek Wedding grew more popular over the course of its US theatrical release (whereas most blockbusters open big and then drop precipitously)—not only does it have believable situations and engaging characters, but these characters (particularly our romantic heroine Toula, played by writer/performer Nia Vardalos) look like actual human beings instead of plastic movie stars. The result is the very accessible tale of a Greek-American (whose family sees her as over the hill at 30), who falls for a WASPy guy named Ian (John Corbett) and then has to endure the outrage, doubt, and ultimate acceptance of her deeply ethnically-centred family. The actors invest their wildly stereotypical portrayals with sincerity and compassion, giving the movie honest warmth instead of Hollywood schmaltz. But My Big Fat Greek Wedding ultimately succeeds because of Vardalos; with her intelligent, down-to-earth presence and charm carrying the film. —Bret Fetzer